ORBIT

Moving between music theatre and VR (virtual reality) games, installation and performance art, new materialism and karaoke, choreographer Miriam Rieck and composer Nicolas Berge explore these hybrid territories in their work titled, becoming resonance (ᯟ︿ᯏ☆).

In search of the lost voice of the machine-creature, visitors become players through the use of their own voice. The voice becomes a controller, transforming itself and undergoing its own aesthetic metamorphosis in order to connect playfully with the VR world.

This voice-focused, musically driven performance negotiates core concepts of new materialism such as relationality, transformativity, and the nomadic subject, inspired by the notion of vibrantional matter. Vibration becomes a tool of communication, allowing connections and relationships to be experienced differently. The player’s voice becomes the central medium, continuously shifting — depending on its relationship to the surrounding environment.

Everything seems to set something else into vibration, creating a relational network between the player and the callers inhabiting the virtual reality. In doing so, the work gently shifts our human understanding of matter and world toward a post-anthropocentric perspective.