April 5, 2010
New media. Media art. Virtual art. Virtual reality. Virtual Performance Art. Networked Reality. Nanotechnology. Cyborg. Hybrid ...
I don't know where all of these terms and the realities they refer to
are going, how the theory of networked reality art relates to
what I am doing. What I do know is that composing, collaborating and
performing in the virtual reality world of Second Life, in communion
with the other beings I work with, brings forth a deeply compelling music that
I certainly would not experience otherwise. It surprises me.
And I am not talking about the musics that are translated from this
visceral here and now life into the virtual world. There are many
examples of these. I mean the music that has been created within that
world, taking in that experience and way of connecting and that has
informed the creators from a place of deep curiosity and newness in
this new environment.
I know that the virtual
instruments that have been created collaboratively for my compositions
in Second Life would not have been conceived outside of that world. The
concepts may have been, the sound world of two harmonic series
juxtaposed of course is a simple idea that has been much explored. Electronic pieces could be created
exploring the beat patterns, difference and combination tones,
exploring the just intoned intervals between the two series, the
musicality of electric motors placed in this context ... all of this is
possible and has been done.
But the communion of the individuals linked together in the virtual
world, breathing together, seeing the replications of each others' presence, making their own choices because of how they
are listening together to these particular instruments in this visual space together ... this
experience could not be reached in a composer-created electronic piece
... nor could it be created in a visceral here and now group
performance of the same sound material.
me about composing and sharing music in this virtual world is the
unique yet familiar attractiveness of the music making - it "feels
good" to do it, and it feels good to listen to it. And it is not a kind
of music that I can participate in in any other way that I know of ...
at the moment.
This is good enough for me. I don't need a theoretical framework, a conceptually orgasmic context, the camaraderie of academe. It just sounds good, it feels good, it compels deeper listening, feeling and thinking, and connects people to one another in sound and perception in a good way. I really cannot explain it and I cannot ask for more.