Introduction

Three stories open the world of the English northern landscape in virtual reality; what it means to come from it, live in it and belong to it. The stories and origins of Hannah Davies, Carmen Marcus and Asma Elbadawi are tied to the landscape where they come from and have grown up. They are monoliths — standing stones — powerful and influential forces.

Monoliths is entirely experienced using a virtual reality headset so the technical media IS the performance. It was important when making the piece that the story made sense to be told in virtual reality, and the idea to use the technology came hand in hand with the storytelling concept from the start.

The richness of the landscape is realised in the showcase by having the headset 'tethered' to the computer via a cable. This connection enables the visuals to be more complex than if we ran the experience without the connection. By using virtual reality we are able to place the audience in three different landscapes; the audience can feel the solitude of being alone on the Yorkshire Moors, a solo bus ride on the upper deck of a bus route in Bradford, and a remote and beautiful beach on the North East coast. By immersing our audience in these environments alone, they are only accompanied by the voice of the poet and the soundscape of the place. We hope this is a contemplative and new way of experiencing poetry as well as a celebration of both the rural and urban environment.

Monoliths has been nominated at the BFI London Film Festival for 'Best Immersive Art and XR Award 2022' and featured at the Melbourne International Film Festival, Aesthetica Short Film Festival, Sheffield Doc Fest 2022, and re:publica digital festival in Berlin.

Creative Process

How did the collaborators work together on this project?
We worked with an experienced VR developer at One to One Development Trust, who brought to life the concept in 360 degrees. We also worked with an experienced Sound Designer who understood placing sound in a 360 degree environment, and who created soundscapes from real recordings of the landscape for the project.

What forms of trial and error occurred?
There was a long process of trial and error in developing the storytelling concept for the project. We had originally wanted to incorporate game play elements into a 'live', more theatrical experience, but pandemic restrictions meant we had to change our idea quickly. We held workshops with the creative team and the writers to understand how we could convey the story through audience interaction in this game setting.

Did you use existing software and applications?
We worked with experienced developers who built the project in Unity.

Did any of your questions or goals change, over the course of this project?
No, we had a very clear goal with the project.

What were the key milestones in the development of the production?
- Commissioning the writers
- Creative workshops
- Generating content/development
- Testing
- Completion

Reflections

We have a completed and celebrated project that is now in our repertoire and that we are able to share in schools, libraries, arts centres and galleries. The project has now been seen by over 5000 people and has been showcased at Sheffield DocFest, Re:Publica, Melbourne International Film Festival, BFI London Film Festival, Aesthetica Short Film Festival and played at Wales Millennium Centre. Director Lucy Hammond was also shortlisted for a national award (the Arts Council England Digital Culture Awards).

In what ways was the production a success?
The project has been really well received on an international stage, and this is slightly different to what we first thought. As the focus of the project was on the North of England we worried it may not translate well to other settings but it has been received well in lots of different contexts.

What advice would you give to artists taking a similar approach?
Make sure that the visual and story plan is mapped out very early on - this makes the development process more straight forward and keeps it in budget.