Future Cinema

phenomenological AR

background on Steve’s work here:
http://genesis.eecg.toronto.edu/

link for shared google doc October 11 2017 – augmented space/poetics of space

https://docs.google.com/document/d/1In_ZT51v8GVzjuaRbXxX1CYeh8bvSooAyPspWEz-Tzw/edit?usp=sharing

question

Manovich asks “how is our experience of a spatial form affected when the form is filled with dynamic and rich multimedia information?” Is this intentional architectural choice meant to produce a subtle effect for the individual in which they are incorporated into a dynamic space without any sense of power? Or is this choice deliberately designed to alter the individual’s experience?

Where is class today?

Hey,

Does anyone know where today’s class is?

question for today’s class

Does the constant surveillance/documentation of people’s experiences of spaces and the ability to impose data about/from the past onto the (often vastly different) present change the way we understand time?

Question for the Day

Gaston Bachelard, in his chapter on shells, speaks of a Bosch composition, in which the growing dream “of inhabiting all the hollow objects in the world” removes the tranquility of isolation and retreat in favour of the “frenzied joy” depicted by Bosch. He speaks of the shell as a place where we “must be alone. By living this image, one knows that one has accepted solitude.” When we’re sad, we want to live alone, a ‘dream’ shared by all peoples, yet Bosch’s shell presents a cocoon where a group shares in “feasting and carousing.”

In applying this to our work, will our ’new technologies’—the augmented and virtual realities which act as the ’shells’ of our world—participate in a collective ‘frenzied joy’ as depicted by Bosch, with group participation an increasingly essential element in their application, or will their use be contingent on the user’s removal from the communal in favour of accepted, perhaps inevitable, solitude?

—marko d.

Question(s) for Today’s Class

Building off of the Bachelard and Manovich readings (especially the latter):

How is surveillance embedded within every space (even artistic ones)? How has the embedding of surveillance within our spaces changed over time? Is there a poetics of surveillance?

- Theo X

Some sound musings… or rather, musings on sound

Nothing revolutionary, but I was reflecting during the discussion on sound about the power of music to propel action. When running, I can go from almost no energy, barely able to keep a trot-like pace, to running at top speed for extended time if the right beat comes on, with the right swells of crescendo, etc.

I was thinking about this in relation to the Isbister text and how this ability of music to increase or reduce energy levels could be leveraged to impact the body’s movement, which Isbister clearly ties to heightened emotional response. I think it’s established that music can affect emotion, but it was interesting to consider it from the perspective of affecting movement, which further impacts emotion and connection.

I was also thinking about Noisli, an app I recently purchased which has changed my life. It allows you to layer and mix white noises like trickling water, thunderstorms, rain, crackling fire, wind, etc. It’s great for blocking out other distracting noises and allowing me to really hone in and focus (or, achieve flow) when writing, for example. How can using music and sound to isolate and increase focus help to improve an immersive experience?

Bachelard, Manovich, and the Poetics of Space (Augmented or Otherwise)

Hello everyone—here is a brief summary and attempted synthesis of the Bachelard and Manovich readings, with a few questions for discussion at the end. Looking forward to hearing everyone’s thoughts and impressions in class! – Seb (more…)

EVENT oct 20 – indigenous storytelling in vr @TIFF

http://www.tiff.net/events/2167-indigenous-storytelling-in-vr/

The art of story creation in virtual reality offers a point of view and presence of place, space, and environment that may be the closest comparison yet to Indigenous oral storytelling practice. How are Indigenous artists bringing their world view and concepts of time and narrative to this medium in conjunction with the Indigenous futurism movement, and what are they learning through their first forays into VR?

This engaging discussion offers the creative, cultural, and practical considerations and reflections of the five Indigenous filmmakers and artists of the 2167 initiative — Jeff Barnaby, Kent Monkman, Danis Goulet, Scott Benesiinaabandan, and Postcommodity — who were commissioned to create VR projects envisioning Indigenous life 150 years in the future.

This event is presented by CMF as part of the imagineNATIVE Film & Media Arts Festival, with support from TIFF Higher Learning.

Individual students wishing to reserve a ticket in advance (limit one per person) may do so using the sign-up form on this page. Administrators or faculty looking to reserve a block of tickets to this event can email hlf@tiff.net with their request. This event is also open to the public. Tickets will be made available from the Box Office 2 hours prior to the event start time.

Tags: events, indigenous, vr