Below is documentation / summary /
post-mortems
for work done in the autumn of 2006
I begin each cluster with a post-mortem and then describe each project afterwards.
CLUSTER 1
I never thought an explicit narrative experience could be conveyed in a non-linear experience. However, when I now consider an exhibition, a sculpture, or any kind of modern artwork as a narrative experience, it begins to opens up many possibilities. You can separate the object from the artist. I can begin thinking about my work in terms of what it is expressing, what story it is telling outside of my own direct experience. This is quite empowering and really gives my work a whole new kind of life I never imagined before.
Since I began branching outside of theater work, I had always hoped to capture some elements of storytelling. People love stories Š itÕs how they understand their world and how they process information. If you need further evidence, just take a look at Walter BenjaminÕs The Storyteller.
I am imagining a new media infused with narrative, something I thought unimaginable or incompatible before this Autumn. A world of new media in which the user can actually navigate through a a non-linear experience and still come away with a sense of resonance. Like something actually happened.
If/then mapping Š Branched narrative
The first assignment made me think of narrative possibilities as a medium in itself. The possibility of showing the viewer all possible choices at once was quite exciting and revealed to me a whole new potential for interactive narrative. However, the whole assignment really emphasized storytelling for me. If you do not have an interesting story, then begin looking at yourself.
At first, I thought this was quite vain. Who really wants to hear about other people. Of course, the answer is anyone who reads. Fiction, narrative, and storytelling all involve characters. Characters are revealed through their actions.
I began thinking that perhaps I did not really want to reveal much about myself.
Instructions for action Š
A 1:1 emotional mapping
After reading BorgesÕ Labyrinth, we approached this as an experiment in 1:1 mapping. What if the actual space the user was traversing was also an emotional space as well as an instruction.
Think
See
Feel
How can we transform physical space into emotional space? What are places that we can ŅfeelÓ?
We began looking at ways of experiencing spirituality in a non-spiritual space. ITP is a workplace. The students here are rapidly developing in a workshop environment. What we see in the shop is quite a bit of experimenting with equal amounts of planning and trial & error. But we never overtly see internal reflection.
Narrative in space Š A first step in object narration:
VHS Hackery meets Storytelling
When considering an exploded comic, my initial reaction was to contain it in as small a space as possible, After looking at a project I worked on this summer, I considered the surface of a VHS tape as a possible medium.
It was quite difficult coming up with a specific narrative or story for the tape. I knew the tape and the mechanism I was working with had a quality of deterioration and decay. However, I was lost for words. The text I came up with was didactic and unsatisfactory.
It was most useful to consider what kind of character this was. I soon began looking to characters I knew Š in plays IÕve read and in my personal life. But I still did not find anything. However, simply characterizing this project led me to a great discovery at the end of the semester...
CLUSTER 2
Designing site specific projects
resurrected an old interest of mine: site specific performances. In the drama
world, Richard
Schechner (of Wooster Group fame) is often the go-to person on this. Vito Acconci, another
experimental figure really opened up the world of site specific work. I look to
both these particular figures because they emphasize performance of space.
Consideration of space and architecture was important. However, the flow of people, rhythms, quality, and personal subjective observations were what really moved these projects forward.
Deciding on a purpose took quite some time. Perhaps these purposes or objectives even created obstacles. There was a great deal of talking and writing early on and throughout the both processes. While this writing process was very enjoyable, I believe it may have impeded the ability to develop rapid prototypes. I simply got too tied to what we talked and thought about to try anything that did not conform to our ideas on paper.
In short, the concept or instinct came before the observation was fully documented. I think early sketches and prototypes would have helped these processes move quicker for myself in helping me imagine what possibilities there were.
I usually consider wireframes as sketches. However, in these instances, rough cuts, sound samples, and visualizations were infinitely more helpful than any wireframe or text in getting together a solid concept.
Also, dreaming big was very important. To imagine what could be on a large scale. To not censor your instinct. To go with your gut. These are all important lessons to keep in mind for future proposals, whatever they may be.
Sonic Cinema Š Death in Washington Square Park
By Tikva Morowati and Jaki Levy
sound
file: <::> blog links / documentation
We were both very intrigued with the fact that there are 20,000 anonymous bodies buried underneath Washington Square Park. Right before we recorded audio from the park, we both discovered EVP (electronic voice phenomena), which is how spirits supposedly communicate with the living. We abandoned this idea, but itÕs still possible material for another project.
After much debating, we finally got to a point of cohesion when we began working on sound sketches. A good deal of the sound came from sound libraries.
Our site study also consisted of sound recordings over 2 visits Š one in the afternoon and one at night. The nighttime study revealed lots of architectural patterns in the park, but we quickly realized we should focus on one specific element in the park to focus our sound in one area. We finally decided on the HangmanÕs Elm. Again, the characterization of the Elm helped quite a bit.
Site Proposal Š Mosaics at the Met
By Paris Marashi and Jaki Levy
In considering different spaces, we began thinking about thinking spaces vs. feeling spaces. Libraries are typical thinking spaces. Where are the feeling spaces?
We decided to observe the Metropolitan Museum of Art and found a space we both enjoyed
CLUSTER 3
With a final project in mind, the last cluster of exercises were quite enjoyable. I finally felt like character depictions were getting to be familiar territory. In designing an emotional interface, Ariel and I came up with a list of adjectives that described our project. Afterwards, we came up with source images that represented these moods.
The adjectives and images provided a visual vocabulary with which to work reference throughout our design process. If we had a question during the process on where to go next, we could always refer to the source images.
After revisiting my exploded comics exercise, I took another look at what the character for my VCR might be feeling or who it may be. Instead of coming up with words on my own, I looked to authors who write about decay, death, and obsolescence for source material. Samuel Beckett eventually came to mind.
I believe Samuel BeckettÕs work is particularly well suited for non-linear digital media because his characters exist in a non-temporal space. I remembered reading KrappÕs Last Tape, a play about a character who very aware of his fading importance. After re-reading the play, I thought BeckettÕs characterization of Krapp was very similar to my characterization of the VCR and VHS.
Though the projected image was interesting to look at, it did not convey a true sense of decay. In a future iteration, I will revise the layout of the VCRÕs, the path of the tape, and the layout of the 3 screens.
This last cluster was much easier and more enjoyable than any other cluster. I really feel like the work I did at the beginning fed my work at the end. There was a true sense of accomplishment as I finally reached a point where I can begin fine tuning my concepts instead of completely overhauling and redeveloping.
What really pushed my work further was applying concepts I
had looked at in theater and applying them to my current work. Consider what
motivates people. Give people simple instructions. Give people a starting
point.
The 6 months of labor, thinking, and development on this VCR
project was really worth it !!!!
PROPOSAL ::
Emotional Interface Š A Vain Mirror
Cinematic Object Š
A Requiem for a Dying Medium - The 3rd Iteration
Quicktime
file of Projected image
Interactive Screens & Cinematic Object