At this moment, I’m thinking of creating a mixed media installation.
The installation contains two ways narrative is consumed, passively and actively.
The passive narrative happens at the side of the walls, with projectors showing photos.
These are images that I’ve collected over the weeks before the death of my aunt.
These are images I tried to capture.
At the center of this installation is a game.
The game is a simple simulation of choice.
What would you do if you have 6 days left to spend with someone you love?
Here’s a prototype I made in Unreal. You make choices in this game, maybe simple straight forward choice or morally difficult choices. Maybe you need to choose to ignore work for family, maybe you need to choose between members of the family.
In a given scenario maybe you find yourself having to choose between a sick daughter and a dying mother.
While I guess this game would have some interest, it would be difficult to create a work like this without it feeling overly manipulative. Getting the player to be emotionally involved also makes it challenging.
hans haacke, blue sail, 1964-1965: installation; chiffon, oscillating fan, fishing weights, and thread.
Fan/paper/fan
Dereck Kreckler, Littoral, single channel installation, olefin fibre screen, electric fan, 2014. Installation view, Griffith University Art Gallery, Brisbane
Several terms for setting the context Fragmented narrative – non-linear, disjointed
Animation installation
Spatial Story telling
Magic lantern
Phantasmagoria – Robertson (1797)
Pre-cinematic narrative vs post-cinematic
Narratives in animation where stories are shorter.
Spatial connection with interaction
Rose Bond
Site-specific narrative using projection
TABAIMO Born in Hyogo in 1975, Tabaimo is a phenomenon in Japan. A major retrospective of her works was presented at Tokyo’s Hara Museum in 2006. Her video installations, which incorporate animated films, draw their inspiration from the current social and economic problems, revealing the underbelly of Japanese society.Her animations combine the nuanced colours of traditional engravings with the sophisticated technology of the computer. What is it about her pessimistic and phantasmagoric world that captures the interest of so many people? What will she do next ? In addition to Ginyo-ru, her most important work since hanabi-ra in 2003, this film surveys her retrospectives at the Hara Museum, the Fondation Cartier, where Tabaimo presented her first solo exhibition in Europe in 2007, as well as the Venice Biennale, reflecting her output over the last eight years.
TABAIMO talks about creating works where the narrative is not strictly defined. I love her use of space to convey a kind of emotion. Her works focus on using the space to tell the story of what
William Kentridge: How we make sense of the world
How do we understand the world?
How do we make sense of the world?
We take in a fragment, a headline, a part of a dream.
Does a narrative have to make sense?
How much control should we give the audience who on
Ringo Bunoan, Endings and No Endings
In this installation, Ringo used books as well as their endings to form a philosophical statement about time. The tower of books against the wall have had their endings removed; conjoined in endless continuity. On the other side, the removed single-paged endings with ‘The End’ marking its finality line the adjacent wall; an ironic chain of endings.
Ringo Bunoan, No Endings, 2013. Book installation. Dimensions variable.
“As much as it is about endings, it is about endlessness. So, ideally the works should be floor to floor and wall to wall; this idea of continuity in connecting spaces. You can have a thousand endings and always add to it—there is no end.” – Ringo Bunoan
As one’s eyes follow the vertical tower and the horizontal display of framed book pages, a cross-hair or intersection of sorts is demarcated; an imagined completion of the books and of time through the movement of our eyes.
A recent installation that I had the honor to seeing is this work of Liana Yang. In a room filled with pages of romantic novels, the stories are spread out on to walls, each with a page describing an encounter of two. There really isn’t much of a story but we can a sense of this romance in the lines.
The intrigue for me was how we began creating our own narrative out of the lines. We form our own love story. We imagine what is happening and we began to leave with different ideas of what the story is.
The piece intriguing because there is no handholding. It does not tell us what the story is, or if there is even any story at all.
We don’t know where to start, or rather we can start anywhere,and I think that is pretty cool.
Methods which will be explored
Physical space as a narrative device
gaps between the screens
editing techniques
spatial montage
metaphors
sound interaction
Each viewing will offer another layer of meaning and closure
This week I attempted to create a system for my work.
By system I define it as a means of interaction which unifies the different medium used in the game.
One way which I attempted to do so is through a simulation, in which I ‘project’ the images onto a surface as though the are real projections.
The images are created using decal materials, so you can only see it when it is cast onto a surface.
In the demo above, you can make an image visible by shifting cubes and allowing it to be casted on.
I also found a game that uses a similar concept,in which shares similar styles and means of portraying what I wish to portray.
I believe that this is a promising means of creating aesthetics that would blend well with the narrative. I am also thinking of embedding narrative in the narrative, to have an overarching story and several under lying ones.
Concept
To parody the idea of ‘mindless’ pursuit. In the midst of trying to
‘climb to the top’, I want to take two steps back and reflect on what
it actually looks like to be ‘driven’.
In our pursuit, are we blind to other things that may be important?
Have we lost sight of the things that we are not in pursuit of?
Things like family, friends, the lives of other people. While we are
so busy chasing these goals, have we perhaps forgotten
something?
Device v 2.0 has new add on features.
1. Adjustable Macro lens filters that creates the depth
of field
instead of relying on the eyes.
2. Helmet with side blinds to prevent the subject from
looking away
from their goal.
3. Platform for object of motivation to be place, not
limited to money
In this exercise, i created a scene from class using a real images and then creating a 3d space using the images as a kind of background.
I titled it, “I’m trapped in class.”
I am currently also exploring this technique and how we can use it to merge virtual reality and reality to embed layers of meaning in a space.
AR technology allows us to change the way space is perceived, giving a different texture to how we feel about a place.
My goal is to create an augmentation that will enhance the qualities of the space, perhaps even explain how we understand space itself and explain our relationship with the space.
In an attempt to understand space better, i happen to come across a reading recommended by a ex-Prof of mine, Space and Place The Perspective of Experience by Yi-Fu Tuan. I highly recommend this reading as it provide invaluable insight to my own understanding of space.
When we begin dealing with virtual and augmented reality, recreating this sense of space is essential. For a long time we have been consuming moving images on a static screen, the sense of space can be created through use of lighting, colors and even types of shots. Using different types of shots to capture the space we see, we begin to change our understanding of how space is perceived.
In Ways of Seeing ,John Berger puts it as such,
“Photography, in particular the movie camera, changed this. What you saw depended on your place in time and space. The camera changed the way artists saw. Impressionists saw the visible in continuous change [as the light changed so did the appearance of the object] and Cubists no longer recognised a single vantage point [so, for example, they would paint a face with an eye seen from one vantage point and the nose from another.”
Our perception of an image is limited to the way our eye sees it. As explain in my other post, our stereoscopic vision enables us to see things with the perception of depth. A camera would hence remove that perception. A Cubist painting would focus on the idea of having multiple perspectives. All of this attempts to capture what we see in a single moment in time, yet obscuring the other two senses need for us to perceive space , Kinesthesia and touch.
The word kinesthesia or kinæsthesia (kinesthetic sense) strictly means movement sense, but has been used inconsistently to refer either to proprioception alone or to the brain’s integration of proprioceptive and vestibular inputs.
I believe what AR does for the way we perceive photos through lens is what the Cubist movement did for painting. ( Though I am open to opposition.) Not only is it important that we can now perceive an image with a sense of movement , we can even use multiple images to create movement, recreate sound and simulate reality. The context of which has been explored not only in games but also works of art such as Jeffrey Shaw’s Golden Calf.
In this short exercise, my goal is not so much as to push the limitations of the technology, but to explore deeper what this technology can create.
One topic that interest me greatly is Emotions.
Looking deeper into the reading, Yi-Fu Tuan described relationship of space and how our mind creates the association with it to ‘enormous horizon’. Beyond the physical distance, our mind is able to create and feel an emotion that we associate with the space. Being in a vast space makes us feel small in contrast. Walking in an empty space can create a sense of isolation and loneliness. Being in a corner feels tight and uncomfortable. Being in a crowd with faces we do not recognize can make us feel distant. How fast or slow we move through space also creates an emotion.
Question.
( How )Can we create a relationship with a space? What would the space be? What is the movement allowed in the space? Can we convey an idea of the space? Can we understand space better so as to make use of it better ? How does our understanding of space change the way we create works?
If i had not done the reading I did, or attended the lectures I did, would I have created the same works I do?
More importantly, what did I learn and how do i apply it.
“In a riddle whose answer is chess, what is the only prohibited word?”
I thought a moment and replied, “The word chess.”
The way the reading sets it apart from any other reading that I have had the pleasure of encountering.
The way the reading starts off sets it apart from any other reading that I have had the pleasure of encountering.
“On page 22 of Liddell Hart’s History of World War I you will read that an attack against the Serre-Montauban line by thirteen British divisions (supported by 1,400 artillery pieces), planned for the 24th of July, 1916, had to be postponed until the morning of the 29th. The torrential rains, Captain Liddell Hart comments, caused this delay, an insignificant one, to be sure. “
“
Immediately, it hooks you into this work of non-linearity, a reading unlike anything I have ever encountered. One that recognize itself as a reading and uses this mechanics of breaking the fourth wall as part of it’s narrative.
The word ‘Time’ , as Albert puts it, is prohibited because it is exactly what the reading is about.
I found this idea so intriguing, this idea that we can convey the theme by omission, it sparked an idea for my own project. ( But more on that later.) This form of story-telling ran parallel to the “Adventure books” that I played when i was a child.
“Turn to page 32, you encounter a troll.”
“Turn to page 18 if you believe in free will.”
“Turn to page 18 if you believe in free will.”
Yet it managed to capture something so poetic that these “Adventure books” never manage to, the idea of time as a mechanics .
The plot itself was very compelling too. In a earlier part of the story after Doctor Albert had revealed his understanding of the book as the labyrinth, it was hinted that Doctor Tsun will arrive at his house, once as an enemy and once as a friend.
“The rest is unreal, insignificant. Madden broke in, arrested me. I have been condemned to the gallows. I have won out abominably; I have communicated to Berlin the secret name of the city they must attack. They bombed it yesterday; I read it in the same papers that offered to England the mystery of the learned Sinologist Stephen Albert who was murdered by a stranger, one Yu Tsun. The Chief had deciphered this mystery. He knew my problem was to indicate (through the uproar of the war) the city called Albert, and that I had found no other means to do so than to kill a man of that name. He does not know (no one can know) my innumerable contrition and weariness.”
.
As a spark of an idea, i wonder if it’s possible to craft a mix medium narrative using game, writing and even photos? Would that be an appealing narrative?
In this video, I attempted to create a “prison” using Unity’s SDK for android.
My concept for this project is to explore the narrative of space.
What can certain space tells us? How does it make us feel?
By adding a new dimension to a space, the virtual dimension, can we enhance the quality of a space?
Inside a prison because the room itself is small, it creates the feeling of being trapped. When we are inside a small room, it takes away our mobility.
The limitation of using an android device to create that augmentation is that it does not allow us to move. So the two options would be to either create a function in which people can move with the device, or to create a space which is design to limit mobility.
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