La rivista inglese Creative Review  ha dedicato questo mese un articolo corredato da una doppia intervista a Björk e ad Andrew Thomas Huang. Per la copertina Huang ha realizzato una illustrazione in esclusiva di avatar Björk.

Nel corso dell’intervista Björk chiarisce cosa il VR le rappresenti. Ad entusiasmarla è l’aspetto di una nuova forma di fruizione della musica a 360° :

Every tool has strengths and weaknesses and the trick is to find where they are. My instinct is that VR is mostly reinventing the idea of theatre – it has similar Wagnerian 360 pros and cons ha ha ha. Like in the opera: once you’ve got the elephant on the stage how do you get rid of it? Ha ha ha ha.

Gli artisti, continua Björk, hanno il compito di instillare anima nella tecnologia, che altrimenti sarebbe solo un mero strumento politico:

we can be certain that the military, the B corporate world, the government and so on are going to use tech and I feel it is important that the artist helps define it and mould it. Because who else is going to put humanity and soul into it?

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Huang racconta di come la collaborazione con Björk sia stata molto proficua. Quando ai tempi di Mutual Core (Biophilia) era stato interpellato per la realizzazione del video, Björk aveva già in mente la direzione dell’album, il personaggio su cui accentrare la storia, ma per il progetto Vulnicura la sua partecipazione è stato più sincrona ed immersiva.

Working with Björk is an incredibly rich and rewarding experience. It’s one of the most generous and intimate collaborations I’ve ever had. Like any collaboration the level of feedback between each other varies depending on the project. During my video for Mutual Core, Björk had already finished Biophilia a year prior, created the app and had figured out who the persona was for that album, so she was pretty hands off and gave me free reign to interpret and add to her world.

Vulnicura was different in that I was brought in while she was still writing the music, so the visuals had to be developed simultaneously and I was responding in more real time to Björk’s ideas, so that was much more back-and-forth sharing and creating the work mutually between me, her and James Merry.

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