| Abstract | This paper presents a work-in-progress hybrid performance project that digitally twins Fyvie Hall and its Compton organ at the University of Westminster within the social VR platform VRChat. In the physical hall, the organ plays “itself” via MIDI transmitted over Ethernet to the organ’s control system. The MIDI stream is generated by a Max patch that treats audience behaviour in the room (for example, headcount or movement) as parameters in a generative performance system. The same data drive a sampler instrument, built from recorded organ material, whose output is spatialised in a VRChat reconstruction of Fyvie Hall using convolution with measured impulse responses of the hall and streamed via OBS to in-world loudspeakers. Audience presence and action are thus continuously translated into musical structure across co-present and virtual spaces. We situate this experiment within Christopher Small’s notion of musicking as the totality of social acts that constitute musical performance (Small 1998), asking how relations between audience, instrument and venue are reconfigured when the organ is algorithmically “played” by the crowd rather than a visible organist. Drawing on Claire Bishop’s critique of participatory art (Bishop 2012), we interrogate whether this data-driven approach constitutes meaningful participation or a tightly managed spectacle of interactivity, particularly as metrics such as headcount stand in for complex embodied presence. Work on social VR as a socio-technical assemblage for embodiment and collaboration (e.g. Freeman et al. 2022) informs our analysis of how liveness, co-presence and spectatorship are differently experienced in VRChat’s avatar-based twin of Fyvie Hall. Finally, we connect the project to emerging acoustic and architectural digital twins in heritage contexts (e.g. Katz et al. 2025), considering how a VRChat-based hall might operate not only as a performance venue but as a living archive and pedagogical resource for organ practice and audience research. |
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