Recontre Series
(2024)
Collaborative Performances in Extended Reality
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GALLERY RECONTRE 3 (full performance)
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Laura Luna Castillo - XR environment design Recontre: a meeting, an encounter, a fight, a game, combat... An interwoven virtual and physical space is created and traversed through VR trackers which bind the position and corporeality of the performers with virtual objects, translating their position into an invisible reality of sound clusters and spatial sonic arrangements. The familiar, the bearable chaos and illusions of order unfold across technologically mediated hyper-realities, temporalities, and mnemonic worlds. Interactions and reactions occur across choreographies and spatial arrangements, binding the virtual with the real in unexpected knots and impossible behaviors.
TEAM Laura Luna Castillo - XR programming, wearables set-up and ML
Ewa Trębacz - violin
This research laboratory invited participants from Drama, Dance, Music and DXARTS departments at the University of Washington, to test and explore Extended Reality systems for the formulation and implementation of performative scores and interactions for human-machine improvisations. It made use of a series of accessible and interchangeable algorithms that transform off the shelf, consumer available devices into tools for creative research beyond their intended uses or industries (e.g. gaming industry, surveillance and robotics). More: https://dxarts.washington.edu/research/creative-work/all-coding-always-transcoding |
Josiah Boothby - French horn This collaborative immersive performance brings to life a sound archive based on Ambisonic recordings realized in unique acoustical spaces of historical significance in Washington State. These spaces include WWI era bunkers in Fort Worden, and an abandoned nuclear plant in Satsop, Washington - inside its monumental cooling towers and the reactor building. The original sounds were created by Josiah Boothby (French horn), Leanna Keith (flutist) and Ewa Trębacz (violinist and composer), through their improvised sessions in these spaces, recorded and processed in Ambisonics by Ewa Trębacz. This initial material became a fragmented archive of sound sources, brought into another abandoned industrial place of significance in the Seattle area - the historic Georgetown Steam Plant. An archive of sonic fragments was explored in live performance using room-scale VR, motion capture and positional trackers worn by performers in a 3D environment designed by Laura Luna Castillo, and processed live by composer Daniel Peterson. Movement artist Ashley Menestrina triggers sounds in the virtual space in a dialogue with the musicians, who also activate sounds and create new sound events in real time.
RECONTRE 1 (excerpt)
RECONTRE 2 (excerpts)
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