Novars artists

Ricardo climent
Next generation fun: game-engines, interactive media and social ventures

My project for EASTN-DC aims to raise new questions around audience’s performative perception of the Virtual, the Real and the Augmented. More specifically, in the context of Live Interactive Media Composition and Performance. To do so, I am privileged to work with some of the most amazing / open-minded performers in the world, constructing a series of Musical Duels to address these questions and a truly inspiring team of 3D modellers.
Another important aspect explored explored during EASTN-DC is how to spin-out this research in the form of a social venture. To do so, in 2019 I created social enterprise “Keep It Human“, a Digital Game Ecosystem for Collaborative Atruism. It basically adds a layer of music and fun the philanthropic experience, targeting younger donors and providing creativity and transparency to the way donors (gamers) connect to beneficiaries.

In these musical battles, antropomorphised virtual instruments become the actors of a virtual world, which is enacted and controlled by non-virtual players on the physical stage via sound and organic kinetic motion. Audiences reaction to these musical performance have led the conversation and the iteration of the system and ideas, forcing me to revisit the concept of Spectatorship and to explore the artistic potential of dissolving the boundaries between creators, actors and recipients during the creative workflow.

To do so, I am working with some of the most amazing / open-minded performers in the world, constructing a series of Musical Duels to respond to these questions. In these musical battles, antropomorphised virtual instruments become the actors of a virtual world, which is enacted and controlled by non-virtual players on the physical stage via sound and organic kinetic motion.

Audiences’ reaction to these musical performance have strongly informed my thinking and as a result, led the iteration of the system and refined original ideas. Among these, they forced me to revisit the concept of Spectatorship and to explore the artistic potential of dissolving the boundaries between creators, actors and recipients during the creative workflow.

Different forms of re-embodiment of both players and instruments in the virtual and non-virtual world (since is a bidirectional process), have unexpectedly opened new discussions about representation of digital humans, beyond the constrain of our species, what means to be an athropomorphic being in the digital era and how these can drive the musical discourse, narrative and audiences’ perception exploring new forms of embodiment, across the boundaries of the uncanny valley.

Duel examples