My generation of creators flies in the face of this by embracing one of the key facts of 21st century life - that you’re required to be a life-long learner. I know that the predominant school of thought is that you can either do one thing very well or you can do several things half-assed. Photograph from the touring augmented reality show “The Summoning”ĭisturbed - Live at Red Rocks VR Still, Warner Bros Records The inevitable follow-up conversation where I frantically try to connect the collectable VHS release of my feature film The Arcadian, my work with special FX houses, theme parks, and even building an interactive spy museum for the video game Hitman 2 comes off sounding more like a lunatic conspiracy theory than a CV. “A little bit of everything,” I say, shrugging my shoulders.
My work has been experienced by millions of people, but the natural high of this falls apart when I’m asked what I do for a living. Since then I’ve bounced between creating augmented reality touring shows like the 80’s set horror experience The Summoning, virtual reality interactive experiences, 360 degree documentaries and shorts, music videos, apparel, feature films, snapchat lenses, even original lenticular art prints that now live with buyers like Bob Odenkirk. I started a production company called Clever Fox with my wife and partner Julia Howe. A few years ago I put the television landscape on the backburner and moved squarely into the immersive media universe. Everything that artists like myself do throws this notion into chaos. The traditional media world demands that we reduce our artistic output to a short string of adjectives that fit neatly on a 3.5 inch business card. It’s always about each project being bigger and more engaging. I can’t imagine settling on a set of guidelines. It’s the wild west, but at the same time it’s just how things are now. Each project seems to have its own quirks that are completely different from the last. It’s a challenging laboratory of exotic platforms in unexpected locations - creators are one part theme park engineer and one part film director. This kind of shoot first, ask questions later approach is indicative of not just the kind of work that I produce, but the landscape of how immersive content is made. I’ve never worked in this format before because it didn’t exist until a little over a year ago.
MYSTERY SKULLS MUSIC DECKER DREYER FULL
Audiences will experience Joy Ride exclusively in this full room projection format at partner locations like Catalonia Hotels. This week I’m launching an interactive animated film called Joy Ride with BroomX, a company in Europe that outfits spaces like hotels with 360 degree immersive projectors. It feels like I’m working twenty or more hours a day and I feel alive. I’m one of a new wave of creators that’s merging interactivity, virtual reality, filmmaking, and live events into a hard-to-explain jumble of an art scene. It’s 4am and I’m looking out across Hollywood excited for the possibilities. It confirms that NASA is going to participate in a panel I’m planning at Slamdance DIG (digital, interactive, and gaming) - this year I’m an organizer.
Everything that artists like myself do throws this notion into chaos. An Experiential Artist Manifesto by Dekker Dreyer
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