Stereoscopic animation and ambisonic soundtrack were realized by Ewa Trębacz at
DXARTS, University of Washington, Seattle.
PREMIERE September 19, 2009
52 International Contemporary Music Festival "Warsaw Autumn",
The Highest Voltage Hall - Institute of Power Engineering, Warsaw, Poland
Ewa Trębacz, ambisonic sound projection and stereoscopic animation |
Robert Sowa, lighting design | Anna Niedźwiedź, soprano |
Josiah Boothby, horn | Joseph Anderson - concert recording
Sound Chronicles of Warsaw Autumn 2009, CD No 2.
This engagement was supported by Mid Atlantic Arts Foundation through USArtists International in partnership with
the National Endowment for the Arts, the Andrew W. Mellon Foundation and the Trust for Mutual Understanding.
I also would like to thank the following persons and organizations for their assistance in this project:
Centrum, Port Townsend, Washington
Christopher Shainin and
Washington Composers Forum
Mark Haslam, Nick Powers and Ian Newhall
Errai is based on encounters of spaces and encounters of artistic personalities, where the entire physical and perceptual space, including the audience, is considered the resonance box of a single instrument. Selected immersive technologies are combined together in an attempt to challenge our perception of the real and the imaginary.
The process of creating the audio layers started with a series of on-site ambisonic recording sessions. The sites were chosen for their unique acoustic properties. The improvising musicians were directed to explore the acoustic and artistic potential of these spaces, which was registered as several 3-D stamps of the spaces. The live performance during the concert then creates a response, traveling through layers of memory with a reference to here and now.
The stereoscopic video layer explores a full spectrum of continuous change of perceived depth over time - a phenomenon not available through a direct experience in the real world. It is being referred to as depth modulation. Layers of images evolve, creating images from true stereoscopic through a flat 2D to pseudostereoscopic images, while the dynamics of change varies between layers. At times the only perceivable movement is an expansion or contraction of a space, at other times each of the layers moves and evolves at a different pace.
Lighting (by Robert Sowa) was used to construct an immersive 3D space, stretching between the virtual 3D space created by the stereoscopic video and the real world. It encloses an audience creating continuity between the physical space and the virtual 3D space. At times, lighting interacts directly with the 3D projection, with spot lights pointed directly at the projection screen creating an independent layer in a 3D space. After the 3D projection is over, the viewer remains immersed. The light descends from above the projection screen through it to the bottom of the hall, finally releasing the audience from this constructed space.
SPACES COMPETE ::
While the sound fills the entire physical space, and even extends it, the visual layers focus the visual perception at certain moments, events, and selected parts of the time-space. Spaces overlap. Sound and imagery compete for audience attention demanding at times an extreme focus and willingness to stretch the borders of perception.