What if your home becomes the place you fear? An Iraqi father returns to Fallujah to face the threat of improvised explosive devices (IEDs). Join him in his home and discover the unfolding of a tragic event.

“Home After War” is a room-scale, interactive virtual reality experience that takes you to Fallujah, a city that was, until recently, under Islamic State (IS) control. The war against IS has ended but the city is still unsafe. There’s one looming fear for returning refugees – booby trapped homes and improvised explosive devices (IEDs) in the neighbourhoods. Since the end of the war, thousands of civilians have died or been injured by IEDs.

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Written and directed by: Gayatri Parameswaran
Executive Producer: Amy Seidenwurm
Creative Producer: Felix Gaedtke

Producer: Sandra Bialystok, Lauren Burmaster, Paula Cuneo,
NowHere Media Production
Production manager: Felix Gaedtke
Lead developer & UX designer: Anastasia Semenoff
Photogrammetry studio: Realities.io, David Finsterwalder, Daniel Sproll, Valerio Rizzo, Marcel Poppe, Shahriar Shahrabi
Local producer & Translator (Iraq): Suadad Al Salhy
Director of Photography (360° videos): Felix Gaedtke, Gayatri Parameswaran
Photogrammetry scans: Felix Gaedtke
Sound recordist: Ali Adnan
360° Editing: Gayatri Parameswaran
Post Production: Flight School
Music by: Leonard Petersen
Sound design: Studio am Fluss, Jana Irmert, Nils Vogel-Bartling
Voice over artist: Michael Matovu (Voiced by Mike)
Impact Producer: Catarina Gomes
Production assistants (Berlin): Mia von Kolpakow, Felix Franz
Translator and transcriber: Amor Belhaj Salah
Translation assistance: Basma Elmahdy, Karim Ali
Narrative Installation: Trix.space, Winnie Christensen, Ivana Rohr

Germany/USA/Switzerland/Iraq, 2018

An invocation of the languages that have gone extinct and an incantation of those that are endangered. In collaboration with VR pioneer Nonny de la Peña and Emblematic Group, Herzog has created an immersive VR oratorio in three parts. Each part will be comprised of its own standalone VR experience and embody three distinct expressions that viscerally answer the question of how to tell an extinction whose form is silence.

With the support of the Endangered Languages Documentation Programme at SOAS University of London, The Smithsonian, The Rosetta Project and over a dozen other world archives and the generous help of The Simons Foundation, Herzog and her team created a spatialized sound composition from the world’s greatest linguistic archives.

How can one address an extinction the form of which is silence?—Making what has gone silent alive and present to us. Binaural or 8.1 (octophonic) sound projection is perceived by the human ear as distinct and genuine 360 degree immersive soundscape. Such immersive sound environments prompt the brain to perceive these voices as “present.” Created using the Unreal game engine, each language in the experience is anchored within the 3D space to a beacon of light that represents the geographical location on the globe where that language originated from.

Animation and imagery in LAST WHISPERSis precise and abstract at the same time. The locations of the languages, marked with pulsing dots, are GPS tied on the contours of the continents and countries. Yet the real topography of the globe is substituted by the “digital quilt blanket sewn” from satellite photographs of catastrophic climate events reflecting one of the reasons for human migration and dislocation, including a linguistic one.

The trajectory of these vanishing voices begins far away, like a distant echo. This chorus comes closer and closer and then envelops the visitor. The “others” become familiar and real until the visitor falls into breathing with them at the last exhale.

It is the first VR of it’s kind that transports audiences into a virtual landscape composed of the fabric of vanishing voices accompanied by original animation that poetically links image and sound. LAST WHISPERS is co-presented by UNESCO, who, along with the UN General assembly, have declared 2019 The Year of Indigenous Languages. The 360 version of Last Whispers was shown at the John F. Kennedy Center in Washington DC to 500 people in a synced screening at the Terrace Theater which was presented by the Smithsonian.

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Director: Lena Herzog
Producer: Nonny de la Peña
Technical Director: Jonathan Yomayuza
Executive Producers: Meghan McWilliams, Cedric Gamelin

USA, 2018/2019

with The Glad Scientist as part of the VRhammy Awards

The Glad Scientist is the pseudonym of Puerto-Rican artist Daniel Eric Carlos Hector Alberto Sabio. He utilizes VR technology to create stunning live audiovisual performances, at times making use of brain machine interfaces, projection mapping, and always sharing a direct line of consciousness with his audiences to be a part of both process and experience simultaneously.

“The Roaming” by Matthieu Pradat

French Virtual Reality artist Mathieu Pradat will present his latest project “The Roaming” in this workshop. Participants can test the prototype consisting of virtual and physical elements and help develop it further.

With Tamiko Thiel as part of the VRHAMMY Awards

In her performance Tamiko Thiel demonstrates how she combines techniques of Western painting and Far Eastern calligraphy to create her “Google Tilt Brush”-piece “Land of Cloud”.

 

3. NEXTREALITY.HAMBURG MEETUP

Virtuelle Realität between Utopia and Dystopia // How Virtual Reality influences artistic intention and opens a broader scope of interpretation to the viewers

Utopian and dystopian ideas and concepts are present in almost every field of society, whether it’s politics, religion, science, or, first of all, art. “Art is the governor of utopia” (Max Frisch) – and, moreover, a broadly formulated concept which includes visual and performing arts as well as musical and literary works.

In our meetup we would like to discuss with “classical” and VR artists how perspectives between artist and recipient are shifting or even dissolving in a virtual world.

In short: is “Virtual Reality” the beginning or the end of a utopian guiding principle in visual arts?

Speakers

Annika Siems (illustrator & VR artist)

Andrea Offermann (illustrator)

Billi Methé (freelance artist)

Nico Uthe (Creative Director at VR Nerds GmbH)

Presentation

Susanne Ahmadseresht

Anett Göritz

Be curious for an interesting discussion in a relaxed atmosphere at Oberhafenquartier. Cool drinks and snacks are available. Free entry. Seats are limited (40), so it’s first come, first serve. Feel free to come if you are fine with standing.

The new technology is attracting the generation of Digital Natives. Can VR be a medium to spark young people’s interest in literature and promote literary discourse? Or are these two worlds too far apart from each other? We discuss the prospects and limits of promoting literature through Virtual Reality.

Speakers

Stephanie Grubenmann (ZhdK)

Branko Janack („Der Geisterseher“)

Mika Johnson („VRwandlung“)

Friederike van Stephaudt (Goethe-Institut Zentrale)

Presentation

Andreas Wolfsteiner

 

Kindly supported by Robert Bosch Stiftung.

Branko Janack, Germany, 2017

What happens when Virtual Reality meets theatre? CyberRäuber and Branko Janack took a classical drama – “Der Geisterseher” by Friedrich Schiller” – to the virtual world.

A theatrical miniature for one spectator at a time.

Schiller brought to life in a virtual play of 20 minutes: A German prince in Venice is first under influence of psychics, agents and secret societies and finally involved in a completely confusing political scheme. How does the deceased friend’s spirit know all these intimate details? And who is the mysterious, beautiful Greek woman? Enter the city of masks and discover the realm of the obscure Armenian where all threads seems to come together.

Robert Bosch Stiftung kindly supported bringing “Der Geisterseher” to VRHAM! 2018.

Mika Johnson, USA/Czech Republic, 2017

Experience the world from Gregor Samsa’s point of view: the interactive installation “VRwandlung” allows visitors to enter Kafka’s surreal visual world.

Robert Bosch Stiftung kindly supported bringing “VRwandlung” to VRHAM! 2018.

JOSEPH NUGENT, USA, 2018

“Joycestick”, an academic project at Boston College led by Professor Joseph Nugent, pairs an immersive virtual reality 3D game with the most important (and difficult) novel of the twentieth century. Using the Vive headest, players are put into scenes from the novel, to move through the game. Subtitled “The Story of Ulysses in 100 Objects,” the player can touch certain objectsto trigger sounds, narration and other significant interactions with the characters of James Joyce’s notoriously difficult novel.