The question of Cave audience is critical in a way. It's possible for five
or six people to watch/participate at the same time, and larger caves have
the potential for larger audiences of course. That will come. There are
people working on exporting the whole environment using software that will
permit viewers to use tablets, laptops, etc. If viewers use Oculus Rift or
some such, they'd experience the 3d environment, only in front of them;
there are people doing this already with virtual worlds. I can imagine a
time shortly when augmented reality technology will permit a full-blown
projection into the 'real world' as well. All of this, like virtual worlds
themselves, are on the cusp of new development.
Foofwa danced in the Cave with Azure, and it was amazing. Soon. Whether or
not I'll have access depends on 'the kindness of strangers,' since I'm not
formally connected anywhere.
- Alan
On Wed, 8 Oct 2014, Johannes Birringer wrote:
Dear Alan thanks for your replies. After reading you I realize that my
questions about vibration were too much influenced by working in dance
and theatre, forgetting how important, as you suggest, vibration and
oscillation has been in music and sound art; I suppose I got confused
initially when I was trying to imagine your experiene performing in the
cave space (immersed in the moving graphic projections too), and the
vibrations you recorded, and which I received as a hum on my left
channel (headphone), thus were no longer the vibrations you felt
resonating in space and your body. I remember now when Phill Niblock
came here to London and did a long drone concert, many of us were lying
on the floor to experience the sound as fully as possible, and now
(after we discussed Stockhausen, early and later work, such as
Oktophonie) one could wonder about the immersive experience of your
playing and whether one could imagine lying on and rolling into the
virtual space of the projections. I showed your slide of you playing the
viola in the cave to one of our sonic arts students who is investigating
participatory art, and she thought that the Cave looked large enough
perhaps for one-on-one performances, where you invite audience inside
(finite or infinite, cosmic or not, never mind; the "cosmic" one might
guess is a romantic delusion; heard an expression last night, which i
liked - "you're wired to the moon" - though probably meant as an insult
to say, you're a bit crazy. Apologies also for chicano use of spanish
inside english).
with regards
Johannes Birringer
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