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  • (Music)

  • For any of you who have visited or lived in New York City,

  • these shots might start to look familiar.

  • This is Central Park,

  • one of the most beautifully designed

  • public spaces in America.

  • But to anyone who hasn't visited,

  • these images can't really fully convey.

  • To really understand Central Park,

  • you have to physically be there.

  • Well, the same is true of the music,

  • which my brother and I composed and mapped

  • specifically for Central Park.

  • (Music)

  • I'd like to talk to you today a little bit about the work

  • that my brother Hays and I are doing --

  • That's us there. That's both of us actually

  • specifically about a concept that we've been developing over the last few years,

  • this idea of location-aware music.

  • Now, my brother and I, we're musicians

  • and music producers.

  • We've been working together since,

  • well, since we were kids, really.

  • But recently, we've become more and more interested

  • in projects where art

  • and technology intersect,

  • from creating sight-specific audio

  • and video installation

  • to engineering interactive concerts.

  • But today I want to focus on this concept

  • of composition for physical space.

  • But before I go too much further into that,

  • let me tell you a little bit about how we got started

  • with this idea.

  • My brother and I were living in New York City

  • when the artists Christo and Jeanne-Claude

  • did their temporary installation, The Gates,

  • in Central Park.

  • Hundreds of these brightly-colored sculptures

  • decorated the park for a number of weeks,

  • and unlike work that's exhibited

  • in a more neutral space,

  • like on the walls of a gallery or a museum,

  • this was work that was really in dialogue

  • with this place,

  • and in a lot of ways, The Gates

  • was really a celebration

  • of Frederick Olmsted's incredible design.

  • This was an experience that stayed with us

  • for a long time, and years later,

  • my brother and I moved back to Washington, D.C.,

  • and we started to ask the question,

  • would it be possible,

  • in the same way that The Gates

  • responded to the physical layout of the park,

  • to compose music for a landscape?

  • Which brought us to this.

  • (Music)

  • On Memorial Day, we released "The National Mall,"

  • a location-aware album

  • released exclusively as a mobile app

  • that uses the device's built-in GPS functionality

  • to sonically map the entire park

  • in our hometown of Washington, D.C.

  • Hundreds of musical segments

  • are geo-tagged throughout the entire park

  • so that as a listener traverses the landscape,

  • a musical score is actually unfolding around them.

  • So this is not a playlist or a list of songs

  • intended for the park,

  • but rather an array of distinct melodies and rhythms

  • that fit together like pieces of a puzzle

  • and blend seamlessly

  • based on a listener's chosen trajectory.

  • So think of this as

  • a choose-your-own-adventure of an album.

  • Let's take a closer look.

  • Let's look at one example here.

  • So using the app,

  • as you make your way towards the grounds

  • surrounding the Washington Monument,

  • you hear the sounds of instruments warming up,

  • which then gives way to the sound of a mellotron

  • spelling out a very simple melody.

  • This is then joined by the sound of sweeping violins.

  • Keep walking, and a full choir joins in,

  • until you finally reach the top of the hill

  • and you're hearing the sound of drums and fireworks

  • and all sorts of musical craziness,

  • as if all of these sounds are radiating out

  • from this giant obelisk that punctuates

  • the center of the park.

  • But were you to walk in the opposite direction,

  • this entire sequence happens in reverse.

  • And were you to actually exit the perimeter of the park,

  • the music would fade to silence,

  • and the play button would disappear.

  • We're sometimes contacted by people in other parts of the world

  • who can't travel to the United States,

  • but would like to hear this record.

  • Well, unlike a normal album,

  • we haven't been able to accommodate this request.

  • When they ask for a C.D. or an MP3 version,

  • we just can't make that happen,

  • and the reason is because

  • this isn't a promotional app

  • or a game to promote or accompany

  • the release of a traditional record.

  • In this case, the app is the work itself,

  • and the architecture of the landscape

  • is intrinsic to the listening experience.

  • Six months later, we did a location-aware album

  • for Central Park,

  • a park that is over two times the size of the National Mall,

  • with music spanning from the Sheep's Meadow

  • to the Ramble to the Reservoir.

  • Currently, my brother and I are working on

  • projects all over the country,

  • but last spring we started a project,

  • here actually at Stanford's

  • Experimental Media Art Department,

  • where we're creating our largest location-aware album to date,

  • one that will span the entirety of Highway 1

  • here on the Pacific Coast.

  • But what we're doing, integrating GPS with music,

  • is really just one idea.

  • But it speaks to a larger vision

  • for a music industry that's sometimes struggled

  • to find its footing in this digital age,

  • that they begin to see these new technologies

  • not simply as ways of adding bells and whistles

  • to an existing model,

  • but to dream up entirely new ways

  • for people to interact with

  • and experience music.

  • Thank you.

  • (Applause)

(Music)

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B1 TED park central park music album brother

【TED】Ryan Holladay: To hear this music you have to be there. Literally (Ryan Holladay: To hear this music you have to be there. Literally)

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    許瓊文 posted on 2014/07/08
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