As the virtual world is navigated, players encounter new musical instruments that are not physically possible e.g. However, it provides the immersive experience with a new approach. Pictured above, violinist Maiko Matsuoka and her virtual counterpart This second block embraces Fischer-Lichte’s concept of ‘escaping the Power of Rationality’ where the voice becomes dangerous and seductive. It is exactly what Fischer-Lichte describes when discussing the power of the voice to disentangled itself from language It does so when the voice becomes screams, sobs, moans, laughter, etc. The second main part aims to stretch the usual interactive performance experience to a new experiential domain. It is constructed across rationality and perceptual believes, employing a number of aural Parasemantic tricks and physical illusions to stitch the counterpoint of the musical parts with their respective visual choreographies. It does not play with the expectations of the listener, all the contrary, it works as a catalogue of devices to reinforce the connections and mutual understanding across the non-virtual and virtual elements on stage (humans, instruments and space). The first block is clearly rule-based it is fully scored and with a clear focus on very specific musical taxonomies of the stringed instruments (plucked strings, gestures, texture/ roughness/pulse, harmonicty rhythm). Ricardo Climent (strings, right) at TAMA Festival, Japan, January 2020ĭuring the project design of my Duel of Strings, 2019 (Lüneburg, Morgan, Triviño, Wucher, Kellqvist, Matsuoka), I learnt the effectiveness of navigating two large blocks of media materials to deploy structural meaning. Pictured above, Maiko Matsuda (violin, left) vs. Escaping the Power of Rationality: Surrealism and the Uncanny
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