I have posted lots of media.
How are these accessed through my posts?
They never appear there.
I have posted lots of media.
This is my posts of PDFs on “Avatars of Story ” and “Bleeding Through” All those posts I thought had failed I found in the MEDIA tag on the left hand side column so check there for these
These are two summaries of the books
Some comments will follow separately
I used to sit on this committee which is the muntimedia ISO standard. It was a useful doorway to development tools for VR. I found the page looking for scripting tools for AR.Its technical if you are interested in that. http://wg11.sc29.org/augmentedReality/?page_id=1015
It seems to me like there is a movement towards simplicity in new interactive media. Just as some people involved in the cinema decided that long takes may be the future, some people in interactive cinema and game developing seem to have decided that it is time to use what is freely available to further technological advancement.
There are several interactive shorts on this page: http://www.shortoftheweek.com/category/style/interactive/. Some of them make use of up-to-date technologies, but the most interesting video on there is an Arcade Fire music video, which, instead of turning to some modern concept which will be obsolete in a year, utilizes google maps, in order to create a personalized interactive film, which will connect the band’s music with a feeling of nostalgia for childhood.
Similarly, games have been embracing this simplistic ideology for some time, going back to Limbo or Super Meat Boy. My current addiction is a game called TagPro (tagpro.koalabeast.com) which is a basic capture the flag game which looks like it was designed by an amateur.
This celebration of the simple will paradoxically be extremely important in the advancement of new media. There is a reason why a film like Primer is more frequently discussed than the Abyss!
hello everyone – tomorrow’s class will give you time to work on your projects (due next week). The lab will be open and available and I will be there BUT – if your group would like to meet onsite downtown to test your project and feel that would be a more meaningful use of your time than coming to York please just let me know. Regardless of whether or not your group will meet in the lab or downtown i will need a representative of the group to email me with the exact preferred location of your piece so i can work out or schedule for our final class together. So be in touch – Thanks!
Over the course of this class I have often thought about space and the effect augmented reality has on it. What is it that we are missing in real space that augmented reality gives us? Is it still possible to have a phenomenological encounter with our surroundings through augmented reality? Does AR pull us away from our “real” place or encourage us to have a playful interaction with our lived environment, rethinking the space we encounter everyday? Bachelard (obviously) wrote The Poetics of Space without being aware of augmented reality, but I find it hard to tell how he would have felt about it. Poetics is a beautifully written appreciation of lived experience in architecture and the value we subconsciously give to our built surroundings. Yet, he believes that people desire spaces that inspire them to daydream. He says: “For a house that was final, one that stood in symmetrical relation to the house we were born in, would lead to thoughts—serious, sad thoughts—and not to dreams. It is better to live in a state of impermanence than in one of finality.” If the house is sheltering the dreamer, perhaps even stunting them, then augmented reality could allow us to break free of the mundaneness of everyday. However, Bachelard believes that our imaginations are constantly augmenting reality. Do augmented reality aps and games stunt our imagination or do they bring us closer to the places we frequent, allowing us to imagine different encounters with familiar spaces? I think both our groups’ projects are focused on creating a different encounter with a familiar space, provoking us to imagine either a dystopian Toronto or a playful park (filled with cats!). Everything we have read about GPS cinema makes it seem that it was designed to bring us closer to the space we pass through constantly, making participants stop to think about their surroundings. The game we read about forced participants to spend a night in a park that they may not have done otherwise. With the abundance of stimuli available in the city, getting people to spend time in a space seems more difficult than ever. Yet I believe that our mobile devices in general make us appreciate our surrounding more than ever before. My instagram feed is constantly full of people documenting the sunset (or more recently, the snow storm) they witness in the city, holding onto an ephemeral piece of their everyday lives. And with virtual reality, there is a focus on creating the most “real” space possible, with the Oculus Rift allowing you to be consumed by the world of a game and the growth in popularity of “world exploration” games, where the concentration is on Wolf’s world building, and not solely on gameplay.
I will confess from the outset of these thoughts on Gaston Bachelard’s the Poetics of Space that I found the text difficult to decipher. I am sure this is a product of my inadequacies of thought more than a defamation of his work. The text is very thought provoking and it is obviously written by a man of enormous intellect. What follows will not be an examination of his work from a scholar with complete command of Bachelard’s perceptions. Instead, what you will find is a brief discussion of a number of concepts that this book did bring to the forefront for me, as a filmmaker and more importantly for this class, as a novice augmented reality maker. Below are some of the concepts and ideas that I began to ponder while reading this text. Much of it is questions more than answers.
The Link Between Memory and Space.
Bachelard makes a strong claim for the linkage between memory and space. This linkage seems to have influenced many architects (from some ancillary reading I did while trying to understand the text further). “…the places in which we have experienced daydreaming reconstitute themselves in a new daydream, and it is because our memories of former dwelling-places are relived as daydreams that these dwelling-places of the past remain in us for all time.” Bachelard. The idea that a space in which we daydream becomes a space in our mind that we daydream about is a concept that of course could be applied to a future cinema world where users experience space but also have memory of that space once their user experience has ended. How can we as content creators use space and access user memory to create poetic meaning. How do we avoid just having stuff happen in an appropriate story related space? How we imagine this answer will shape how we design these future experiences. For me this is where ‘art’ is made. For me this is what separates filmmakers who simply film actors from a variety of pleasing angles and those who design deeper context into the way something is filmed. Is there a way to use the physical world to further this end? In simplistic terms, for example, does taking your user to a location near a bakery (and consequently its smells) activate memory of some sort? Or is memory outside of traditional cinema so specific that it may be nearly impossible to attain? In a film you can in essence teach the audience that a space, an image, a sound is sacred for example. In the physical world is this possible to do?
Space and Film
“Film and architecture each have their own media that allow the world to become inhabited. There are similarities; both create a world and are temporal. In order to experience space, there is movement—denoting the passing of time. Architecture’s experience is linear—we move from one space to the next by elements and openings showing us the path. The narrative of architecture is the continuous experience of space; a series of related images of the building. Film is edited—it is a sequence of unrelated images. Film can juxtapose images together to move the story and the viewer through the space—a more productive way to present a poetic experience than the linearity of architectural experience.” – (The Poetic Image: An Exploration of Memory and Making in Architecture and Film by Matthew Alexander Sturich B.Arch., Kansas State University, 2003)
How do we as AR creators fight against the constraints of linearity? Is there a way to combine the function of AR with the ‘real’ world that would allow for poetics of juxtaposition?
Linking time to space is a very filmic idea on some level. However, with physical cinema using tools like Aurasma or GPS cinema space and time have new meanings. Film poetics are created through juxtapositions. In architectural or natural settings a new hybrid of space poetics is being created, one that can or does fuse some cinematic elements with architectural ones. What are the factors of space that create rhythm for example? In film, editing is one of the main ways rhythm is set. How will we address rhythm in this new format? Ponder for a moment the long used narrative tool of tension and release that exists in many films. Can this same tool be translated to this new art form? If it can what does it look like? If it can’t what will replace it?
One can begin to fathom time and space. What would be the user experience of standing in a wooded lot for 1 minute vs standing on a busy intersection? How do we as content creators address time of day, weather? Is it the same user experience to stand at the same corner of a city in the autumn and spring?
Miniatures and World Building
“miniature causes men to dream” – Bachelard.
This was one of the most interesting section of the book for me -as it forced me to imagine how to use space as a tool for activating imagination and the relationship between dreaming and poetics. How within our new style of storytelling can we invoke a level of dream? When I think about the AR set in the cemetery in Montreal I wonder how a dream state could be invoked as opposed to creating the direct augmentation. Is it better to show the ghost or not? How do we show it? Where and when? This section also conjured ideas of pandoras box and the power of mystery, the mystery of the users own mind. I could imagine how this might become a powerful tool in physical cinema. Imagine a user standing before a locked door or a fenced off building. How would we augment this? In Bachelard’s world of miniatures allows users to dream. How would we, in the augmented reality of the physical world, be able to create a world within another world? What would that world look like?