Dirk Johan Stromberg

I am looking at immersive experiences. What is immersion? How do we create aesthetics that fully emanate from an instrument?

Immersive Intensities: Aesthetic, Technical, and Philosophical Explorations

The concept of immersive intensities in my work originated from a shift in artistic priorities during the COVID-19 pandemic, where the necessity of video production for broadcast and archival purposes reshaped my approach to performance. This pivot brought lighting to the forefront, revealing its potential not just as an enhancement but as a critical medium of immersion. My initial experiments were influenced by the visual language of Nine Inch Nails’ live performances. Their use of stark, two-tone backlighting—predominantly white and amber—created striking silhouettes and overwhelming atmospheres, which mirrored the aesthetics I had encountered in other concerts. This inspired me to explore lighting as a visceral, almost sculptural force capable of enveloping audiences and performers alike.

At first, I embraced an extreme approach, where lighting was aggressive and intentionally overwhelming. These experiments aligned with the harsh sonic experiences I occasionally explore in my sound work, evoking discomfort and provocation. Over time, however, I began to recognize the need for balance. As my musical aesthetic is dynamic and varries, lighting too required moments of subtlety to contrast its intensity. This realization led to iterative refinements in my practice, transitioning from a shock-based approach to one of nuance. By increasing the number of less-bright lights, I achieved broader textures and a more dynamic interplay between sound and light, fostering an immersive yet accessible experience.

Lighting and Sound as Co-Dependent Layers

The relationship between sound and lighting in my work is deeply symbiotic, with lighting functioning as an extension of the musical performance. This interplay is achieved through precise mapping processes. Envelope following tracks the dynamics of the sound, determining the intensity and activation of specific lights. Granular sound movements translate to intricate, flickering light patterns, while monolithic sound gestures inspire broad, unified lighting shifts. This synchronization ensures that lighting responds organically to the music, creating a cohesive audiovisual narrative.

When integrating ambisonics and spatial audio, this relationship deepens. Both systems share similar parameters, such as phrasing, dynamics, and spatial placement, which align to create a dual-layered immersion. In this way, sound and light collaboratively sculpt the performance space, enveloping the audience in a multidimensional experience. Tools like QLC+ for DMX lighting control and Pure Data (PD) for sound analysis and mapping form the technical backbone of this practice, allowing for real-time adaptability and precision.

Accessibility, Audience Engagement, and Evolution

The audience’s experience of immersive intensities has evolved alongside my artistic approach. Early experiments, marked by aggressive lighting and intense sonic environments, elicited polarized responses. While some viewers embraced the extremes, others averted their eyes, relying on the residual shadows behind their eyelids to engage with the performance. These reactions, though divisive, opened pathways for future exploration, particularly in contexts like noise festivals, where extreme aesthetics are more readily embraced.

Over time, I’ve shifted toward creating contemplative and transformative experiences. By balancing accessibility with artistic risk, I aim to engage audiences on a communal level. My goal is to envelop them in a shared space where sound and light act as catalysts for collective immersion.

Lessons and Future Directions

The phase of immersive intensities has been instrumental in shaping my broader practice, offering technical, aesthetic, and practical insights. On a technical level, it honed my mapping processes and real-time interaction systems. Aesthetically, it refined my understanding of lighting design, from fixture selection to dynamic mapping strategies. Practically, it pushed me to develop sustainable and flexible touring setups, such as compact lighting systems and wireless DMX, which allow for seamless integration across diverse venues.This phase also laid the groundwork for future interdisciplinary projects like Telepaesants, where the integration of sound, light, and visual media continues to evolve. While the extremes of immersive intensities are no longer central to my work, their legacy persists in the nuanced, multifaceted performances I strive to create. By blending intensity with subtlety, sound with light, and individual with communal experience, I seek to craft environments that are as transformative as they are immersive.