Abstract
This paper aims to discuss to what extent telematic performances within the framework of the “Beyond Time and Space - London Tokyo Online 2023” initiative serve as a comparative paradigm to physical live performances, particularly in the domains of technical exigencies, artistic expression, and audience engagement.
Central to this study is the “Beyond Time and Space - London Tokyo Online 2023” event, a simultaneous, interactive electronic live music performance connecting physical venues in London and Tokyo. Through JackTrip and Open Broadcaster Software (OBS), this event aspired to explore the applicability and limitations of telematic technology in live electronic music performance and its implications.
The study was conducted by the curator of the event, which adopts a multi-faceted methodology to examine the impact of telematic performances through three different performing formats, which are the “Bridging Live Set,” the “Telematic B2B,” and the “Overlapping Live Set.” Primary research involved a focus group of six performing artists, evenly distributed between Tokyo and London. Observational research conducted at the London venue focused on audience dynamics and ambiance, complemented by comprehensive interviews with two attendees. The research methodology is based on Kansei engineering,2 which focuses on the qualitative meaning and value that a product or environment provides to the user. This approach is crucial in creative industries, where sensory aspects are highly valued. Achieving this value depends on three factors: the ability of current technological frameworks to replicate the liveness of live performances, the interactive engagement between artists and the significance of their collaborations, and the exploration of audience interaction and experience in telematic performances. This paper also uses the League of Automatic Music Composers, a group of experimental electronic musicians in the San Francisco Bay Area from 1978 to 1983, as a case study.
This paper highlights a significant paradox in telematic performances, particularly in the context of Electronic Dance Music (EDM). While the rapid transmission of MIDI data in EDM minimizes latency, enhancing the smoothness of sound delivery compared to traditional live sets, it also diminishes the audience's ability to identify the source of sound and the performing artist. This lack of perceptible latency leads to a reduced sense of immersion and liveness. To address this paradox, visual solutions are necessary. This emphasizes the importance of integrating audio and visual technologies to serve as a performing instrument rather than just technical tools, enhancing the overall performance experience for both artists and audiences.
This study also identified two major challenges with telematic communication in electronic music live performances. First, audiences found it difficult to distinguish which artist was performing which part of the music, especially in the Telematic B2B sets which featured rhythm-based house music. Secondly, telematic communication failed to provide the sense of interaction present in traditional live performances. Despite live broadcasts, the audience in two locations felt distant from each other’s experiences. This lack of interaction may stem from not just spatial and temporal differences, but also from differing nightclub cultures between Tokyo and London.
License Information
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License (CC BY-NC-ND 4.0).
Recommended Citation
Wang, Yongsi. "Telematic Performance in Electronic Dance Music (EDM)." Journal of Network Music and Arts 6, 1 (2024). https://commons.library.stonybrook.edu/jonma/vol6/iss1/5
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