i. Interactions in a music performance

Could a musical performance be enhanced if other activities are integrated? People attend live performances in addition to listening to prerecorded material because live event provides a unique sense beyond just the musical content. The experience may originate from the space they occupy, interactions between the crowd and the performer, or occurrences among audience groups. In many instances, audience members divide into three types of group at a show: those who are deeply absorbed, those who become critiques, and those who are not engaged in the performance at all.

ii. The risk of a participatory formation

This thesis presumes that providing a role for the audience group would captivate them and consequently contrive a remarkable experience for individuals. However, it leaves a contingency of the audience cooperating or not cooperating to perform a given task. The performance must be designed attentively such that the audience can become intrigued to participate and share their ideas with others in the space.

iii. The prospect of incorporating digital technology

Moori integrates personal mobile phones as the communication method between the audience and the performer. Can a digital device provide as effective communication as a performer’s verbal instruction? Otherwise, what artifacts would it effectuate? Adapting a new interface engenders a learning curve, which might differ from each individual’s familiarity of the technology. While audience members participate through their input device, an immediate feedback is required from the system for them to understand the logic and the consequence. The result can be reflected in various forms and should be examined based on the artistic conception.

iv. Installation vs. performance

What is the difference between an interactive installation and performance when the work requires audience participation? An adequate number of digital interactive installation compositions base on viewer’s interaction with the artwork through various controls. In certain respect, the outcome of the thesis performance could resemble a digital interactive installation in an exhibition space. Thus, it is important to address why Moori is a performance piece rather than installation art. Moori maintains performative aspects, which cannot be recreated in an installation setting.

v. Supportive content (Motivation)

As an experienced sound artist and performer, I consider communicating with audiences as one of the most critical aspects of the performance. When I am on the stage performing, it is difficult to perceive whether audiences are engaged or not. I can only presume by the audience reactions in front or complements after the concert. It is a common dilemma for many performing artists. This inspired me to create a system where audiences are given a role in the performance.