Nightmare Time was a series of musical comedy livestreams by LA-based theatre company Starkid Productions. Pre-COVID, they only staged traditional live theatre, but during the pandemic they began this series of three "episodes" that aired in October of 2020. These streams were mostly live, with intermittent songs that were pre-recorded and edited in the style of music videos.
All we have left is now.
You can tune into the YouTube live stream. Or, if you have participated in Project Perfect Stranger, you could be one of the 20 contestants in the live Game-Show.
Planet Xerilia is an audio-driven, narrative, room-scale Virtual Reality (VR) experience for the Meta Quest 2. XR Stories and the University of York developed it to investigate new ways of storytelling using 3D binaural audio, interactivity, and VR.
‘The Neon Pack’ is a ‘Protopian Tale’ directed by Nick Bax. This immersive 360 experience by Human Studio interprets three scenes from the original short story by Nick Bax, featuring VR design and animation by Dan Fleetwood with additional design by Michaela White and an original soundtrack by 96 Back on CPU Records.
Three women. Three voices. The northern landscape.
Three stories open the world of the English northern landscape in virtual reality, what it means to come from it, live in it and belong to it.
Monoliths interweaves radiant renderings of three northern UK environments – a moor, a city and a coast – with sweeping soundscapes and poetic monologues by Hannah Davies, Carmen Marcus and Asma Elbadawi. At once imaginative and immersive, this XR experience is an arresting testament to the inextricable link between person and place.
The Changing Same: An American Pilgrimage is an immersive, episodic virtual reality experience where participants travel through time and space to witness the connected historical experiences of racial injustice in the United States.
Early in 2018 Google’s Creative Lab approached Opera Queensland and invited them to explore what might be possible if Augmented Reality (AR) were to become part of the process of staging an opera. The driving artistic question of the project would be: what would happen if we could step outside the traditional setting for opera and render an operatic performance in a user’s home? Could we make live performance more accessible – by offering everyone a front row seat – and at the same time allow a user to feel a deeper connection to the music and the performers?
