#contextual statement

RQ: “In what way can we represent the potential for environmental ramifications and the consumerist nature of the internet through a tangible and informative medium”

Authors that informed our concept:

Our research process began with the idea of societies inherent interconnectedness, yet in spite of this, an individual's inability to look beyond what immediately impacts them to consider the greater network remains almost non-existent. Since the inception of now ubiquitous technologies this problem has been well documented, the essay “I, a pencil” (Read, L. 1958) Leonard E Read dissects the life of a pencil, one of the most basic yet influential pieces of technology, with the intention of breaking down each step of its creation. Drawing attention to the “symphony of human activity” required for even the most basic technology to exist, raising an interesting contrast against something as vast and omnipresent as the internet. CLOUD presents the internet as exactly that, the outcome of extensive labour and industry.

“This is the world we live in, if we weren’t surrounded by it every day, if we didn’t take it for granted, we’d be dumbstruck by its very intricacies and brilliance.” (Read, 1958) Reads expression for gross public misconception has also been shadowed in the presentation of Andrew Bloom during his Ted talk seminar. Who, while not quoting the author directly, shares parallel thoughts when describing the process of the internet; “Whenever we put something on the cloud, we think of losing responsibility for it.” (Bloom, A. 2012) Bloom makes this point in the concluding statements of his presentation after expressing his personal investigation into the internet. Realising his own misconceptions following an amusing incident of a squirrel ‘eating’ his internet, his journey did not end until seeing one of the various submarine cables pulled from the ocean and reconnected by hand. Where the internet has always been the created and maintained through manned labour interacting with it directly. For every computer connected to the internet, is connected to every other device through a band of light and waves, facilitated by the material fibres that allow this code of photons to pass through.

“The immaterial Internet runs on a very material, industry-like infrastructure” (Bloom, A. 2012)

While the actual physical connections between internet users has been outlined by Boom, he does not go into the era of information dependence we now find ourselves in like speculative designer Thomas Thwaites does. Raising questions around our dependence on energy distribution and the sustainability of modern society. Energy futures (Mazé, Messager, Thwaites & Önal, 2013) is an examination of social trends regarding energy usage. This project depicts a future where ‘flick of the switch convenience’ is no longer feasible due to the influence of external factors on electricity generation e.g. environmental factors as a result of climate change, forcing us to critically reflect upon our consumption habits and the subsequent environmental ramifications. Through a process of exploration and reflection we identified similar trends existent in societies relationship with the internet, whilst adverse effects on the environment are less obvious due to a lack of knowledge surrounding the infrastructure and industry that underpins it all the effects are no less severe.  

Existing artworks that informed the techniques and aesthetic:

The Immaterial project, created by Timo Arnall, Einar Sneve Martinussen, and Jack Schulze (Arnall, Sneve Martinussen & Schulze, 2011) demonstrates an example of visualising seemingly immaterial forces (in this case Wi-Fi signals) through light. Expressing a visual map of the digital environments through the use of LEDs and exposure photography. While not directly relatable in its method, it does provide an interesting concept into visualising data transfer through the internet.  A concept of data transfer and interaction also exhibited in Mark Hansen and Ben Rubin’s ‘Listening Post’ (Hansen, M & Rubin, B. 2011). Featuring a display wall of multiple screens displaying messages sent through random chat rooms and forums on the internet in real time. Creating a display of apparent randomness when valued message by message, but becomes dynamic and alive through the metadata-like presentation of various interactions constantly firing within the internet. While people's connections were only partly explored during development, the power of displaying constant activity and interactions was well realised. A strong aesthetic of fluctuation in patterns can help to give an appearance of life and movement to the fibre-optics with the intention of having it appear larger to fill a real space in studio.  

The concept of visualisation through abstract has also been developed in ‘Fibre Optic Ocean,’ by Ozge Samanci (Smanci, O. 2015). However, this time much more closely related to the internet’s environmental influence. Making use of real time data to influence the display and visualise the fluctuations in both shark and internet activity. By using key data related to shark movements and internet usage, Samanci is successful in relating the artefact to a larger issue through connecting its meaning to an ongoing present time. Used as a tool to generate musical scores and influence the light patterns in the display. Where fibre-optics acted as a direct reflection of the materials impacting sea life, while also incorporating the aesthetics of fibre optics in a meaningful way. Drawing on this, and despite not being able to utilize live data due to copyright, CLOUD is also rooted in the environmental influence of internet fibre-optics, but adapted and expanded to also reflect the energy consumption and destabilising sustainability of the internet connection.  

In essence, this design future speculates on the adjustment of established behaviours, something CLOUD asks our audience to reflect on while remaining heavily inspired by the combination of works above. CLOUD intends to develop these broad observations of connection, energy, and material process’ into a focused abstract of this unappreciated force as a tangible and informative artefact. 

References: 

Read, L. (1958). I, pencil: My family tree as told to Leonard E. Read. 

Blum, A. (2012, May). Tubes: A Journey to the Center of the Internet. New York: Ecco. 

Arnall, T. Sneve Martinussen, E and Schulze, J. (2011). Light painting Wi-Fi. Retrieved from URL: http://yourban.no/2011/02/22/immaterials-light-painting-wifi/

Samanci, O. (2015) Fiber Optic Ocean. Retrieved from https://vimeo.com/139216831

Hansen, M & Rubin, B. (2011). Listening Post. Retrieved from URL: http://earstudio.com/ 

Unstable Tanuki is about the trickster and how unpredictable the trickster can become, as tricksters are known for using deceptive techniques to deceive audiences through the use of energy manipulation.

My idea is derived from the late 18th century of Japan where the Tanuki (Racoon Dog) was renowned as mischievous shape-shifters haunting and possessing humans and then later on towards the 20th century being famous for promoting prosperity and fortune. The Tanuki is a trickster who doesn't behave as it should - using illusions to trick audiences turning leaves into currency to satisfy its own selfish cravings, the currency then returning to its worthless form when the trickster vacates the scene. By Soga Shōhaku 曽我蕭白 (1730 - 1781). (n.d.). Tanuki - Japanese Trickster & Spook, Originally Evil, Now Icon of Generosity & Prosperity. Retrieved November 01 2016, from http://www.onmarkproductions.com/html/tanuki.shtml#origins

My work embodies this deception by encouraging people to expend their own kinetic energy on the device and playing on the audiences misconceptions of how the device in the project will act when the on switch is pressed expecting a reward when pressed however left receiving nothing in return. By reducing the size of the displacement. (n.d.). CHAPTER 7. Retrieved November 01, 2016, from http://teacher.pas.rochester.edu/phy121/LectureNotes/Chapter07/Chapter7.html

Influenced by the documentary film Waking Life this opened up many paths of exploration for me. I found Waking Life vital to understanding the many forms and mediums the Trickster envelops. One of the mediums used that stood out to me was the use of portals, in my display it is setup in an enclosed walled space with walls white and empty symbolising the entry from one form of reality into another using death as a portal. Linklater, R. (Director). (n.d.). Waking life [Video file].

I met a man named Shahram whilst working who had been a shopkeeper in Iran when the war started, he had gone  from honest merchant to illegal black market dealer moving to New Zealand and became a chef, Shahram’s story felt so similar to the Tanuki I decided to listen further, After becoming a prosperous chef and working many long years he told me at one point whilst working he dropped, dead, for 20 minutes, he described what death was like to me, he told me “Death was like a white portal.” Because of this story I decided to use white as the wall color. Fukushima, M. (2016, November 01). Shahram's Story. Speech presented at Story of a shopkeeper in Eastridge Mall, Auckland City.

Shahram's Story as told to Michan

“She took a step and didn't want to take any more, but she did.” - Markus Zusak. Every individual has a perspective of their reality and surroundings. Over the semester I have been developing a range of soft skills while studying Alice in Wonderland in the Object Performance studio stream. We all interpret the world divergently some people are optimistic, realistic or pessimistic. The purpose of my project is to portray to my audience what my interpretation of ‘Wonderland’ is through a range of mediums and also relate wonderland to my reality of living in Auckland City. Throughout the semester I explored a variety of creative practices, as a result my final project for submission is: a series of digital prints, laser cut roses, wonderland box with a range of objects from the books and movies, a short story and a small Arduino circuit. These are my main research points throughout the semester: photo manipulation art, textile pattern design, and author: Lewis Carroll, NZ author: Kirsty Gunn and the Alice in Wonderland film(s). My final project reveals what it is like to be in an unfamiliar environment with a mental illness through a range of creative technology mediums.

A range of still image artists and fabrications have influenced my digital prints. I chose to do photo-manipulation to express my conceptualisation of ‘Wonderland’. My main artist models which I have referenced for my designs are: Andy Warhol, Fiona Pardington, Salvador Dali, André Kertész, Sarah Charlesworth and Lisa Reihana. I chose silk charmeuse to print my photo-manipulation images onto as it aesthetically reveals an art gallery ambience. Using a lightweight fabric signifies the delicacy of my version of ‘Wonderland’ and how each individual’s ideas can be fragile; especially when exposing them to other people, as students can feel vulnerable when presenting their work to their peers. The final six series of my work communicate how it feels to be living in ‘Wonderland’ and today’s society.

Layered laser cut art have been a significant inspiration for my Alice in Wonderland roses to be physically made. Anila Quayyum Agha is the fundamental artist model for me wanting to create a laser cut image. Witnessing numerous laser cut artworks gave me the incentive to pursue creating layered roses at the 3D Lab. I have expressed my interpretation of what the ‘red roses’ from Alice in Wonderland look like by painting some layers to represent how the Queen wants everything to be her way. In this instance I have created ‘Wonderland’ in the way I envision it. Understanding the process of laser cutting has benefited myself, because I can take away from our degree a useful design skill.

My ‘Wonderland’ environment model I have made has been influenced from a variety of stories and films. Symbolism is a major factor for the final outcome of this physical re-creation. I have made my own objects and have purchased a variety of items which represent the original and retold stories of Alice in Wonderland. I collaborate a sympoiesis viewpoint between my own interpretation of the environment and the historical translation of ‘Wonderland’. By having a collection of objects I wanted them to convey a message that everything has a purpose in life, everything is not straightforward once you have given energy and time into each item placed inside and outside of my wooden black box.

Incorporating creative writing to describe a short story of my current perception of the environment I am surrounded by I reference Lewis Carroll’s story of Alice and Wonderland. Kirsty Gunn is also a short story Aoteroa author who has been an influence on my short story. I wanted to portray what it is like moving to a new environment when you have a range of mental illnesses and how it feels like adjusting to a larger city. Reflecting on where I currently live and how it affects me on a day to day basis relates to Alice feeling lost while being trapped in Wonderland. Expressing how you feel through literature has helped me mentally, because it can be challenging and you can feel lost in a new environment, but it is crucial to be able to express how you are feeling when you are trapped in your own thoughts.

ACASA is only a study of water homes that already exists, but its authenticity will be further developed in semester 2 after the team has a better grip and understanding of water homes.

Land scarcity is a problem the future human civilization will face.

Due to:

Exponential population growth

Biofuel production to aid fossil fuel shortage

Soil depletion

Rising consumption

Rising sea levels

Etc

Alternative Possibilities (from living on land)

Vertical buildings

With the invention of the elevator, it granted humans access to living above the ground. But the problem still persists, living vertically still needs land for it to be built from ground up.

A few other concepts could be:

Living on another planet Like Mars or even the moon. Humans could also start living up on space on space ships in the future. But flying out of Earth is way too expensive. We should look for alternatives that is easier in terms of accessibility.

Floating Air ships This will again be too expensive unless someone starts defying gravity anytime soon... hhaha!

Underground living This could be too inflexible when it comes to change though. But could work around that problem.

Living in desserts Insuffiecient water supply there though.

Living on the water Earth’s surface is 70% water. We believe that building on water is the next logical step to the human colonization advancement.

Positives of building on water:

Dynamic and flexible to change- structures are easily movable

Resilient to climate change floods and hurricanes- more safe as it moves with and not against nature

Easily relocated

Easily expand cities that already exist on land- expand urban fabric

Easily make a floating, dynamic infrastructures more adaptive to change-flexible urban components

Building on water adapts and adjusts easier to change as it is dynamic compared to buildings on land.

Could be more sustainable

‘Scar-less development’ easily packed away urban components without leaving traces

ACASA

ACASA is a project of aquatic homes that offers a resilient and sustainable modern lifestyle for the future generation.

Studies on existing water homes:

http://www.bbc.com/news/business-30412913 http://www.inspirationgreen.com/floating-homes.html Netherlands https://www.youtube.com/watch?v=IqmmuIbchvU  TEDX https://www.youtube.com/watch?v=0deiRRqWLgU https://www.youtube.com/watch?v=nFcxaymOpes http://time.com/2924637/7-floating-homes-that-will-make-you-want-to-live-on-water/

For my Animation and Moving image project, I am working with Yuyu, William and Michan. Our group decided to make an educational game based on poverty, our main objective is to raise awareness of the struggles a person living in poverty goes through everyday. To allow players to explore a more detailed environment and understand how hard it is to survive in such conditions.

We are making an immersive exploration game about the problems in third world countries. For this semester we mainly focused on refining our skills with unreal engine 4 and to work together to help players understand how hard it is to survive within the harsh conditions of poverty with facts.

The map we are making will be listed with facts that are located at specific areas and events throughout the environment. The layout and design of the map is spaced closed together to make it represent what it looks like in a poor suburban area. We have slum shacks spaced closely together along with a messy industrial area on the side, both of these areas lead to a large market place where people interact making the whole scenery look busy. We have used Unreal Engine 4 to build our game, so that it can run smoothly in terms of performance, gameplay and involvement with the area. With the materials and textures that we have established due to the high graphics of the engine, the player is immersed into our simulation completely to make them feel sympathy and immersed.

The reason of why we have chosen to help raise awareness for countries that are suffering from poverty is because they don’t receive enough recognition. We want to create an experience for players that are eye opening, throughout years people have tried to help raise awareness with charity and by using their voices. We want to help these people with our game to allow players be more knowledgeable about the problems a third world country goes through.

Since survival games are usually noticed as a game to try and stay alive in, we based our game around the idea and feeling of a survival games, such as ark and mine craft. We have taken our time researching about poverty and the causes of it such as religion and government corruption. We also hope to create an experience with an interactive system that resonates with a player on a much deeper level.

What I wish to change in our game would most likely be to evolve it into a survival game, instead of keeping it an educational game. I want to make the player feel more immersive within the environment and to have them relate to what it feels like to live in poverty. It’s important to us that people understand the importance of basics human needs and that there are people that are forced to live without access to these basic needs every day who are living in third world countries.

Our goal in the end is to make people realise the dangerous environments, diseases, struggles and the harsh reality that people who live in poverty have to go through every day.