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Sense Stage Workshop » JonasFritsch

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Impossible Storyboard

May 20th, 2009

After a nice long day of testing and conceptualizing, we have come up with a tentative skeleton in the form of a sketchy storyboard (unfortunately without illustrations at the present) for the interplay between sound, light, interaction and general feel of the Impossible Room based on key moments of performing the room.

The IR upon entering
Sound: Droneish, less high-end - distant thunder, resonating - occasional “almost voice”-outbursts
Light: ambient + stable; cool colors, dark feel - one light stable, another with a bit of a throb - and a kind of spotlight pointing to a place in the room - the light “breathes” - feels alive
Interaction: You walk in - you look around
Feel: Spooky - strangely attractive - throbbing; human and machinic at the same time

Add fog. The object will be in the spotlight.

The IR when a person activates it
Sound: The room awakens; higher frequencies; volume rises - scream
Light: light starts flickering - faster rhythm - “almost scream”-kind of “almost-voice”
Interaction: the person has moved to the position of the spotlight and has grabbed the object - ACTION >> sound + visual cues appear attracting the person to activate the various sensors (in the form of fluorescent light on the floor + walls and pulsating LEDs on the object)
Feel: You have awoken a dormant giant demanding that you take action

The general feel of the interaction in the IR (4 levels of interaction, to be described tomorrow)
Sound: panning, directing attention to the zones of interaction, while immediately moving away from the person >> less panning - more stable sound
Light: ambient light + a lot of lighting cues; on the floor, on the wall, on the object
Interaction: the person seeks to follow the cues in the room; a rise in activity >> an appeasement of the room
Feel: the general feel is one of over-cuing, over-stimulation, over-activation; the person is forced to increase intense movements

General + specific kinds of movement - impossible movements
Gameplay; counter - when an action has been triggered, you add to a counter - progression from level to level
We can assign different outputs/expressions to the different objects; floor = drone, object = bird-singing, IR = lights - you can perform one aspect of the room

The IR has been performed
Sound: Natural sounds, birds singing, ambient and less aggressive drone-element
Light: stable, pulsing, mellow, warm colors
Interaction: the active, somewhat random movements continue happening >> more of a pattern - at a given time the blinking of the lights seems to stop, and you are directed towards placing the object at a given position
Feel: in the beginning dissonantic (active vs soothing room), becoming more and more relaxing and soothing - the feeling of accomplishment

How long does the room stay in this position - how does it return to its “dormant” state?

Author: JonasFritsch Categories: Progress, Projects Tags:

The Impossible Room (2 x Nick, Christoph and Jonas)

May 19th, 2009

Project Description

When you first enter the Impossible Room, it doesn’t really feel right. You enter a room which is dark, filled with smoke and distorted sounds, and with a spotlight, that attracts you amidst the unfriendliness of the whole setup - the room isn’t that happy to see you, but welcomes you in to a fight. Upon entering the spotlight, the room changes character. The soundscape thickens and fills with unrecognizable drone-like distortions. On the floor, LEDs start glowing, providing clues and inviting you to enter a world of impossible movements. An object in the room also demands attention, calls to be touched, shaken and displaced, with no particular goal in mind. The walls invite you to interact with them. Although it seems impossible to simultaneously fulfill all the interactional needs of the room, attempting to do so has an effect on the environment. The more agitated you get, the more you work to fulfill the needs of the room, the more active you become - the more soothing and appeased appears the room. The distorted sounds take recognizable form and remind you of nature at peace, the lights change from unclear and dark colors, to appealing, bright ones. Awkwardly, it seems that your activity calms the environment, and changes it from hostile to friendly - while you yourself work to your limits to appease this impossible space. Reaching an equilibrium, the room settles for a while, only to return to its hostile state, if nothing is done to keep it calm. New choreographies are demanded from the visitor or performer to yet again “take control” of the room creating ever-changing interactional parameters to be pursued and played with.

The Impossible Room is open to anyone, who dares enter it; the outcomes of the interaction and the length of the process of appeasement will vary from person to person, and also be based on the number of people in the room. Once a day, the room is thoroughly activated by a skilled performer, playing it like an instrument.

Conceptual Underpinnings

The concept behind the Impossible Room takes as a starting point, that technologies can be visible and change the way we perceive different spaces in a remarkable, and less ambient way. The concept seeks to explore the specific technicities of a range of sensor technologies - floor sensors for extensive, horizontal space, accelerometers for intense movements, IR-tracking for vertical displacements - using the various technologies as well as the designed soundscape and lighting to consciously affect the perception of physical and digital space. Inviting people to take part in forming a mixed and relational aesthetics of the environment, the Impossible Room seeks to experiment with our perceptions of ourselves and the technologies that are becoming a part of our everyday lives by making the experience of the technologies felt in a tangible, disturbing and creative way.

Spatial Setup

The installation will take place in one of the storage rooms in the Black Box.

Technological Requirements

Floor sensors - the three nodes we’ve been working with (124, 125, 126) - distributed on the floor in the room (horizontal extensive movement)
R/Ultrasound-sensors - two nodes during the setup - we’ll have to test which nodes will work best and how we (vertical extensive movement)
Accelerometer - one or two attached to objects in the room (intensive movement)
Free LED-agents - providing cues on the floor
Lighting - six lamps on poles distributed in the room, assigned to a node with six slots on the nework
Sound - two speakers on poles in each end of the room
Smoke machine - yes indeed!

Author: JonasFritsch Categories: Progress, Projects Tags:

Jonas Fritsch

May 16th, 2009

Hi there,

I am currently a visiting researcher from Aarhus University, Denmark, where I am doing my PhD on affect theory and how it might inform the work done in experience-oriented interaction design. I am both working with developing a theoretical foundation and vocabulary whilst engaged in a variety of practical design projects, mainly targeted at urban space - see www.digitalurbanliving.dk for a project overview. In Montréal, I am primarily affiliated with the Workshop on Radical Empiricism (directed by Brian Massumi) and the Sense Lab (directed by Erin Manning). For more info on my projects, feel free to take a look at my website, www.fritsch.dk.

Looking forward to meeting you all,

Jonas

Author: JonasFritsch Categories: Participants Tags: