In the mid-1980s, composer Tod Machover discovered a copy of Philip K. Dick’s science fiction novel “VALIS” in a Parisian bookstore. The novel, based on Dick’s mystical vision known as the “pink light experience,” introduced the concept of “VALIS” as an acronym for “vast active living intelligence system.” Machover was inspired by the novel and created an opera of the same name, which premiered at the Pompidou Center in 1987 and was recently restaged at MIT.
During that time, Machover was in his 20s and served as the director of musical research at IRCAM, a renowned French Institute known for its avant-garde work in music technology. Given creative freedom by the Pompidou Center, Machover constructed a complex theater inside the center’s entrance hall, complete with speakers and video monitors. The opera was a unique endeavor, as Machover initially sought to involve IRCAM’s Ensemble Intercontemporain but was turned down. Instead, he decided to create an orchestra consisting of only two musicians, a keyboardist and a percussionist.
Utilizing emerging technologies like personal computers, MIDI, and the DX7, Machover and his first graduate student RA Joe Chung developed hyperinstruments at MIT’s Media Lab. These hyperinstruments allowed musicians to have greater control over a wider range of sounds. At the time, real-time computer instruments were not commonly used in concert music.
Machover’s opera “VALIS” premiered to both praise and controversy. It blended elements of an orchestra and a rock band, incorporating acoustic and electronic sounds. The hybrid approach was groundbreaking at that time. Machover, drawing from his background as a cellist and rock bassist, has always merged different musical styles and influences to create unique compositions.
Dick’s novel “VALIS” explored the themes of artificial intelligence and mysticism, contemplating the possibility of technology as an answer to existential questions. The opera delved into the fragmented nature of identity and featured the main character embarking on a spiritual journey. The opera’s story and themes resonated with audiences, as it challenged traditional notions of music and storytelling.
Now, after over 30 years, “VALIS” has been restaged at MIT with updated technologies and performances. The production features baritone Davóne Tines, mezzo-soprano Anaïs Reno, and a talented ensemble of vocalists and musicians. The MIT Media Lab’s Opera of the Future group, led by Machover, has incorporated AI-enhanced technologies into the performance, allowing for real-time music creation.
The staging of “VALIS” at MIT explores the blurred boundaries between reality and simulation, utilizing augmented reality theater techniques. As the opera progresses, the audience is taken on a disorienting journey, culminating in a hallucinatory finale. The character Mini, a computer music composer, interacts with an AI system, symbolizing humanity’s ongoing relationship with machine intelligence.
In the development of the performance, the Opera of the Future group experimented with different ways for Mini to “perform” the AI system. They discovered that a large plastic jar, equipped with sensors and connected to the AI system, allowed for a unique interaction. As Mini manipulates the jar, the AI system’s music responds, creating a magical and ever-changing experience.
Ultimately, the performance of “VALIS” serves as a testament to humanity’s exploration of technology and its impact on existence and creation. Just as Philip K. Dick grappled with the transformative power of information in his writings, the opera raises questions that may never be fully answered but can be felt through the power of music.
The recent restaging of “VALIS” at MIT received positive reviews, with one critic calling it an operatic tour-de-force. The production showcased the innovative use of technology and pushed the boundaries of traditional opera, captivating audiences with its unique blend of music and storytelling.
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