The Problem
How can I curate examples of my practice and embed them within an experience that both represents the work and is an extension of it ?
Considerations
Practice
- Transmedia Practice.
- Sited in the triangulation between Humans – Computation – Nature.
- Ontology : Emergent Systemic World
- Epistemology: Quantum and Newtonian Physics experienced by all the senses.
- Axiology : Robert S Hartman – The Value of Perseverance In a changing world.
- Philosophy: Process Philosophy.
- Philosophers: Hereclitus, David Bhom and Krishnamurti
Process
- Experimental Animation and Games production.
- Multi media tools and processes common to Stop-Motion and CGI animation, Drawing, Painting, Projection, Code and Videogame Development.
- Practice-based Research methodology.
- Agile practice.
Production
Film . Images . Drawings . Prints . Projection . Kinetic Sculpture.
Reflection
When I first approached the problem of presenting Transmedia practice as a virtual experience, I thought about how I might influence the players direction, catch their attention, include signs and symbols for ‘wayfinding’, moving them from the beginning of narrative to the end.
I thought I needed to move the player along a singular or potentially branching narrative within an unchanging structure, that had a common story arc. I considered whether to present my work in a chronology, along a timeline (albeit stretching upwards rather than left to right), but this didn’t quite right.
Adding tunnels that could lead to the second spiral and back again, allowing the player to move vertically and horizontally, and adding a trapdoor mechanic which randomly drops the visitor to a previous point in their journey, seemed to offer more player freedom to explore and multiple experiences. The work could be read in association with it each in a unique experience.
In addition to this, Adding procedural objects in the virtual environment could add complexity. I am thinking about how computer generated ‘nature’ assets meets with my human autonomy and heuristic approach to creative production. Also, thinking about quantum mechanics uncertainty principle, gaze Control could be deployed to affect that which is observed by the player.
Notes
Passive observation – Linear and Non-Linearity In Animated Film.
- Linear story line and the story arc, key plot points and plot direction
- Narrative structure and storyline in this project.
- Cinematic VR and treatment in animation at Annecy – Hollywood film cinematic language.
- The experimental Traditions of Animation.
- Non Linear narrative in Animated film with examples from Norstein. Non linear narrative https://en.m.wikipedia.org/wiki/Nonlinear_narrative
- Experimental Artist-Animators, Kinetic sculpture and other spatio-temporal work with examples from Len Lye.
- Retelling an account of practice is very different to the experience of practice in an unfolding, uncertain observer affected world.
- Think about as an art gallery experience that is curated within a space that can be navigated freely or constrained to a pathway. Although some exhibits will be film and kinetic sculptures there is no physical interaction allowed with the exhibits themselves and the visitor is constrained to the physical limits of the the space.
Active Path Ergodic Narrative In Video Games.
- What is Ergodic Literature ? Ref Aarseth – Ergodic meaning ‘workpath’. No effort to traversethe text except eye movement and turning of pages Cybertexts– Cybernetic narratives. Texts that require calculation. Narratives that change when we interact with them.Textons – smallest units – word or symbol that can be understood in isolation Scripton – typologies and textual modes – textons strung together will have meaning. Writing is a form of …. Linear v ergodic (story arc versus rhizome/net structure) Dynamic v static (changing versus written and directed) Cybertext – unique to games ie. true/false statements if a or b is true but not together return true. Empowers players to make decisions. Choose your own adventure game -moral good/evil/strength/intelligence/rules Traps in a dark tunnelOrdinary text- their understanding and the interpretation of the text
- Written text non-ergodic literature
- Example: Fighting Fantasy Games – Charlie Higson has a purpose in that the player is motivated to solve the narrative and get to the end.
- What are the essential game terms referenced here ?
- My role as Director of the interaction and the tension between ‘control’ or ‘freedom’
- Participants wayfinding’ and the active path in ergodic literature ? Mobile
- What kind of structure would my world have ? Ref Nature forming processes and African Fractals. The net structure
- Is there a link between experimental animation and videogames?
Emergent’ world: ontology, Epistemology and philosophy.
- The process of animation and telling of our tales of experience and Recalling and telling a story about my track is a linear one in which the listener is led along a temporal path from start to finish.. past, present and potentially future. This is not how we experience the world.
- Example: Norstein tale of tales in non linear but necessarily presented as a linear experience (due to the Cinematic process) but it does not follow a normal story arc.
- Norstein tale of tales in non linear but necessarily presented as a linear experience (due to the Cinematic process) but it does not follow a normal story arc. Tale of Tales does not have a linear plotline or a central plot conflict. Instead, norstein builds Tale of Tales around three overlapping, but distinct worlds: the world of his memories, the contemporary world and the dream world where his idealized happiness is depicted. The viewer moves fluidly between the three and is accompanied by a little grey wolf that observes the action in each realm. The scenes that comprise the three worlds offer a mixture of comedy, joy and melancholy, as they trace Norstein’s nostalgia for his childhood, his search for happiness through family and art, and his reflections on the hardships and societal weaknesses of both the post-World War II period of his childhood and the 1970s. To say that it is difficult to succinctly summarize the film is an understatement, as it is composed of layers of meaning that reveal themselves over multiple viewings”
- Bhom : Ontology and Epistemology and process philosophy.Ontology, Epistemology and Philosophy. Heraclitus : Fragments – Flow, Bhom and Krishnamurti. – Flux and Enfoldment Bhom on Being sensitive to incoherence video. Cybernetics and second order cybernetics Gregory Bateson and Whithead Process Philosophy. And immergent system.
- Theoreticians passive perspective observing static objects representing dynamic experience, from the ‘outside’. Watching the quays brothers world. Outside perspective, outside a world
- Practitioners active perspective – experience of creating work in an emergent system : William Kentridge, Len Lye and me.
- Ergodic ‘active pathway’ of the Participant and their influence, interpretation and experience of an emergent system containing ‘objects’ representing and emergent uncertain world.
Proposal
- Create a virtual immersive experience that allows for the freedom of the participant to encounter the work for themselves in a space free from temporal direction.
- As a spacemaker and not narrative director or museum curator, I can construct an impossible space that would be impossible to physically construct. This could be structured like a rhizome/net.
- Use procedural object generation and procedural motion to create a temporal space, a world that is constantly changing in response to the participant.
- Quantum Physics: This will help to illustrate my ontology of a quantum and physical world in flux in which the ‘observer’ the human, ‘observed’ and in doing so influences the form and behaviour of that which is encountered.
- Compliments the work embedded within the structure.
- I am uncertain if I will include a map of the participants journey at the end of not.. my feeling as that this will help them understand what they have covered and what they might have missed which could encourage them to enter the encounter again.
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- Mental modelling – Barbara Tversky.
- Watch videos and add games references like lost.
- VR technical spec
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Practice research
- Curation: Curatorship
https://www.theguardian.com/culture-professionals-network/2016/jan/22/museum-curator-job-secrets-culture-artsExample: Len Lye Exhibition : Ikon
https://www.ikon-gallery.org/event/the-body-electric/Curator: Tyler Cann
http://ideasondesign.net/speakers/speakers/tyler-cann/Venice Biennale, Annecy Animation Festival, Sundance Film Festival
- Procedural Objects : Unity Forum
https://forum.unity.com/threads/best-unity-procedural-generation-tutorials.294890Catlike Codinghttps://catlikecoding.com/unity/tutorials/
- Music : 11 strings – chamber music feel, 12 strings – more modern, Example: Nature : Moon – Biophilia – Bjork . Birdsong : https://en.m.wikipedia.org/wiki/Utopia_(Björk_album)
- Sounds effects – papery.
Accessed 26/10/19https://uploadvr.com/now-can-really-stand-putting-resume-vr/
- Structures
- Eternal motion forms
- Gaze transforms forms
- Each player’s immersed in an unfolding unique experience.
- Unexpected falling off the mortal coil.
- Uncertainty