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Vulnicura VR, sortie le 6 septembre 2019

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Ok donc je me contenterai de l'appli Stonemilker sur iPhone et mon casque VR à 39 balles :)


cela étant ça commence a faire cher toussa, entre le matos à avoir pour ce bazar, les concerts à perpète, la boite à hapeaux...

Edited by dibatab

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Quelqu’un a posté les videos sur Youtube, a ajouter a la news et/ou la page Vulnicura VR/presse Dazed :) (“part 2” = premiere partie)





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Merry parle de Vulnicura VR et notamment du travail sur le mastering du son à 360°



"So, Mandy Parnell, the mastering engineer, and Martin Korth, spent months and months with her in Iceland, where the solution was essentially mastering all the stems in some amazing 360° way. This meant when they’re mixed real-time in the engine, it’s all already mastered whilst still allowing for a real-time audio experience."


via digital arts

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Apparement il y a pas mal de de differences niveau audio dans Vulnicura VR (via le 4um):



postby jp4151 » sun, sep, 08, 2019 7:27 pm

first off, with the 360 sound design it's hard to say that there are definitive mixes / versions for the vr videos, but there are some noticeable differences.

stonemilker - strings mix. hard to say if it's the same strings mix from the stonemilker vr app from 2015 (to my ears the strings sounds fuller than the phone app, closer to the vulnicura strings version but not as full). bjork digital used a strings & beats mix so i wonder why they went back to the strings only

lionsong - it is a "vr" video but it's just the 2d video. however, it does get a 360 sound design. same elements as the album version but with the surround audio you can hear the different parts of the beats more loudly than the album version

black lake - there is no definitive mix here, but it uses elements from the haxan cloak video mix released in 2015. the stems for black lake (and family and notget) are located as raw sound files in the app so these 3 songs seem to be mixed on-the-go where as the other vr videos have pre-rendered audio

family - same elements as the album version but again no definite mix. interestingly enough, the timing of the vocals and the transition between the middle cello part and the final synth part are minutely different than the album mix (probably to better serve the vr video)

notget - same elements as the album version but due to the sound design some of the beats can be heard differently / more clearly than on the album version (the stems, again, can be retrieved to listen to all the song elements separately -- reason enough to buy the app imo [but you have to learn how to "hack" the files]).

as a side note on notget, the opening "string-like" sound that a lot of us assume is the viola organista is labeled "plastics" in the stem file. was hoping the file name would tell us what that instrument is. there are separate stems for "plastics" and "strings" and the two instruments sound quite different.

mouth mantra - same shorter version as the 2d video uploaded to youtube in 2016 but hard to say, again, if there is a definitive mix. a lot of the effects/beats can be heard quite well compared to the album and video versions because of the 360 design.

quicksand - definitely not the album performance and not even the performance from the 2016 youtube broadcast, though the arrangement is nearly identical to the album version, though the strings don't cut as abruptly.

also, the score videos are different mixes from the final album mix or any of the video versions. they're essentially the album versions but just mixed differently. i would say the vocals are more dry and up front than the instruments and beats. in terms of differences in the arrangements, i only noticed one small change in black lake. in one of the later long string segments between verses, the strings come to a stop a split second before bjork starts singing. in the album version the strings continue for a second (and reverb) over her singing the next verse. haven't gone through all the score videos for additional differences but i'm sure that, if any, they will be minor.


Il ya aussi des score un peu comme dans l'app biophilia ?


  • Waw ! 1

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 Artist James Merry: ‘It’s beautiful seeing tears coming out of the bottom of a VR headset’

interview d'Emily Mackay qui a écrit un livre sur homogenic




Artist James Merry, 37, has been working with Björk since 2009; they were introduced by a mutual friend while Merry was studying ancient Greek at Oxford University. He moved to New York to work with her, and played a vital part in her 2011 album, Biophilia, on which each song was accompanied by an interactive app uniting concepts of music, science and nature. Merry has remained Björk’s right-hand man through her 2015 breakup album Vulnicura and this year’s Utopia, as well as making her elaborate masks and headpieces. Their latest project is a full virtual reality version of Vulnicura in which seven VR videos by different directors follow Björk’s path through heartbreak and recovery in the Icelandic landscape, from a verdant valley into a dark lava tube and out the other side. Merry lives and works in Iceland.


Why did Björk decide to make Vulnicura into virtual reality? Most VR experiences focus on spectacle or action, and it’s such an inward, emotional album.
In 2014, we got an Oculus Rift headset and set it up in her kitchen in New York … she just got a gut reaction to it, and it also happened to really suit the nature and content of the Vulnicura album. It wasn’t a gimmick, it wasn’t like: “Oh, VR is hot, let’s force ourselves to do VR videos”; it was actually more like the weird, airless, almost suffocating and isolating early VR stuff we tried, she realised it could really fit these heartbreak songs... it was just a really good overlap between the medium and the content. I think people are still figuring out how VR is going to position itself in our lives, whether it’s for hardcore gamers who are in there for eight days without eating, or whether it’s a thing in the living room that you order stuff on, or a paintballing businessmen-bonding-trip kind of thing. It still has that fluidity, so I am glad our contribution is an attempt to offer some emotion and poetry and music.


What can people expect from Vulnicura VR?
I’ve been trying to make clear that it’s not a game. I think a Bjork video game would be amazing and I would wanna play it, but this isn’t it; it’s quite passive. You’re like a voyeur on this heartbreak album cycle. We’ve made seven VR music videos and accompanying digital scores, and the Vulnicura VR app is like a house to watch them from. You go into a cave at the lowest point of the album and then you come out of the cave for Family, when the healing starts, and then you end with Quicksand when the claustrophobia is gone and you’re in a more open space.

What’s it been like watching people experience it all over the world at the Björk Digital exhibitions?
The first one we did in Australia, it was amazing hearing the noises: there were people crying, laughing and gasping and people talking to Björk like she was in the room. For 80%, 90% of the people there it was their first time in VR. So I’m really happy that was their first experience. It’s so beautiful seeing tears coming out of the bottom of a VR headset. It’s like a humanity and technology mashup in a really beautiful way.


There’s a moment in the Family video where the Björk avatar seems to walk through the viewer – it’s quite unsettling.
Yes! When we were trying different builds of Notget with [video directors] Nick Thornton Jones and Warren Du Preez, there were also moments when you were inside the avatar, and because I’m a semi-gamer, I was like: “Oooh! Oh no! It’s glitching, you can see inside it…” and Bjork was like: “Oh my God! This is amazing!” That’s one of my favourite moments, when that avatar in Family stands up and walks towards you, and you float through it and watch it walking away; it’s the most emotional part of the whole album I think.

Can you see more musicians going down the VR route?
For me, it’s a perfect medium for pop. I don’t wanna be in VR for the length of a film. I don’t wanna be in there for even half an hour, necessarily. I think a music video is perfect for VR. You dip in to this little self-contained world and have an experience with really emotional music and then you dip out again.


What other uses of VR are you most excited about?
Outside of art and music, I’ve been reading about people using it for post-traumatic stress, where you can program a situation and go back into it and relive it and reprocess it.

Do you still do art that’s unrelated to Björk’s projects?
I do have a side project where I hand-embroider my favourite plants and birds and mushrooms on to old Nike and Adidas sportswear sweaters. I probably have about 17 minutes every day to think about that, but I’m going back to Iceland tonight and tomorrow I’m pouring concrete and building myself a little studio at my cabin, where I can get back into my embroidery.




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