The Voices of VR Podcast

Hello! My name is Kent Bye and welcome to the Voices of VR Podcast. This podcast explores the structures and forms of immersive storytelling in the future of spatial computing. You can support the podcast at patreon.com/voicesofvr.

Continuing my series on different immersive projects from Venice Immersive 2024, today’s episode features a piece called CCS Moncure, or This is My Heart. This was a visually stunning piece with three different screens arranged in a step-like configuration within a room. The screens were made of a silk-like fabric that allowed for see-through visibility, layered with projections and abstract lighting effects. The story presented is a poetic interpretation of childhood trauma, sexual trauma, and illness, developed by co-directors who are brothers. Participants wore shawls embedded with different colored LEDs, allowing them to roam freely and change their perspective during the experience. While there wasn’t explicit interactivity, there was an opportunity to alter one’s viewpoint of the visual effects presented. Today’s episode will delve into the details shared by the creators of CCS Moncure, following an interview conducted on August 29, 2024.

Interview Begins

Hi, I’m Nicolas, an artist and filmmaker. Together with my brother Stéphane, we form a duo of artists. Our previous work was a documentary film called “0 Impunity,” and Cecile Moncler is our first immersive experience.

I’m Stéphane Huberbliss, Nicolas’s brother. Although we aren’t originally VR or XR artists, we’ve mostly worked as filmmakers. Assimo Cur is our first piece in this medium, a product of years of work as producers in VR. We co-founded ABAN, a Luxembourg production company that has produced various VR projects, such as “Cosmos Business” and “7 Lives.”

Background in XR

To give you a bit more context, I come from a background in literature, having studied storytelling at university. My focus has been on writing. Nicolas, on the other hand, is rooted in music; he used to compose for documentaries, animations, and feature films. How did XR and immersive media first capture your attention? What was the incident that led you to explore this space?

As I mentioned, we are also producers. We wanted to explore a new kind of storytelling to enhance our company’s focus on social impact documentaries. About ten years ago, we decided to produce our first VR film titled “The Fan Club” by Vincent Ravaleck. Our goal was to find a different way to tell stories within our community. For example, our recent film mixed different media such as animation, live action, and performative art, and we believed VR would be a relevant tool to explore.

Exploring Inspiration and Medium

Were there any pieces out there that inspired you to dive deeper into this medium? You mentioned initially doing this for business purposes.

As Stéphane mentioned earlier, our main goal as artists has always been hybridization. For over a decade, we have been interested in blending different media to find the best method to tell our stories. When we began working on Cecile Moncler, we were guided by the question, “How can I best touch my audience?” The narrative focuses on reconciling with our trauma bodies, making it essential to choose a medium that offers sensitivity and the ability to play with new sensations. At that time, we started with a VR headset approach, but we eventually pivoted away from that, seeking something more tangible and material.

We wanted to explore light as well, which contributed significantly to our decision to forego headsets. We aimed for a real-world experience instead.

Creative Process and Structure

In terms of developing the piece, how did you balance the written narration versus exploring visual aesthetics? Did you start with the sound or visuals, and how did that influence your creative direction?

We began with sound because we wanted to tell the story through words, music, and sound first. This was the core component of our project. We then layered in visuals and light aesthetics. Initially, Stephane wrote the text, which served as the foundation of our work. Immersion, to us, starts with sound — without it, a piece cannot succeed. We believe rhythm is vital, and the text was intentionally crafted with repetition and alliteration to create that rhythmic quality.

Visuals and Text

How did you approach the visuals? Did they evolve organically or were they pre-planned through simulation tools like Blender?

Developing the visuals was quite challenging. We learned through many workshops about how to transition our digital creations to a physical space. We experimented extensively, trying various fabrics for projection, as well as considering color palettes and wall treatments to achieve the right balance. This was essential to our synchronization goals.

Addressing Intense Themes Poetically

You touch upon very intense themes such as childhood trauma. How do you intend to tell such a personal story in an indirect, poetic way?

This was a significant challenge for us at the outset. We had to find a way to tell these intimate stories, coming from our different traumas but aiming for a universal perspective. We chose a poetic approach, enabling a connection where people might see their own stories reflected without explicitly detailing our individual experiences. It was essential for us to foster a poetic connection from the start.

Closing Thoughts

Before we wrap up, is there anything you’d like to share with the broader immersive community? How do you envision future possibilities for this medium?

For us, the goal is to continue exploring new ways to engage audiences meaningfully. We should not be afraid to take risks in our artistic endeavors. Each creator can contribute to this evolution by pushing boundaries and seeking authentic expressions. It’s an exciting time in immersive art, and we must embrace the responsibility to engage and connect with our audiences deeply.

Thank you for joining me as we explored the themes and processes behind CCS Moncure. If you enjoyed this coverage, consider supporting us at patreon.com/voicesofvr. Thanks for listening!