Space Diagram




Rehearsal Room




Here’s a short clip

Today, during our weekly meeting, we’ve discuss ways of organizing the Sarc land in SL as well as the performance in real life.

One idea is to have vertical levels, trough which avatars can move freely and interact with objects that have a particular sound .

however,  where the avatar controlled by us is, is the only level where the sound of the real life performance would be heard. the actions and consequent sounds of audience avatars in this level are feedback to the real life performance and this is being feedback to SL.  

A simpler idea is to have a couple of avatars controlled by us, performing gestures, moving objects or moving trough to the sarc land.

their actions would have a sound interaction with the real life, in the same way as the example above.

in this away there would be two audiences, the SL and the real life one with no real interaction in the performance itself but both have the understanding of the interaction between the two worlds.

The performance in real life has a define structure that will however, use the sounds from SL as cues for particular events.  we think this could bring more possibilities in designing interactions between SL and real life since less objects or actions would be giving information to real life performance, taking out the random part of it, the SL audience interaction.

This Other Life


I’ve been interested to follow some of the commentary written here already, but I’ve similarly been aware that I haven’t had much to add. I was interested particularly in the voices directing the avatar as well as the soundscapes. However, I’m aware that on 1 May and 6 May the Two Crowds project is kicking in with a group visit to SL. As I understand it, a number of us will meet in SL at the designated place in order to connect and possibly execute a task or two. The former may be enough; if not, perhaps a prior discussion around what the latter might involve, would be useful.
I don’t know if people are aware of Odyssey which is an island given over to performance and art events – you can search for and find it pretty easily, if not. I went to a fantastic event there recently (in fact this was pretty much the first ever performance event I’ve visited except for a very dull trek to a recreated Globe Theatre where some drunk Americans wreaked their destruction on Twelfth Night). A group called, I think, Second Front, appeared and moved around in unison – they all wore identical, rather sinister clothing and carried large mallets. There were also spectacular displays of digital art arising out of the earth and disappearing into the skies. This may be a bread and butter experience for more experienced SLers but it was pretty interesting for a novice.
Odyssey was in fact started by a friend of mine who runs a company in London called Dynamis, which was why it was an early call for me. The company picks up the bill and a number of artists are given the task of running it and creating events. I believe that the Avatar Metaverse Orchestra have good connections there. It’s essentially a philanthropic, non-commercial exercise. I have been given the details of the guy who’s in charge of making it all happen and will be connecting with him soon.

Chris Johnston
23 April



Office – 4’13’’

Office is a work composed for the project Improvisation for Two Crowds. A project developed by SARC students for the Composition module and Drama students from Queens University, Belfast, for an interactive performance between Second Life environment and “First Life”.

The composition began with the recording of some instruments sounds even before a concrete idea for the piece and for the entire project was defined. With the participation of Pedro Rebelo, module supervisor, and Manuela, a Ma student in Composition, we recorded different instruments; such as an accordion, chimes, flute, kalimba, guiro, shakers and some objects; such as a typewriter. A second recording session took place in the Harty Room, at the School of Music, where percussive instruments; such as djambe, cymbals, xylophone, among others, still stood as first choice. Different approaches on how to play these instruments were taken and not just the traditional way of playing them, thus giving us a larger palette of sounds from these simple instruments.

Since many of the instruments recorded were of a percussive nature, or used as such, using the typewriter rhythm patterns along with the kalimba and guiro, the concept for this piece began to be more present through time.

The name of this project gave the form for the piece, Office began to take the form of an improvisation between instruments and typewriter layered on a background environment, created with transformed sounds from the same instruments and also the chimes and flute.

Office finds it’s name on the motion through the piece. More quiet and simple moments against more agitated moments given by the fast attacks of the guiro and the typewriter, resembling a real office space where different moments are filled with typewriters and computer keyboards sounds that go quieter in a less work period.

Mp3 : Office

Sergio Gregorio