The Björk Digital virtual reality exhibition is a heavy trip
Björk is bringing her virtual reality exhibition Björk Digital to Los Angeles. Beforehand appeared in Tokyo and London, the exhibition will keep running from May 19 to June 4. It happens at the Magic Box at The Reef. On May 30, Björk will likewise be performing with the L.A. Philharmonic—directed by Bjarni Frímann Bjarnason—at Walt Disney Concert Hall as a major aspect of the L.A. Philharmonic's Reykjavík Festival. Tickets for the show and show will be accessible on March 6.
Björk Digital incorporates VR experiences "Family" and "Notget," which Björk has already prodded through 2D recordings. It will likewise highlight "Dark Lake" and "Stonemilker," coordinated by Andrew Thomas Huang. At long last, the exhibition will demonstrate film of Björk's execution of "A sand trap" in Tokyo and the Jesse Kanda-coordinated "Mouth Mantra" video.
The exhibit consists of five stops: the first is a hands-on chance to check out some of the apps and custom app-based musical instruments created for Björk’s 2011 Biophilia album and a curated retrospective of music videos on a big screen. For the main exhibition, groups of about 25 people at a time are led through a series of austere rooms equipped with black stools and individual Oculus Rift headsets, through which a number of increasingly elaborate 360°, 3D music videos created for Björk’s 2015 album Vulnicura are experienced.
Starting off with “Black Lake,” Björk takes us into a dark cave as she sings about heartbreak following the end of her 13-year relationship with artist Matthew Barney. Turning your head from one side to another reveals two different views of Björk, but other than this unusual circumstance, the video isn’t too trippy — it functions as a tone-setting introduction to the themes of the exhibition and a chance to acclimatize yourself to the 360° VR environment.
In the following room, things get somewhat more intriguing with a video for "Stonemilker." Here we discover Björk on a wonderfully rough Icelandic shoreline, requesting that we synchronize our sentiments with hers, connecting with her hands to draw out feeling from a hesitant accomplice. She shows up on all sides, sufficiently close that you get a handle on you could reach and grasp the hand she offers. The way that you can't serves to intersperse the tune's topic of separation regardless of closeness (on second thought, so does the whole experience of watching 3D recordings in isolation through a VR headset while in a room of 25 individuals you can't see or listen, however I stray).
When we move into the third VR room, we're all around ok usual to the Oculus equip that we're prepared to get somewhat insane. The primary video we see here is "Mouth Mantra," which is truly shot inside Björk's mouth for a twirling, theoretical dream succession. This is trailed by a live in Tokyo execution of the tune "Sand trap," which has been improved with expanded reality components that transform Björk into different types of light and vitality exuding over a beautiful and energizing unending appearing universe where you have a feeling that you're at the same time free-falling and skimming in space.
The last understanding of the display is the world première of "Family," an innovation pushing, imaginative and dynamic intuitive videogame-like experience that permits you to move around and "paint" strips of shading utilizing handheld wands that give you virtual hands while flying with an ethereal, goddess-like Björk over a dreamlike Icelandic scene. Amazing however it was, my station was a little glitchy — on the off chance that I ventured too far from divider mounted sensors I'd drop out and need to bungle around a bit to get once again into the correct range and re-join the adventure.
Considering that the innovation is fresh out of the plastic new and forefront, I can without much of a stretch look past several minor blips and welcome this look into the future conceivable outcomes of the very fast speed advancement on the outskirts of virtual reality innovation.