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- | ==== Time Based Space ==== | + | See [[time_based_space]] |
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- | Presentation by Maja Kuzmanovic at V2' | + | |
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- | Time Based Space: | + | |
- | * a space that is responsive and shapeable, as opposed to absolute and static space | + | |
- | * a time that is embedded in a changing space, and can have complex structure and duration | + | |
- | * a body in motion, a body aware of its impact on its surroundings, | + | |
- | * a hybrid environment where the media and the matter fuse together, creating a malleable substance, opening new perspectives and challenging perception | + | |
- | * an experience of constant mutation, without a beginning or an ending | + | |
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- | From these broad areas there are 4 key concepts that connect several projects that I talk about: spaceTime, bodyMotion, mediaFusion and experienceMutation. FoAM's current project that explore these concepts are GoToØ, GroWorld, Media Sauna and T-Garden | + | |
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- | ==== GoToØ ==== | + | |
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- | GoTo0 is a storytelling research project that has its outcome on several platforms: | + | |
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- | * - virtual reality application | + | |
- | * - web-based SMIL/HTML application | + | |
- | * - hard-copy, non linear book | + | |
- | * - multidisciplinary festival. | + | |
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- | This text focuses on the first part of GoTo0, the VR, CAVE application. The project is a collaboration between the Multimedia and Human-Computer Interaction Theme at CWI, Center for Mathematics and Computer Science in Amsterdam, the Netherlands, | + | |
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- | === Background === | + | |
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- | The theme of Goto0 is the link between virtual communication and bodily sensations. This theme has been chosen based on a research about the existence of virtual realities throughout history. Historic virtual realities are worlds that did not exist until someone shaped them, worlds that have all characteristics of reality, albeit an alternative one. These realities have often a religious or mystical background. | + | |
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- | For their creators and ' | + | |
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- | * The practitioners were constructing and exploring their individual identities through novel ways of communication (with God). | + | |
- | * The structure of their worlds is exploratory, | + | |
- | * They referenced the known models of the world, as metaphors to describe something imageless and virtual. | + | |
- | * These Virtual realities were exclusive domains of secret sects, 'the chosen ones', just as today' | + | |
- | * Shamans, alchemists and mystics all search for unity, interconnectedness and spiritual ecstasy; while at all times conscious that they are deeply rooted in their physical bodies, in flesh. Starting from the body, they explore their virtual worlds in the same way we explore cyberspace today. It is approached as an uncharted territory, that can take them far, but they will always remain anchored in reality, through their bodies. | + | |
- | * They use reality as a reference point, from which they set out on a vague journey towards a vague goal, during which they both construct the virtual world and draw its maps, turning the virtuality inside out, making it a part of their everyday lives. These maps are their stories and songs. | + | |
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- | === Storytelling === | + | |
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- | The way the mystics and alchemists transfer information about the immaterial worlds has a specific poetic style. This inspires a search for a language that is opposed to documentation of facts, and opposed to describing laws and moral messages that the audience should follow. Such language can easily catch up with the inconsistencies in non-linear storytelling. It is a language that speaks in nuances and atmospheres, | + | |
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- | == Interactive Storytelling == | + | |
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- | In my previous work, I experimented using this language in interactive film, installations and web-based work. However, something was always missing. Hypermedia has proven to have some of the qualities needed for future content development: | + | |
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- | One way for the users to be fully involved in digital stories is the use of immersive technologies like virtual reality, that is developed for a more natural human-computer interaction. | + | |
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- | There is still a lot of research needed for the understanding of tactile communication, | + | |
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- | == Hypermedia Storytelling in VR == | + | |
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- | As the VR environment is continuous (albeit pixelized), so should be the connections between all sensory experiences. These experiences have to be closely linked to the passages between the different content parts: the hyperlinking in VR needs the development of sensually satisfying transitions. The metaphor of passing from one room to another, or moving through a tunnel does not have the same impact as e.g. the transitions in movies, where they form an essential part of the plot. Furthermore, | + | |
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- | Very active users mould the environment as clay, and create a very personal view of the StoryScape. At some point, the predefined chunks of content could warp into an endless knot of transitions. It is possible that being immersed in such an environment might make the users motion sick, but this might also mean that we are developing a new physical sense, that will make the language of virtual reality understandable for our bodily senses, as happened with montage in cinema, that in the beginning made the audience confused and sometimes even nauseous. This VR sensation is a feeling of being in constant mutation, without a progress or a goal, other than to mutate again. | + | |
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- | However, the resources for this project are limited, and the transitions we conceived are mostly visual and auditory, that are triggered by the participants' | + | |
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- | == The Stories == | + | |
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- | The story they will find themselves immersed into is the following: Norn and ZUZ have an inspiring virtual contact, at the time when the communication technology is infected by a virus, that will eventually destroy the global networks. Norn works on the development of a bodily, telepathic search engine, the GoTo0, that will allow her to re-establish the contact with her virtual community, and with ZUZ above all. | + | |
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- | GoTo0 is a system of associatively and contextually linked stories, sharing 15 common themes such as pain, rhythm, change, interiority etc. The stories represent Norn's thoughts and memories, and her search for the union with her virtual partner ZUZ. In the future, the internet users will have the possibility to expand these stories, through the GoTo0 web-application. We will create merely a framework, that is open-ended enough to allow the users to actively participate by adding new story fragments, connect them with the existing ones, add sound and visual media elements (that will be used as textures in the CAVE application). | + | |
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- | == Navigation == | + | |
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- | The timeline of the narrative is generated dynamically, | + | |
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- | The participants' | + | |
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- | == Design == | + | |
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- | Visually speaking, the storySpace is undifferentiated at first. As the participants move, they ' | + | |
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- | The environment should be experienced as a very fragile system. It consists of a meters thick structure, made of thin layers of an ice or glass like substance. With every step, one falls deeper through the structure, that breaks open in big chunks at first, but the ' | + | |
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- | Some of the media elements remain visible in the storyScape, while others disappear when a story-fragment is abandoned. When most of the environment becomes covered with these media textures, they form a cracked, broken up picture morphing from Norn's face to ZUZ's and back again. | + | |
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- | == Time in GoTo0 == | + | |
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- | Global History\\ | + | |
- | multiple paths of different participants through time influence the behavior of the swarming particles, and the ' | + | |
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- | Individual History\\ | + | |
- | history of the person' | + | |
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- | Thematic History\\ | + | |
- | associative network of stories that spirals back and forth through time | + | |
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- | Spatial History\\ | + | |
- | the visual experience of the VE. Its evolution is based on the behavior (movement) of the participants, | + | |
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- | ==== GroWorld @ Burning Man ==== | + | |
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- | Maja Kuzmanovic, David Tonnesen, Ozan Cakmakci, Joris Bois, Chris Salter | + | |
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- | From virutality back into the real world, the GroWorld project for the Burning Man festival (www.burningman.com) in the Nevada desert. The desert is a space with strange space-time structures. The time is slowed down by the heat and the slow movement of dust, only to explode is short bursts of sandstorms and heavy winds. BM festival is situated there as a temporary reality, based on rhythms of appearance and disappearance. The GorWorld project is concerned with our living, growing space of the future, a space that is becoming increasingly engineerd, a reality in making, but not in becoming, where time shrinks down into laboratory instruments and is allowed to exist only in highly controlled conditions. | + | |
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- | This work wishes to inspire discussions about the decrease of the global bio-diversity, | + | |
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- | After religious revealing of the invisible realm of God, and the scientific revealing of the micro and the macro natures, our era needs revealing of another realm, an invisible realm of global interconnectivity and collaborative creativity. Are we again revealing an illusion? Do we think that we're reaching a time where free will and uncensored communication is becoming reality? Or should our revelation be that we're deluding ourselves, drifting in cyberspace, while our bodies and their surroundings are being patented and sold on genetic markets. | + | |
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- | The installation consists of multiple parts that can be viewed as a whole or presented separately: | + | |
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- | === Night Shadows === | + | |
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- | == Philosophy == | + | |
- | Body in today’s world is not merely a physical being of an individual, but consists of (at least) 3 parts: physical body, virtual body and data body. The first one is the body we have lived with throughout history. The second is a body that can be seen as our being in virtuality, and which does not necessarily map to our physical body. The virtual body is a body of great potential, promising new sensations, new sexuality, gender reassignment, | + | |
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- | == Description == | + | |
- | The installation is a wall painted with light sensitive paint, and a large flash that is activated by motion/ | + | |
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- | === TransDimensional Biosphere === | + | |
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- | == Philosophy == | + | |
- | It is often said that the information revolution is taking us away from the real world, that our experiences are increasingly mediated, and that we are beginning to see the world through the glasses of ‘flat-space’. The public space, that is historically an arena for free creativity is beginning to disappear behind the screens. Although mentally we do not feel isolated, physically, our bodies begin to show signs of atrophy. RSI, headaches, loss of clear vision, social disorientation etc. Maybe we should try to invert the two worlds: instead of pushing reality into virtuality, we could let the virtual worlds bleed out into the three-dimensional physical existence. Marcos Novak labelled this occurrence ‘eversion’. What happens when we enter in such an ‘everted’ space and infect it with the movements of our bodies? Could we inflate the 2d organisms and dance with them in reality? Could they grow, mutate and decay in our reality, following both the laws of virtuality and those of nature? | + | |
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- | == Description == | + | |
- | The TDB is a forest constructed out of luminescent wire. The two dimensional shapes, resembling line drawings of vanished flora and fauna (including homo sapiens) are spread in space, hanging densely from the ceiling and ‘growing’ from the ground. From far away, it looks like a database of two-dimensional drawings representing endangered organisms. By entering the forest, the participants bring the biosphere back to life. When the wires are moved in space, they create fields of light that can be seen as 3d shapes derived from the drawings. Throughout the forest, there are motion- and pressure sensors installed, activating small motors that move the wires in different paths (around their axis, horizontal/ | + | |
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- | === Growth Bunker === | + | |
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- | == Philosophy == | + | |
- | GB is a dystopian vision of a possible future, where the growth of organic life (def. To increase in size by a natural process) can be viewed solely in a virtual rarity cabinet. The building blocks of all life-forms are patented by transnational corporations, | + | |
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- | == Description == | + | |
- | The bunker is a 6x6x6 foot physical space situated in the centre of the Transdimensional Biosphere (Installation 2.) The outside is covered with dark material, which does not reveal the happenings inside the space. Inside, the walls and the ceiling form a semi-sphere, | + | |
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- | ==== Media-Sauna ==== | + | |
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- | foam sponge project (Chris Salter, Sha Xin Wei, Maja Kuzmanovic and others) | + | |
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- | From the largness of a desert, into a small enclosed space of our 'media de-tox lounge' | + | |
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- | The room is pitch black and very gradually begins to hum with frequencies hovering on the threshold of hearing. The room activates. Barely perceptible UV light begins to filter into the room from the outside. Depending on the program the visitors choose, their time is slowed down or speeded up. | + | |
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- | Projected faintly onto the walls of the room in a narrow strip are images of intense acceleration or extreme slowness: high speed motion through darkness, urban environment, | + | |
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- | ==== T-Garden ==== | + | |
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- | foam sponge project: Chris Salter, Maja Kuzmanovic, Sha Xin Wei, Laura Farabo, Ozan Cakmakci, Joel Ryan, Dave Tonnesen, Sam Auinger, Ed Severinghouse, | + | |
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- | T-Garden is a responsive environment where visitors can put on sound, dance with images and play with media together in a tangible way, constructing musical and visual worlds 'on the fly'. The performance dissolves the lines between performer and spectator by creating a social, computational and media architecture that allows the visitor-players to sculpt and shape the overall environment. | + | |
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- | As visitors enter the performance, | + | |
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- | After practicing, the players then enter a circular room, thick with sound and image. The floor is covered with transforming, | + | |
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- | Visitors leave traces and " | + | |
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- | === Media and Time Structure === | + | |
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- | All media (clothing, image, sound) in the T-Garden environment follow one central theme: transmutation. Within this theme, the media will explore the connections between different mutating systems, such as alchemy, ecology, memory, archaeology and recognition. Melodic and rhythmic flows and cycles, morphs, transformations and pliability are some of the characteristics of media that will be explored and developed. Aural and visual density can be influenced and guided depending on the play of visitors. The entire space should appear experientially as if it was shapeable and responsive in a fluid and choreographic manner-where the visitors ’ own bodies can meld inside an alchemical landscape and, like the principal goal of alchemy itself, result in a transformation not only of the media but the visitors themselves. | + | |
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- | The T-Garden ’s interaction structure unfolds by way of the shape of a three dimensional spiral or helicoid. The visitors can experience four different types of time (alchemical, | + | |
- | performance ’s duration. | + | |
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- | I. Alchemical Time: At the basis of the t-garden experience for the visitors is embodied experience of real time social and media transformation. Each individual alchemical “slice ” or has its own transformational cycle. These cycles are composed of a series of state changes that move the visual layers of the room between different alchemical transformations (calcination, | + | |
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- | This will be achieved technologically by dividing the playing space into separate responsive visual areas and using the sensing data coming off the visitors as well as dynamically tracking in which areas visitors are congregated, | + | |
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- | II. Archaeological Time: Archaeological time is the active interpretation of the garden ’s history by the visitors ’ players which is arrived at by “digging ”through the stacked slices or layers of alchemical time in the room. | + | |
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- | The garden ’s archaeology unfolds as each successive alchemical layer is actively revealed over the course of the performance ’s duration. This is akin to literally and figuratively “peeling ” away layers of the room ’s media. The impression should be that of a thick “sandwich ” of visual media layers (digital composite images, textures and processes)that lie stacked “beneath ” the physical floor of the performance or exhibition space. The layers are revealed as visitors leave traces or “marks” in the visual media--standing in a particular location for too long can result in the media “floor ” giving away and the visitors falling through the layers, for example. Furthermore, | + | |
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- | III. Experienced (real) Time: The actual clock time that the visitors are in the garden proper. This can also be noted as the user experience in the room. Useful in terms of tracking the history of bodies in the room during the 1 hour performance cycle: where people have been, what areas have had the most activity, how long have visitors been in a certain area, etc. | + | |
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- | IV. Room Time: The “passive” memory of the room or the overall course of the garden ’s growth and decay. Each 1 hour performance cycle is constructed from a separate archaeology and history, although at times during the course of a day the visitors can experience “flashbacks ” over which they have no influence: traces of the room ’s previous history across different performance cycles. | + | |
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- | The alchemy of T-Garden is a self-creating activity that does not accept the notion of a static world. An alchemical reality is a world in constant development-in becoming. By transforming the media around them, the visitors perform an alchemical journey where physical and virtual (or spiritual), exterior and interior, micro and macro exist in "the collision of two elastic spheres." | + | |
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