This is an old newsletter that I didn’t post to the blog… just catching up.

Virtual live performance

I’ve consistently written that new technology for the performing arts needs to enable something more, or better than previously possible. There have been many experiments with virtual and/or augmented reality (VR and AR) art, but they’ve remained on the far fringes for artists and audiences. I think that’s about to change when Apple releases its Vision Pro headset in “early 2024”. The quality of the experience is now close enough to “being there” to provide a reasonable proxy to a live performance. While I haven’t used it myself, accounts from people I trust who’ve tried it are that it is very close to looking at reality. Of course, that experience comes at a hefty price ($3500!) and very little existing content or applications. And of course, relatively few people have any experience or familiarity with VR.

There are a number of virtual, immersive experiences available on existing headsets (Meta Quest and HTC Vive being the most “popular”). The most common are VR games and 3D movies (think Avatar). Some live sports content is also available, similar to being courtside at an NBA game. So this raises an obvious question… What about live concerts, theater, dance, and opera?

Here are some of my predictions, keeping in mind that my predictive track record is pretty poor. 

• Pop concert experiences will be among the first to try VR: Think of all of the people who couldn’t get Taylor Swift tickets. How much would they pay for a live virtual experience? You get a comfortable seat and don’t have to deal with parking, traffic, and overpriced snacks. The most popular performers will have the resources to provide premium experiences (views from different audience seats, perhaps flying cameras over the stage). It may feel more like a sporting event than a concert.
• Performing arts: I think this is where it gets really interesting. The demographics of the current theater, symphony, opera, and ballet audience (older and wealthy) are exactly the ones who can afford the hefty price of Vision Pro. And as we get older, going out for a night at the orchestra (to sit for hours in an uncomfortable chair) becomes less appealing, but sitting at home to watch a live performance happening downtown (or elsewhere) that’s almost the same as being there might be compelling enough.

Here’s my initial advice to arts and culture organizations: start experimenting with immersive content. There are so many questions that no one yet has the answers to.

• How do we best capture a live performance? What kinds of technology (VR cameras) are needed, and what kinds of production facilities need to be upgraded? This is quite different from traditional video production, but it could in fact be easier. You don’t need multiple cameras to switch to different angles and closeups, just capture from a “good audience seat” and let people direct their own experiences by actually just looking at the things they want to focus on.
• Explore the relative importance a live VR experience (simultaneous with the in-person audience). For organizations dedicated to live performance, I’d lean into live (or close to live). There’s something compelling about experiencing it at the same time as others, and the tech will make it more possible than ever. Marketing also becomes easier (in-person and virtual, on the same date and time). I’d also argue that certain events are devalued knowing that you’re watching a recording (there’s never been a huge market for recorded orchestra, opera, and theater).
• Experiment with business models. Common wisdom would say a virtual concert should cost less than a ticket to the live show. On the other hand, you’re offering the benefits of convenience, comfort, and less hassle, so should virtual cost more? Of course, there’s the incredible opportunity to reach far away audiences who could never attend your in-person performance.
• Start commissioning artists (composers, directors, producers) to explore new mixed in-person and virtual experiences now. I think things will eventually move beyond the traditional “just like being there” experience (even if it’s a really great seat). In fact, the virtual audience may become the primary audience (over in-person). Do performances become glorified recording studios, with no in-person audience? Are live audiences eventually given free or reduced admission so the virtual audience feels it’s part of a “live performance”? 

Overall, my hope is that performing arts organizations start experimenting with VR experiences now, in a low-cost production setup, for the few folks who can afford these headsets. Eventually the technology will become less expensive and broadly accessible. Right now, there’s relatively little risk, and if you start exploring the opportunities now, your organization and practices will be better prepared for the varying audience experiences of the future.

(Socially) Distant Creations

• The Mannequin (A.I. Film) [Nobody & The Computer]: A fully AI-generated short film (every frame and sound was generated using AI tools, but still crafted by a human). A provocative look at what’s to come.
• I Want It That Way (feat. Darth Vader) [Dewit]: And yet, I believe the greatest outcome of music AI tools to date are these silly parodies. I just can’t stop laughing at this one! 
• Basket Case [Postmodern Jukebox]: No AI here, but I love this channel, which completely reimagines covers of popular music songs. 
• Goin’ Home by Antonin Dvorak [VOCES8]: Just beautiful. No AI required.
• LEGO Anti-Hero [Storyboard Studio]: The popular Taylor Swift song, but expertly animated with the most creative tool in history, LEGO! (See, we don’t need no AI!)

What I’m creating…

I’ve managed to rope my son into this annual tradition, for two years now! Here’s our a cappella video project to celebrate the season. We hope you enjoy it!

Best wishes for a joyous and peaceful holiday!