For all artists, finding a suitable forum for their own particular strain of creative output can be an immense task. Especially for those just starting out or not fortunate enough to be plugged in to a network of influential contacts. It can feel like being locked out of an exclusive club, by those deemed to be gatekeepers, as is often the bitter bleat of the undiscovered or struggling artist.
Those who are hoping to gain entry or be accepted into the ‘club’ often talk about the ‘foot in the door’ or simply being locked out. This and other terminology suggests the existence of buildings or organisations with impenetrable physical barriers.
But what if there was an alternative venue to the bricks and mortar that were available as a space or place to everyone? A virtual forum that could be the platform upon which or within which to present oneself so that one’s work can be accessed by potential consumers, for want of a less consumerist word?
Virtual spaces offer such a place but with the advantages of being open 24/7 to anyone in the world with internet access and without many of the overheads or logistical conundra that can all-too-often stand in between the artist and their audience.
The 4th Dimension Events Stadium has been set up with visual art in mind but as a musician I am particularly interested in its possibilities for performance and as a vehicle for audiovisual or multimedia. Touring musicians who like to bang on about their green, environmentally-aware credentials have long been ridiculed for the hypocrisy of their world tours during which they leave huge carbon footprints behind thems. Many artists feel that the economic model isn’t working for them. Ticket prices are sky-high and yet t claim to make a loss from performing, perhaps even resigning themselves to the ‘loss-leader’ of staging shows that might lead to increased record or streaming income.
There could be distinct artistic advantages in putting shows on in the virtual world or Metaverse, where lighting and other effects might be free from traditional physical constraints. I remember the revolution that occurred with computer-controlled Varilites that could change to any colour and direction in a way only previously dreamed of. With no hardware to hire or set up, set and stage designers will be limited only by their imagination. Costume changes could happen instantly. Everyone in the audience will have the best view, whatever or wherever that is and might jump around the virtual auditorium at will.
There will be pros and cons to this new technology and of course there will be winners and losers, but as with any other revolution, it is sure to be an exciting time.
