still from ‘Lonely Room in My Head’ by Nexcyia, commissioned by VIRTUALLYREALITY as part of VIRTUALLYREALITY SS21: The Long Triumph.
2 July 2021 | -
VIRTUALLYREALITY SS21: The Long Triumph | Dystopian Thinking is No Longer Helpful


The future must not be in ruins. If we listen and learn from the hauntings of the past, we can change our course of direction and live on new terrains. Utopian thinking and speculative futurism – particularly in club spaces – play vital roles in antagonising the present and building triumphant futures.

now available to watch on VIRTUALLYREALITY’s Website:
Nexcyia, Lonely Room in My Head [new work – a VIRTUALLYREALITY commission]
Emmett Williams, Cellar Song for Five Voices (reintepretation by SHOAL and Laura Ibáñez) [new work – a VIRTUALLYREALITY commission]
Odete, a letter to the spirits

Live events coming later in the fortnight:
LIVE TALK Transcultural Music Technologies: Khyam Allami in conversation with Sam Salem and Sarah Badr (FRKTL)
5th July 2021, 21:00 CEST

The workstations of electronic music have tended to be coded in the benefit of Western music tuning systems. As counteraction, Khyam Allami presents his Ars Electronica Prize-winning browser-based digital music tools Leimma and Apotome, sparking conversation with composer and co-director of ensemble Distractfold Sam Salem and multidisciplinary artist Sarah Badr (FRKTL).

LIVE PERFORMANCE Rowland Hill, Do you think you’re better off alone?
9th July 2021, 21:00 CEST

“Eurodance music emerged in the immediate aftermath of the Berlin Wall and is characterised by a lyrical preoccupation with the word ‘freedom’, an emotively charged minor key, references to severe weather, and beats that suggest states of both euphoria and emergency. It is a fantasy genre of irrational optimism and desperate, unanswerable questioning.
Do you think you’re better off alone? considers the cognitive dissonance of 90s Eurodance as a reflection of the ‘split between the decade’s self understanding — how it was imagined and anticipated — and the material ways in which it was actually experienced.’* Through a series of ‘close listenings’, Rowland offers ways to interpret Eurodance’s artefacts as both expressions of their time and portents of our present political crises.

*Gavin Jacobson, The 1990s: An age without qualities, New Statesman.” (Rowland Hill)


more info: