During the rehearsals that takes about 2 hours per week we are both discussing and playing. We talk about and play old and new pieces at different locations to find out for performances in Second Life. Also we discuss plans and elaborate together about future performances and ideas carried out by a composer, member or not member of AOM group.

To make scenography for pieces we work together in choosing or building specific  landscape architecture. Also for a piece we can think of special ways between place and architectural objects inside it to play with. This in order to obtain a specific choreography with avatars. Sometimes we create clothes too. We can imagine a piece by testing it in different places in Second Life too. We test all these parameters depending on if we want to obtain an imbrication or if we search to create a surprise between environment and playing. Many parameters are chosen to be included in our playing but other parameters are necessary to be integrated like for instance the lag (time delay) or other script restrictions in different places. We work with this lag (streaming audio and 3D interaction delays) and composes pieces to play. During performances AOM follows scores or a conductor avatar and in some pieces there is also improvisation. Some pieces are performed in a series of investigations in new surroundings (called 'Orchestral investigations'). Also we have some suggestions to choose camera points of view during a performance to show the audience. Example of one of script of the camera (written by one of members called wirxli flimflam, posted in the AOM mail-list the 14 november 2007):

This post here is just for whomever happens to be the RL camera avatar for Wien Modern on the 24th. It might be Maximillian or someone else who is there locally. Anyways, here is the best way for the RL camera in Vienna to get the most out of Riesenrad:

1- Ensure that the camera avatar is wearing a flight feather (I can pass one of these around) as the wheel has been installed in a space with strong gravity.

2- The best place to position the cam avatar would be somewhere floating near the centre of the wheel but not too close as to knock the conductor off the perch ;-)

3- Using the alt+arrow keys, the camera can zoom around to different chairs on the wheel and zoom into the local sounds of the various performers...zooming out gives the audience the total orchestrational mix of the ensemble and so even though it sounds the most dense, any sort of structural detail or tonal development will not be heard unless zooming in on the flutes or cellos. I suggest zooming back and forth between the macro view and the local view of each performer over the course of the composition's duration. It is ok to enable to the doppler effect on the camera avatar's sound preferences so it will make the zooming actions produce cool warping sounds :-)

4- The conductor also plays sounds so that drone sound you hear is what the conductor is playing..if the drone timbre sounds too repetitive and minimalist after prolonged exposure, it is recommended that the camera zoom away from the conductor and towards each

individual player.

5- The conductor occasionally stops conducting and the performers will try to stop performing until the conductor continues conducting again... The composision does not end until the conductor says, /THE END.