Capriccio Sketch

Participant starts the journey without mood or experience represented by the white box. Each color lines represents individuals experienceing the space while each person has their own decision of what they would see next. In the end, each person will have different opinion and feelings towards their own sequence and what they have experienced.

Manifesto: Sequential Experience by Mood Alteration Through Space

How a place or space gives you “mood” can hardly be describe with just few sentences. People receive spatial information from the surrounding and spatial information in this sense is what the space and its elements together contribute to make certain mood. The stronger the imposition of that spatial information, the strong impact it has on a person. There are so many variables that contribute to have impact on a person’s experience ranging from a slightest change in light to physically dimensional closure. Of course the mood are subjective to each individuals, but majority of people would receive similar spatial information.

Mood itself is just part of an experience and can be varied along the journey so the question is “What makes up the overall experience?” There is a big difference of how people experience space motionless and sequentially because the aspect of a sequence requires changes, and changes can be by choice or fixed. It is much more interesting for people to choose than to let them walk by our foot steps so that they can have their own sequential experience.

In order to transmit the right spatial information, we need to know the elements that created them. A space with lots of design elements would give you many moods but a space with lesser design elements can really control the spatial information imposed. The exploration of the experience of mood alteration through space is done through the use of selected samples of the design elements such as dimension, light, and sound. These elements are chosen and put into sequence to create the most interactive and powerful spatial information along the journey.

The variety of choices of paths, inscribe with intended spatial information, can be taken in any sequence and that will alter the mood of a person. The exploration does not only explore the mood alteration impacted by space but also explores the whole experience individuals get from choosing their own sequential experience.

Sequence Experimentation

Breaking elements in space that could create emotion into individual and putting them into sequence to test what experience they project.

Light

Ground Light

Dimension

Color

Material

Texture

Pattern - small change

Pattern - extreme change

Manisfesto : Sequencial experience (draft)

Nowadays, people are lazy because of the growth of technologies that are available in life. People see and experience things on screens with just a single click in your laptop. But does that experience really real, or is it just things subjected to you? When we plan a trip to foreign country, we look up for places to stay and where to visit in the net. The decisions on choosing a hotel will commonly be judge on pictures of the lobby, bedroom, or bathroom available. After you choose the hotel and booked them, you have that subjective thought in you about that hotel experience. It would be fun, it would be amazing, it would be nice and what so ever but when you actually visited the place, do you always feel the same as when you are booking the hotel?

This example clearly show that there are certain limits of information a picture or a video can give you and this raises the question “Does spaces also has limits?” Does the mind function better with 5 senses turned on rather then 2?

I have done researches and case studies on how certain type of space can triggers certain emotions. Mostly they are all combination of design elements put together to create specific reactions. Some may require narration before hand to make the experience work in that space or some may require interaction with object or people to create atmosphere. So what I am interested in is the essential role of the space itself? Can space on its own triggers emotion? And how far does the space need to go in order to make you feel?

The intention of the simulator is to search for the “limit” of the space. The simulator will be taken some of the elements for designing emotional space to the extreme for the test on how far a controlled space should go in order transmit the intended message and for the participants to give reaction.

In order to do so, they simulator needs to be program in a routine of experiential test consisting of test in closure, test in visual, and test in sound. Each test will have specific time duration predicted for a response. The simulator operate by letting the participant stand in the middle of a white empty box unnoticed of what happening next. The first test is the closure test where the moveable walls will lean on the participant, creating discomfort at certain moments. The second test will be the test in hearing. Again the participant will stand in the middle of the box while the speaker in different level plays a sound. This test will be dividing into two sets, low to high frequency, and quiet to loud. The last test will be on visual where the room will be lit off. Then the projector will start projecting images in sequence fast to slow to test at what speed the participant can understand the sequence. Different people will have wide range of emotional responses so the simulator will record the response from the participants with specification of time.

Simulator First Idea

This is the first idea of the simulator where the purpose was to test the limits of a person by a changing space. The simulator would consist of 3 test. The participant would stand in the center of the box as marked.

The first test is the "Closure" test, with walls collapsing at you but would make you no harm to see at which specific angle would make the person feel uncomfortable.

The second test is the" Hearing" test, with different positioning,  volume and pitch of the sound, how does certain sound create certain response.

The third test is the "Visual" test. The room will be projected with text spinning around the room at different speed to see at which speed they will get the message.

manifesto

Simulator manifesto 

Our visualization is based on how we look and perceive thing. The clarity of the vision depends on the resolution. High and low resolution depends on many factors. However, it is usually not recognized by our perception until there is an unusual experience. A consideration of resolution and perception of each person could be totally different. Some elements are suit for high resolution while some for low.

Low resolution and intricacy are perfect for understanding spaces, gender, lighting, living and nonliving things. Its simplicity is easy to recognize and identify the space. However, there is a possibility of identical between each element. This is because the simplicity creates the similarity of things. Therefore, low intricacy is a removal of the details and leave out only its significant information such as line.

In contrast, the high level of intricacy is more likely to be complicated and complex. It is difficult to recognize the information and details that are revealed. Sometimes, it could be a challenge to a viewer to understand and distinguish each element in the space. However, being in the high level of intricacy creates an atmosphere of experiencing the space more than usual. This is because there is possibly a high level of complexity of element while identical elements are rarely existed.

In reality people tend not to distinguish the space by vision, until an unusual event take place. Or the intricacy is removed and left out the important information to recognize a space. ‘Edges’ is one of the main significant elements to reveal the transition from high to low. If the resolution can be fully control, then the result of understanding the space would be the same for everyone. So what is your favorite level of intricacy?

Reference: Zach Lieberman - On POPTECH! talk.

Zach Lieberman: Interactive Art from PopTech on Vimeo.

A talk by Zachary Lieberman, an interactive artist, researcher, and programer who uses technology in a playful way to explore the nature of communication and the delicate boundary between the visible and the invisible. He create performances, installations and on-line works that investigate gestural input, augmentation of the body and kinetic response.

(Description rephrase from - http://yesyesno.com/zachary-lieberman)

Is very interesting to me when the users and observer interact and give attention to his installation. They seem really impressive by the playful method he uses in his works, and it also develop new way of thinking for the people who attend his installation, or even solve the unnoticeable problem by using a basic technology with program he wrote. And he is also a fun and enthusiastic speaker to listen to.

Reference: Interactive Laser Installation

rAys V2.0 interactive laser installation from Beyond Expression on Vimeo.

This is the reference for my simulator, it is where people can create sound and visuals by moving across the censor platform. Because of this installation can create many different light effect and visual, people have use any objects from glasses to their shoes to play in this installation.
The installation create a whole new experience to the night event, from ordinary night club into explicit and fun place to come.

Experiential Manifesto: on Interactives, Mobility, and Transformation.

The melody we heard and memorized by the second time we listen to it, are composing by an arrangement of notes putting together with rhythm. A musician arrange them sequentially note by note produces each song from their perception of the world and they translate it through mood and tone. These sequences gain people recognition and also let the audience discovering themselves through the moment where someone start to carefully listen to it and conceives a story. The melody might involve many feeling depends on each interpretation of the listeners, whose receive it by emotionally emerge into the melody.

Instrument is a device for musicians to sending these feeling toward the audience, when they play vigorously, the audience can easily feel more energetically unite into the songs. Because the inconsistency of human hands, make each composition a musician plays unique, combining with the music instrument that each has special qualities, create explicit moment when one can own an unique experience while listen to it only once.

By investigating Capriccio painting which consist of details in elements, texture of paint, or even light and shadow on every single wrinkled of cloths, those elements compose a painting where levels of intricacy appear to an eye by us perceiving and interpreting it. The painting is unmoving thus the details and combination of elements can compare as the notes that a musician arranged, and each feeling we receive from observing them closely can compare as each time a musician plays the melody that always give us a different emotional experience.

If some objects in the painting being removed, replaced, or transformed, then the whole story of that painting will be shift, which it also gives audiences a new experience even a slightly change in details. This could mean that things we see and the melody we hear, always tell us some stories or as if we enjoy imagine our own story while perceiving them. However, we often pleased by a new experience we perceive from changes or transforming objects and that we tend to having a feeling of discovering new things that we never have had before.

Then the new experience that people is looking for should be something that interesting enough for them to discovering or taking parts in it. Usually a large structure like an architecture has a quality of permanentness that once it built up on a land it stays there for a long time. Technology might help architects to create dynamic or newness into its shapes but it might not as attractive as the experience a space can gives when a person move around within it.

Another aspect that could brought a discovering moment to people is the mobility aspect, where one person might unexpectedly discovering new things when moving around a space. Comparing to an objects that stay still in one place such as a sculpture in a park, it might represent as an ornament to a space that gain our recognition but once we understand that it is there, we tend to only use it as a landmark and does not interact or pay attention to it more or less.

By having a special quality of movability and transformative of a space and object within space, could have seduce people to pay attention more and also have them getting involve with various particular objectives they are interesting in. And by having people taking part in these objectives, together it creates interactive relationship between human, objects, and space.

Nevertheless, An interactive needs acts and reacts in order to compose the action, it needs people to act upon it and then a space reacts to people’s movement. When people moves the objects around, it will effect the environment. And when many movement and transformation of space has happened, it would compose an accomplished goal that rewards people with outcomes such as an entrance to another hidden space or a complete melody for composition of a great songs.

I hope to achieve an experience where the audiences meet with the ‘discovering moment’ while engaging objects or space that attracts them to move around and play with it. Then they would receive the results of new experiences and a goal they want to reach. It could result in creating a new direction for them to move along and also invite them to come back and explore it again.

Caprricio + Manifesto

   

    Since in the prehistoric age until today, we, as human beings, are capable of telling and passing on stories, myths and legends to younger generations. The narratives (meaning) of these stories are up to the choice of the teller, what one chooses to tell or omit. Through these different narratives, the stories are embed within the listener’s memory until when the narrative is broken.

   The question is “what can break a narrative sequence” and what breaking it do to a narrative?

   The exploration of the experience of narrative through choice and the experience of the alteration or the dismissals of known narratives is done through the use of colour, material, sound, objects and dimensions. The expectation of all these elements to correlate and in sequence with each other is now challenged and instead, be replaced with the extraction and the dismissal of narratives elements.

     How the expectation of a narrative leads to emotional satisfaction and how some of the elements of these narratives are omitted are being explored.  For example, how one could know a story so well but they still enjoy reading it over and over again because it gives the satisfaction but once the story doesn’t continue like it usually is, the whole experience of the reader changes.

   The variety of choice or paths which that can be taken in any sequence will determine each element of a narrative and how that specific path leads to a different narrative than the other paths. The building up of a narrative through each path can be determines by the choice of oneself.

    The expectation of a narrative and their emotional senses such as the contradiction between a dark pathway and a bustling city will be combined together to form one of the many narratives, creating a different spatial configuration.

     The exploration of this topic questions the impact of a series of different narratives have on space and people, and the dependant of a narratives through choice. Moreover, questions the impact of a broken narrative sequence have on spatial qualities.

Amanda Ellis

*read more for cappricio*

Simulator Manifesto (Rewrite)

When we were kids, growing up, we were taught by several people about several things. We did what we have been told are the right things to do. When we were teenager, we were curious and start to question things around us. We were ambitious and excited to find answers. We learn and know more from school and all the media that we have an access to. We began to filling in the gap in our head with our discoveries. As information was pouring into your head, it replaces the imagination that you used to fill in those gaps before as a young child.  You started to lose your tiny bit of fantasy day by day. You are increasingly bond to reality and engage them to your thought and mind.  You become so rational sometimes that you disregard the possibilities of the impossible. Do you miss dreaming the dream?

People stopped dreaming because daily life is so busy.  Most actions are repeating five days a week. They just accept it as it is and think of it as apart of what life should be. We started to loose ourselves to the robot world. We have encountered, realized and been through in life that makes you stop believing. Disappointments make you stopped imagining. It couldn’t be denied that the excitement and creativeness in life has faded. Suddenly, we fear of ourselves being ambitious. We fear to step a foot on the wrong path. We fear of making mistakes. We locked ourselves in a box. The box needed to be exploded. Isn’t it the dream that driven us to the point we are now? Isn’t it the ambition to reach the dream that make us a person we are today?

We have been through transformation in life. We have transit through many stages of experience, opportunity and etc. As we go through each transit, the one before is faded. Some take such along time but some take so little. It depends on how we perceive, how we react, how it effect us and how it was put and plug in to our memories that defines its value. 

Experiential Manifesto

Just imagine.7 am wake up, 8 am leave the house, 9 am work, 12 am lunch, 1 pm get back to work, 6 pm return to home 11 pm sleep. This routine is what many people have to face, and this is what a “Reality” is. This routine gets repeated everyday, from a month, to a year, and to years, and as this routine keeps repeating our excitement reduces. What the architecture of today gives us is no doubt a good environment for us to do our daily activities. This might already fulfill what we need, but it doesn’t bring any other change to our lives. Our daily routine is still the same, and we still have a very plain rhythm of experience.

But if we look at the “theme park“ for example the Disneyland, there is a lot of change in our experience throughout the day. From the small impression of seeing new scenery, to the very exciting moment on the thrill rides, to the joyous moment from the parades, to adventurous moments in different attractions, and finally to the magical moment of the fireworks in the end of the day. This experience breaks our daily routine; it created a very different rhythm, which is very different from what we always have. This makes a day in Disneyland a magical day, and a memorable experience. Our day in Disneyland would be a “Fake” day that only existed in our life once in a while. Disneyland gives us more than just a good environment where we can spend our time in, but it also gives us excitement, impression, and happiness, and this is what not many architecture or place in the world could provide.

However, Disneyland give too much important to the story and the characters in the story to create a good experience, this actually make the experience more meaningful, and more impressive, but it is also easier for us the guest to differentiate between what is real and what isn’t. The character and stories heighten the good memories, but make it less practical. We cannot integrate our own life into the Disneyland. It is a place where we would spend our holiday in, but not our working days, which is much more than the holidays. It is too separated from our daily routine. It is good that we could forget our reality and have a magical day; this would make the day to be very meaningful to us. But when the day ends, the happiness was all replaced with the feeling of regrets, and wishing that we could go back to the time, which never going to happen.

How good is it, if we can only return back to the magical experiences only once in a very long time? How good is it, if we know that where we are in is actually a “Fake” space, and we already know the ending part, the “Reality”? And how good is it, if we know that tomorrow “there will be NO Magical Kingdom”? What we need is a place that would break the rhythm of our daily routine. A place that exercise the feelings that we haven’t feel normally. A Hyperreal space that we know what we are experiencing is “Reality”, even if it is a “Fake”. And a place that is a part of our reality that we know we could return to it anytime we need.