Giedion/Kircher is my vehicle for applying art, music and technology to create brand experiences, immersive environments and various other interactive media solutions. In 2024 a primary area for R&D is the application of theories involving the symbolism and meaning of architectural experiences to further digital/interactive narratives.
Music and sound design, words and narrative, a growing set of visual assets, and ultimately a live performance: these are the components of the “postmodern rock opera” The Continual Return of Dr. Ordinaire.
“As I learned more about how these early role-playing games [RPGs] worked, I realized that a D&D module was the primitive equivalent of a quest in the OASIS [a multi-user VR environment of the near future]. And D&D characters were just like avatars. In a way, these old role-playing games had been the first virtual-reality simulations, created long before computers were powerful enough to do the job. In those days, if you wanted to escape to another world, you had to create it yourself, using your brain, some paper, pencils, dice, and a few rule books. This realization blew my mind.”
Every medium is a context for a message, with characteristics that shape any narrative it conveys. At the same time, every medium has its own contexts: historical, cultural, and technological. These two assertions could not be more relevant in the case of what we call virtual reality – and an understanding of the various aspects of these contexts is valuable when imagining and designing VR experiences.
In April the CNI team was in Las Vegas for Interop ’14, presenting the latest installment of the “infinite game” series, titled “The New Rules of the Infinite Game.” This presentation was built upon the story we developed for networking company Brocade and presented at Supercomputing 13 and VMworld EMEA in Barcelona.
