Making Moments by ev writes

MAKING MOMENTS

ABSTRACT INTRODUCTION 1ROUTINE 2STIMULI 3FAMILIARITY 4IMMERSION CONCLUSION BIBILOGRAPHY APPENDICES

IMMERSION EXPERIMENT (Kok, 2015)

act of recalling becomes increasingly difficult. â&#x20AC;&#x2DC;Making Momentsâ&#x20AC;&#x2122; is an on-going study that explores methods to which memory could be triggered through the use of various stimuli. It aims to understand how humansâ&#x20AC;&#x2122; memory work, how some memories are etched in our minds while others seem to stay only for a short period of time. The study taps on individual experiences with my grandma, who faced problems with her memory, and the understanding of theatrical elements, which has the ability to continuously captivate its viewers. Research through interviews with specific individuals, studying existing designs, articles, workshops, theatrical works, and tests were undertaken and designed to have a better understanding of the topic area of memory.

Memory is the core of what we know, what we do, who we are and how we go about our daily lives. The mere action of walking taps on memory itself, it is learnt through our first steps, the memory is then re-emphasized through constant repetition. It is in this repetition that the act of recalling is taken for granted. When ageing begins, the deterioration of memory is inevitable. The refer to appendices refer to appendices

From research done, I found that memory is dependent on the amount of attention and focus we have on an object or event, and the interdependence of our senses that allows us to experience surroundings. The mood set by surrounding environment cues appropriate emotional responses. While timing for various actions and audiovisual elements occur, is crucial in catching ones attention. Both emotion and attention are hence key to retaining memory. The study has therefore helped to define parameters where my project lies in. The project aims to prolong retention of new memories created through the use of theatrical elements to enhance experiences for those faced with memory loss. refer to appendices refer to appendices

ABSTRACT INTRODUCTION 1ROUTINE 2STIMULI 3FAMILIARITY 4IMMERSION CONCLUSION BIBILOGRAPHY APPENDICES

When grandma was hospitalized for low salt level in her body, a distinct symptom of memory problem surfaced. She struggled with recollecting present moments yet she spoke of past events with fluidity and detail, as if it had occurred the day before. As time went by, her declining memory started to affect her. She didnâ&#x20AC;&#x2122;t do the things she used to do but strangely acquired new habits. These changes werenâ&#x20AC;&#x2122;t drastic, but they were distinct enough to make me feel like she was a different person every time. It was as though the decline in her ability to remember affected and altered her identity.

AGEING TIMELINE (Kok, 2015)

our bodily function over the course of our life span. From that of birth, we start growing, becoming physically stronger and stronger. Reaching towards the vertex. The vertex then represents the maximum ability we acquire in our lives. This is also the turning point as our bodily function starts to deteriorate following that. We relate this deterioration to a sign of ageing. The brain is no exception. Thoughts and feelings are formed inside our brains through the connection between neurons. These are then translated into memories that resonate in our minds sometimes for a short while or a long while, consciously or subconsciously. As ageing begins, it is thus inevitable that memory deteriorates overtime.

THE FRAGILE MEMORY

Memories are highly intangible and fragile. They are stored in our brains far from that of facts. Emotions and sensory exist within our memory; they play an important role in influencing what is remembered and forgotten. When drawn upon each time, the memory changes in accordance to a particular aspect we bring our focus to. It is this change of focal that it begins to reveal something different, adding to or subtracting from our knowledge of that experience. Memories are thus malleable, evolving subtly each time it is told .

AGEING

As human beings, we all lie on an inverse parabola, in which the horizontal coordinate is time and the vertical coordinate is bodily function. This being said, Ageing Timeline represents

Yet memories are an integral part of the self, they constitute our roots, experiences and most importantly who we are. It is from moments and experiences that we start to understand and learn from the world around us. Viewed from oneâ&#x20AC;&#x2122;s perspective, they are very much individual and personal. Our memories define us as individuals and set us apart from each other. It is thus the core of our identity. refer to appendices refer to appendices

There are three items I have to get from the supermarket. A list for three items isn’t necessary at all. I will definitely remember them. Lets review what I need to get. 1) Eggs Where are the eggs? Ah! There! Past the shelves. Right at the back of the store. Right, what’s next? 2) Ziploc Bags Towards the left of the store, around the shelves and right up front. I’ve got these two, now what’s the last one? I know this. I’ve got eggs, Ziplocs and…

LOSSING MEMORY

We don’t only face memory problems at old age; in fact we face it every day of our lives. How many times have you faced a scenario similar to this? Where you gone to the supermarket to get three items and came back with only two, simply because you couldn’t recall what the last one was. How about that time when you had a thought during a conversation with your friend, but when he/she finished her sentence, you just could not recall what it was?

I wanted to tell you something a minute ago, but I just can’t remember it what it was.

Does this phrase ring a bell? These are the “shortcomings of memory” ; it is this fear of loosing that thought that we continuously search for ways to aid us in remembering. A checklist, a calendar, a note or a reminder, these are ways in which we deal with forgetting in a small scale. However, memory loss at old age is at a much larger scale. The checklist, calendar, note or reminder could only help to a certain extent, yet many elderly still fail to keep up with these ways. Have we then gotten our methods of remembering wrong? The study therefore explores how memory is triggered and could be retained for a longer term.

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GRANDMAâ&#x20AC;&#x2122;S ROUTINE MAP (Kok, 2015)

Grandma showed signs of memory difficulties within a short few years; her condition interfered with her daily life. These include behavioural and routine changes. Since everyone faces memory difficulties differently, it is thus crucial to start by understanding an individual first. Kitwood states “the frame should not be person with DEMENTIA but PERSON with dementia.”(Kitwood, 1997, p. 7) To further understand memory loss and its effects on a person, I decided to draw from personal experiences with my grandma. Grandma’s Routine Map shows her routine, before and after deterioration of her condition. By speaking to those closest to her, I begin understanding her experiences. Through mapping changes in her likes and dislikes, routines and hobbies, I started to draw links between them. Her hobbies and likes/dislikes exist as part of her daily routine before memory problems surfaced. These include her enjoyment of gardening , cooking, drinking tea and watching television. However, this took a turn when she faced memory difficulties, she started placing little emphasis on these activities. Her routine became increasingly irregular and activities were reduced to merely doing what was essential. Without stability in her daily routine, her judgment of time was greatly affected, taking a toll on her well-being. The overlapping of activities in the ‘After’ routine represents this irregularity. A drastic change in grandma’s routine ignited a series of changes in her way of life. Have we then underestimated and taken for granted the importance of routine? In fact, many have already uncovered routine’s power. Routines are essentially everyday procedures, encompassing a series of next steps. They give us a structure to work with, the stability of knowing what comes next do we then find comfort in the presrefer to appendices refer to appendices

ent. ROS Therapy Systems states that routines “helps set expectations and provides a comforting conformity and purpose to everyday activities.”(ROS Therapy Systems, 2014) Although it is proven that repetition enhances our procedural memory (Lunde, 2013) , it however does not mean that we will remember every single step within a procedure. Gawande further emphasizes this point stating that “however supremely specialized and trained we may become, steps are still missed. Mistakes are still made.”(Gawande, 2011, p. 31) A skipped step within a simple task might have low impact, however this may prove detrimental for a complex task. For example; a missed step in building construction would result in lost lives. How then do we remind ourselves of procedures and next step to ensure that none are missed or repeated? I explored a way of reminding through the use of grandma’s routine as a base. Although most of her activities have changed; one activity that she kept was having a cup of tea at the start of each day. This prompted me to explore the procedure of Chinese tea brewing through a process of prototype creation.

PROTOTYPE MAKING (Kok, 2015)

TEA SET PROTOTYPE (Kok, 2015)

TEA BREWING PROCESS (Kok, 2015)

The process of brewing tea follows a precise and timed procedure; an illustration is shown below. To help her remember the sequence of tea preparation, I explored the idea of the Memory Tray. This prototype is a tea tray that lays out the brewing process linearly. It comprises of a series of indents that matches the bottom of each object, such as teapot, teacups, hot water flask or scoop for picking up tealeaves. When the user completed one step, the indents would prompt the user to the next, by simply matching the base of object to the shape of next indent. An image of the whole process is shown on the next page.

Through seeing items on the tray move towards the right, it registers in their minds steps taken and number of steps left. By laying steps in a linear way makes it easier for the user to visualize progress within the procedure. Although the Memory Tray encourages recollection of ‘next steps’, adding to procedural memory when repeated several times, it does not heighten enjoyment of the routine itself. To understand how heightened enjoyment could aid in recalling procedures or activity within a routine, I explored a series of images entitled ‘Routine as Experience’ based around grandma’s activities ‘BEFORE’.

MEMORY TRAY (Kok, 2015)

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ROUTINE AS EXPERIENCE From left to right, Diagram A to C. (Kok, 2015)

Each graphic encompasses a setting, activity and a way of carrying it out. Diagram A shows the setting as the kitchen, a place where many precise procedures with specific timings are carried out. The activity shows progression of tea being brewed. Lastly the shape sorter depicts a way it could be easily carried out and followed through, this done through matching of simple shapes to progress forward. From grandma’s routine, irregular sleep patterns are prominent. Diagram B shows the setting as a bedside window. Weather forecast device represents grandma’s activity of looking at the sky to check weather and time of day. Leaves represent an experience of waking up to sunlight shining through the bedroom window with rustling of leaves and chirping of birds. With gardening as her hobby the sight of greenery may act as a motivator. Grandma also has irregular meals now, as she has difficulty recalling whether she has eaten. Diagram C shows the setting of a dining table, representing meal times. Grandma used to enjoy cooking; the Chinese wok represents the activity. Lastly, the kettle shows a convenient and safer way of cooking. This might encourage her to carry out her hobby, enhancing the enjoyment of having a meal. Through exploring ‘Routine as Experience’, it has brought my attention to factors contributing to what is remembered or forgotten. We experience and immerse ourselves in the world around us through our senses. It is through impacts on these environments that some events are etched into our memory, regardless of time frame. Memory is thus timeless, existing in our minds in individual frames of experiences.(Crown, 2009) I therefore set out to question how

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ABSTRACT INTRODUCTION 1ROUTINE 2STIMULI 3FAMILIARITY 4IMMERSION CONCLUSION APPENDICES

Could you carry on the melody to this song?

There is no doubt many designs that serve to remind users of the past or ease routine difficulties. By looking at methods of others within this field, I can then start to understand the relation of impacts of senses with memory.

ALIVE INSIDE POSTER (Alive Inside, 2014)

How is it possible that just by listening to part of a familiar tune, we can to continue on with the melody effortlessly? Besides entertainment, is music also a form of memory trigger? For decades, people have known the power of music to memory. For example ABC song’s melody has been paired with 24 alphabets to enhance and improve a child’s learning. Children are able to recall and remember the alphabetical sequence by recalling the melody. In recent years, others have reapplied music’s capability to aid in memory of elderly. ‘Alive Inside’(Rossato-Bennett, 2014) is a documentary that follows a social worker on a journey to uncover impacts of music on those facing memory problems. Personalized playlist for elderly in various care homes were created. Upon hearing familiar music, they start to reminiscing past events while humming and swaying along with the tune. Audiences witness vast changes in mood, movement and behaviour of these elderly. Here it is prevalent that music has the ability to change and heighten moods. refer to appendices refer to appendices refer to appendices

Flip through Book 1 quickly. Without looking back, could you recall what were the images? Now flip through Book 2. Could you tell which images you have seen in Book 1?

BOOK 1 (Kok, 2015)

BOOK 2 (Kok, 2015)

SENSECAM BY MICROSOFT RESEARCH (Microsoft Corperation, 2011)

Microsoft Research Center has adopted this method of recollection in Sensecam’s development. Sensecam (Microsoft Corporation, 2011) is a device that takes photos of the user’s surroundings at various intervals of the day. The user would then be able to look back at documented images to recall events that happened. In tests run, the user reviews images every two days. Through visual repetition, he/she was able to recall happenings of the event. Although Sensecam seems promising, it had only been tested on few subjects. Hence its effectiveness is not yet proven. With Sensecam taking images periodically, majority of images might capture events that were mundane, in which the user might not be able to recall even with the aid of visual representations. This becomes a disadvantage as a memory trigger. Instead of recalling the event, the user might start to put together an alternative narrative inferred from images. A look through of the images would then create skewed perception of the event.

When you flipped through Book 2, you would be able to identify almost all images you have seen before. This was a test done by psychologists since 1970s (Foer, 2012, p. 26), however instead of having 10 images, they used thousands of images. Yet results from these tests were similar. Highlighting how powerful our sense of sight is on our visual memory. refer to appendices refer to appendices refer to appendices

That being said, our visual memory still proves to be an effective form of remembrance when used in a different way from Sensecam. This is emphasized by the memory palace theory stated by Foer in his book ‘Moonwalking with Einstein.’ Adapted from Ancient Greek legend of poet Simonides of Coes experience of the collapse of the great banquet hall, Foer states that to make something unforgettable, a person would have to reorder them in a sequence of unexpected images and place them in an imagined space. (Foer, 2012, p. 94) refer to appendices refer to appendices refer to appendices

Design firm Rodd had developed a working prototype of Ode in May 2015. Ode is a device that emits, personalized food scents according to mealtimes. Developed in conjunction with The Design Council UK and Department of Health in UK under “Living Well With Dementia” program, Rodd aims to address problems of malnutrition through Ode. By creating smell cues, it subtly induces hunger in the user, enhancing their appetite. Ode hence aims to encourage healthy eating for people with dementia. According to designers of Rodd, the prototype was put to test on individuals. Results indicated 50% having stabilized or gained weight when using Ode.(Weiner, 2015) Ode has thus shown how smell could trigger memory. However their research results questions effectiveness of the use of senses independently to evoke memory. Although studies indicate that our sense of smell has a direct line to memory within the limbic system(Herz, Eliassen, Beland, & Souza, 2004) , indicating that we pick up smell triggers faster then other senses¬, an independent sense however may not have the capacity to formulate vivid memories. (Fernyhough, 2013, p. 65) From the above examples, it is clear that each sensory receptor activates different pathways of the brain. This information is processed in “areas specialized for each sensory modality”(Corkin, 2014, p. 77) . When triggered, memories are recalled in different ways. For example, information processed visually is recalled spatially within a frame, while auditory information is recalled sequentially.(Underwood, 1975, p. 14)

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ODE BY RODD (Ode Trading Ltd, 2014)

SELECTIVE MEMORY (Butcher, 2011)

Did you ever experience asking someone a question while their eyes are locked on the screen of their phones and you would have to repeat the question again when they looked up?

Although we make sense of the world around us through our senses, attention also plays an equally important role in formulating and recollecting memories. â&#x20AC;&#x2DC;Your Bleeped Up Brain: Memoryâ&#x20AC;&#x2122;(History, 2013) discusses focus within our memory. It demonstrated an experiment in which audiences were asked to focus on number of cards with red hearts. What they didnâ&#x20AC;&#x2122;t realize was the pictures of dogs on the back of some cards. This shows that memories are not made of pure facts. Instead, our brains are wired in a way that we only remember what we focus on. What is remembered is therefore a sifted out version of the fact. Our ability to control and adjust our attention is known as control process. Within our daily life, we constantly draw upon these processes to keep out distractions.(Corkin, 2014, p. 62) These processes might take the form of a conscious effort of constant repetition of information such as looking out for a flight number on the screen. People with attention deficit have reduced control over multiple distractions, thus leading to reduction of ability to follow through a task. Such memories however are short-lived and would be forgotten once the task at hand is completed. How is one able to retain some memories for a much longer period? refer to appendices refer to appendices

ABSTRACT INTRODUCTION 1ROUTINE 2STIMULI 3FAMILIARITY 4IMMERSION CONCLUSION APPENDICES

Remember your first time at the theater?

For centuries, people indulge in theatre as a form of entertainment. Despite humanâ&#x20AC;&#x2122;s short attention span of 8 seconds in recent studies (Watson, 2015) , theatre still continues to captivate audiences.

To further my investigation into theatre’s ability to hold attention of audiences, I structured interviews with audiences . By keeping conversations specific to a particular production, I was able to map various elements within the play that contributes to how memorable a scene is. One of the questions is “What was the most memorable scene?” ‘Memory in Theatre’ shows intensities of light, sound and action elements mapped against number of audienc-

es that found the scene memorable in ‘The Mousetrap’. Through mapping of elements within the production, I began seeing a correlation between them and their collective effect on our perception and memory. Interviews with audiences also opened up my scope on other elements within theatre that contribute to the success of achieving the desired audience response.

DARK COAT, This clue plays repeatedly LIGHT SCARF, while characters enter and all FELT HAT dress similarly. The phrase is

MURDER OF The scene starts of with MRS BOYLE low lighting and blacks

repeated whenever the 3 items were picked up by Mollie or Gale to be hung at the front door.

out. All the audience hear are sounds of the murder.The comes back on again revealing the death. The scene ends with a loud scream when Mollie finds the dead body.

ARRIVAL OF SERGEANT

4 25

9 25

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MEMORY IN THE

Audiences were asked which was the most m

LEGEND

GUN POINT The scene starts of with the sergeant being in charge of the reenactment of the murder. He then calls Mollie in, shouts and points a gun at her.

Lighting Intensity Sound Intensity Action Intensity Average Intensity Number Of People Against 25 Others

The sergeant knocks on the window and arrives in skis alone to solve the murder mystery.

x 25

“3 BLIND This clue plays at MICE” TUNE times when its

most quiet. A whistle of this tune is heard when a murder is about to happen.

6 25

E THEATRE

memorable scene for them. And why?

5 25

MEMORY IN THEATRE (Kok, 2015)

In ‘2 Stimuli’, we established that each of our senses formulate and trigger memory in different ways. It is in this view that we generally perceive our five senses working independently from each other. However this perception is far from how our brains recollect memories. The collectiveness of different information gathered through our sensory receptors allow us to formulate a holistic perception of the world.(Groeger, 2012) When one sense modality triggers memory, other senses that were once paired and experienced with it are also activated.(Fernyhough, 2013, p. 65) Smiths’s study of film music states, “only when music was temporally and affectively congruent with an event outcome that spectators’ recall was significantly enhanced.”(J. Smith, 1999, p. 163) Theatre uses this property of human brain to its advantage, immersing and captivating audiences in a fictional world by engaging various theater tactics. It is within this parameter that my project started taking form.

The map breaks down production tactics into 4 different elements, namely visual, sound, action and narrative, and timing. This allowed me to see correlations of familiarity and unfamiliarity between these elements that contribute to success of achieving desired emotional response of its viewers.

In an Interview with Wired, Charles Spence states that there is no need for the noisy packages of crisps. However the expectation of crisps being “noisy food”(P. Smith, 2013) creates the deception of consumers selecting one packet over another. It is hence vital that we take precaution of this deceptiveness of a multisensory approach. During a show, do you often find yourself switching in and out of the fictional world presented? The control of theater’s elements to connect and disconnect its audience stems from the play of balance between familiarity and unfamiliarity of theatrical techniques and elements on our senses. To further analyze and understand techniques adopted by theatre as well as film, case studies of varied productions from theater, such as Brechtian Theatre , to slapstick comedy, such as Buster Keaton , were mapped against each other.

PRODUCTION TECHNIQUES MAP (Kok, 2015)

THEATER

VISUAL

Projection of lights are used to indicate time or changes within scenes. Focused on “How things happen not what happens” (presenting ideas) The main set is familiar but is used in an unusaul way. eg “The Rise and Fall of the City of Mahagony” the set used, frames events that happen within the play. The framing creates a distance between the scene and the audience. Minimal Props used, props were there only when they were neccessary.

BRECHTIAN THEATER

Lyrics and melody mis matched to create a distance between augience and characters. eg “Mother Courage” They were used to comment on or conflict with the action on stage.

SOUND

Switching between thrid person narrative and first person narrative. Draws audiences in and out of reality , making them realise they are seeing events that arent real or sometimes the play in the perspective of the lead character.

The plot touches on realistic issues in the world. However, the characters does not mimic the values of real humans, they represent both sides of argument. Another method of alienation that Brecht uses .

ACTIONS & NARRATIVES

SLAPSTICK COMED

VISUAL

Projection of lights were used to indicate different spaces and create borders. Used to indicate route/path taken and scenery in an abstarct manner. Emphasizes the characters imagination, draws the audience in and out of reality Projection of lights used to indicate atmosphere and emotions. Colour here is a crucial element to the atmosphere created.

The props were made artificial, to create humour within the production. Their weight is exaggerated by actions and expressions of characters. Realistic backdrops were paired with artificial sets. The fakeness of the set thus adds to the entertainment of the piece.

Movements of other actors are used to depict activity and imagination. Projection of lights used to indicate atmosphere and emotions.

Costumes are kept similar throughout.

Minimal variation in props. white box used to depict various objects.

TIMING A series of short stories make up a full episode. Intervals were made distinct through a sllide showing either the date or the title of the next part.

BUSTER KEATON

CURIOUS INCIDENT OF A DOG IN THE NIGHT TIME Mimic realistic sounds heard in our everyday. This was paired with abstract props. Teichoscopy used in scene where character stares out into the audience, sound of rain heard, but none is seen. The absence of music in the scene, with solely the actors voice, creates emphasis on emotions. Drawing the audience in.

Light hearted and fast paced music, lifts the mood amidst the confusion.

SOUND

Actions within some scenes were totally unpredictable. this excites and engages the audience, increasing the anticipation of whats to come next.

ACTIONS & NARRATIVES

FILM AND THEATRICAL TECHNIQUES Balancing the familiar and unfamiliar

DY FILMS

OUND

VISUAL

Contrast in expression heigthens emotions. Through depicting the bliss of characters, the attack that comes after makes the situation worse. Characters made to look solid. Exaggerated imprints left on character after being hit, emphasizes the pain.

TIMING Simplistic shorts, usually lasts for 3 mins long. Each action is timed just right to capture and hold the attention of viewers.

TOM AND JERRY Sounds sometimes dont match the objects and actions that characters or objects make.

Light hearted music was paired with actions that would seem very painful in real life. this gives it a comedic feel.

Sounds made by characters are more like humans then animals.

Music synchronises with the actions to emphasize the weight of an object. eg. the dropping of the piano, there was a deep and loud note played when it dropped.

Voices are used sparingly. To create that strangeness , which is somewhat comedic.

With characters acting more like humans, we start to be able to relate with them more.

SOUND

Take ‘The Curious Incident of a Dog in the Night-Time’ production, an adaptation of Mark Haddon’s book for example. Written in the perspective of a teenage boy with an autism spectrum condition, it allowed audiences to look at the world from a different light. The staging designed to be “highly imaginative” (BBC 2, 2013) and “agile”(BBC 2, 2013) was thus set in an abstract grid form. With aid of projections and minimal props, a range of atmospheres and environments were created, from that of home to busy train stations. Props used were basic white rectangular boxes, however when paired with specific colours, sounds and actions it creates the perception of familiar objects. With the use of unfamiliar objects, visual representation of activity and object is dependent on familiarity of other elements. A simple baking mitten, red lighting and the ‘ding’ sound of an oven allows us to relate the use of these boxes to someone baking. Balance between familiarities of these elements heightens the curiosity and engagement with audiences. This brought an unexpected element into the production, aiming to captivate and hold attention of viewers.

SET AND PROP SKETCH (Kok, 2015)

SOUNDSCAPE EXPERIMENT STILLS (Kok, 2015)

To further understand the familiarity and unfamiliarity of elements in theatre/film and their effect on our memories, I decided to test out familiarity of sound on a few subjects. Each subject was asked to listen to seven different types of sounds independently. They are then asked to identify where it comes from, what environment they visualize themselves in and an action or activity that follows when the sound is heard. The video is available under ‘Soundscape Experiment’ in disk attached. Soundscapes include:

Alarm Clock Chopping Vegetables Traffic Noises Rotary Telephone Kettle Boiling Cartoon Noise of popping of Champagne Bottle Doorbell Familiar sounds such as Alarm Clock and Doorbell were easily recognisable; they are sounds that exist in our everyday lives, much like a routine. When picked out, descriptions of space and time were precise. Sounds of Alarm Clock especially evoked feeling of dreading and tiredness. Sounds of ‘chopping vegetables’ lay in between familiar and unfamiliar spaces. Most could pick out the action of knocking something, this brings them back to certain experiences they had that were mostly linked to their background. Changes in ‘traffic noise’ volume, prompt refer to appendices refer to appendices

a different visualisation in space and location. These noises were also easily recognisable to people living in cities. ‘Rotary telephone’ was not recognisable to many people. However from sounds it made, most could describe an action. Some also related it to machines that were used in the past. Sounds of ‘kettle boiling’ lies in between that of recognisable and unrecognisable. However, most could pick out some origins, for example, sound of water or that of an electronic usually placed in the kitchen. Noise of ‘champagne bottle popping and crash’ was hardly familiar to people. They could tell that it came from a cartoon and were clear about crashing sounds. However, none related it to popping of champagne bottle.

formative experiences. Familiarity usually gives us the feeling of security and order. It also sets a “background against which the impact of new, “unfamiliar” phenomenon are felt.”(Grodal, 1999, p. 143) Balance of familiarity or unfamiliarity between these elements adds an element of surprise. This balance and multi-sensory approach is hence the basis for creating memorable experiences that are etched in our minds. Although subjects have shown some affinity to tests conducted, there is little variation in demographics to conclude that results would be similar when tested on other subjects. It thus only serves as a gauge to inform us of effects of familiarity of sound. It does not aim to add knowledge in the field of study of sound and our sense of hearing.

From soundscape tests, it is prominent that familiar sounds have the ability to trigger memory based on preconceptions of relation of a certain sound to an object. By tapping into our memory to identify source of the sounds, our minds start to build a visualization of surrounding environments, usually seen from a first person perspective. This was especially so in the example of decreasing sounds of traffic. Here subjects usually relate reduction of volume to them being at a distance from bustling roads. For unfamiliar sounds usually heard in cartoons, users shared audiovisual elements to reinforce events happening within a scene. This produces a coherent image within the viewers mind. Thus facilitating “the mind’s ability to retrieve audiovisual information encoded in short-term memory.”(J. Smith, 1999, p. 163) Further supporting the importance of collective use of senses modalities in creating immersive and in-

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ABSTRACT INTRODUCTION 1ROUTINE 2STIMULI 3FAMILIARITY 4IMMERSION CONCLUSION BIBILOGRAPHY APPENDICES

With balancing of familiarity being the basis of capturing attention of viewers, it is heavily reliant on the fusion of elements that creates immersion within a scene. Tapping into production techniques, like sound design, lighting design, scripting, backgrounds and use of colour, to create immersive memorable moments therefore becomes crucial. ELLIPSODAL REFLECTOR SPOTLIGHT 2 lens; focus changed by changing distance between them Creates hard and soft light. Capable of projecting various designs (eg, Gobos)

SCOOP Soft and gentle, creating an even wash. Often used as work light The inside is painted white to reflect light. FRESNEL Softedged light Creates even wash or a small focused spot. Slider attached to the side to control focus between lens, reflector and lamp. Lens made out of concentric circles.

Shutters shape the light emitted BEAM PROJECTORS Very little beam spread Has two reflectors. The primary reflector is a parabolic reflector and the secondary reflector is a spherical reflector The parabolic reflector directs the light into nearly parallel beams, and the spherical reflector is placed in front of the lamp to reflect light from the lamp back to the parabolic reflector, which reduces spill.

STRIP LIGHTS Allows for more flexible colour mixing

FO CO

PARABOLIC ALUMINISED REFLECTOR Creates alleys of light Oval shaped beams could be rotated to change direction of view. Often used in combination with smoke or haze machines

LIGHT FIXTURES

LIGHTING

TECHNIC IN THE T

MIXING OF LIGHT

LIGHT FUNDAMENTALS The mixing of 3 primary light colours creates white light. Secondary colours include yellow, cyan and magenta. LIGHTING ANGLES Heightens the audiences focus on an actor. The lighting of faces portray different atmospheres and emotions.

LIGHT LEVELS With one light source brighter than another it gives the scene a key light. This is especially important for exterior scenes.

CYC Most commonly lighting a ba Assymetric refl rects more lig No way of adju light, dependen tance place from Gels could be fitt

STROBE Flashes clean light at fast regular intervals. Used for camera flash, lightning and underground trains. Effect can be used to slow down or speed up movement

RIPPLE TUBE Tubular bulb placed behind a revolving metal tube with slots cut into it. Produces effect of light hitting the top of waves. Used for seascapes.

SPECIAL EFFECTS

LOBSTERSCOPE Creates an effect of moving train or television reflection.

FLICKER WHEELS These rotate infront of lanterns to give an effect of movement. Properly coloured and used with gobos , they can convey light cast by moving flames, water psychedelia etc.

COLOUR CHANGES The wheel revolves infront of the lantern. It has five compartments and can hold gels of different colour. Gels are coloured filters put infront of lanterns.

LIGHT used for ackcloth. flector dight down usting the nt on dism object ted at the front

RULE OF THIRDS This rule states that important compositional elements should be placed along these lines. It then draws the eye around instead of focusing on one point.

BEAT SHEETS A beat sheet used for individual scenes. Within a scene, it says who is in it, what is happening, wether the scene is positive or negative and an exciting incident.

CENTER FOCUS The eye always focusses at the center. If the focus is on one element, place it at the center.

FOOTLIGHTS Lights near the feet Located at down stage edge. Focuses upstage, pointing at actors faces

the focus could be emphasized with bluring and darkening.

LINE & DIRECTION Direction from one point to another gives movement. The use of movement in a composition helps the viewer to know where to look next.

OCUS & OMPOSITION SCREENWRITING HEARING SOUND

CALITIES THEATRE

SPEAKER POSITIONING The image shows a general positioning of speakers within the theater to create surround sound.

SOUND

This exciting incident is what propels the scene forward. A way squence the story. Bullet points are used to plan a mission for the scene. Creates a microscopic moment that strikes the reader/viewer as compelling and memorable. SOUND INSTRUMENTS When sounds could not be achived through recording. Instruments are made for these sounds. The general ones are shown here.

SOUND EFFECTS

COLOUR

RAIN Simulated by dropping rice or sand on to a tambourine or some similar reverberating surface. TINTS, SHADES & TONES

INTERPRETING COLOUR GOBOS Gobos are metal plates with patterns or shapes cut out. They are placed infront of the lamp to reflect a sihoulette. Adds an atmospheric element to the scene.

MEANINGS Some meanings of light come from a historical basis. Eg. Traffic Lights: Red -stop Yellow- caution Green- go WHITE BALANCE Reference white is crucial to how we percieve other colours relative to it. Does not have to be white As our eyes adjusts, it tends to desaturate the coulur.

WIND Made of a piece of canvas held over circular drum. When turned the drum slides under the canvas, creating wind sounds.

DEFINITIONS Tint: Hue with white Shade: Hue with black Tone: Hue with grey Saturation: Amount of pure colour Aids our perception Value: Lightness or darkness of colour and our reaction to colour Intensity: Brightness of colour COLOUR FOCUS An item in the forground with a different/contrasting colour with the background would create focus. WARM & COOL Warm colours have a yellowish tint and gives the illusion of going towards. It is more dominant. Cool colours have a blueish tint and gives the illusion of moving away. It is alot calmer.

TECHNIQUES MAP (Kok, 2015)

While ‘Soundscape Experiment’ utilizes recordings of sounds, sound designers sometimes created tools to replicate these soundscapes. This utility of tools to create sounds thus saw the birth of imaginary and unfamiliar sounds usually paired with cartoons. This is prevalent in many Walt Disney animations. (Coleman, 2009)

Do you recall taking a ride within a theme park? How were you able to identify sounds of particular characters along the ride? Walt Disney Imagineers focuses on creating and designing sounds within Disneyland; they are highly focused on audience experience. To create immersive experiences, speakers are placed and camouflaged around the park.(Coleman, 2011) Although effects of placements of speakers are less prominent within theaters, it still contributes to the degree of immersion of production. Light is essential in our everyday lives. It allows us the ability to see and its various qualities create a variety of moods and atmospheres in spaces that we occupy. Within theater, light is even more crucial in unfolding narratives through influencing audiences’ focus during a scene, shifting from moment-to-moment. Light also sets the mood of scenes, encouraging a particular emotive response in audiences. (Fraser, 1988, p. 26) This element can be controlled through types of lamps, light angles and light levels, further elaborated in the map. DISNEY SOUND PRODUCTION (May, 2012)

SLEEP NO MORE BY PUNCHDRUNK (Maru, 2011)

warmer. It is generally more dominant then other colours and is thus used to signal stop to drivers and pedestrians on roads. Red being used universally to signal stop, therefore becomes a “historical basis”.(Carver, 2012, p. 61) Use of contrasting colours also influences and enhances the focus on a specific character or prop on the stage. (Carver, 2012, p. 60) Setting is also an important component in creating immersion through visual stimulus in all productions. It encourages believability of the production and adds to mood and atmosphere of the scene. This is especially so in contemporary productions such as ‘Punchdrunk’, where audiences are placed within the scene itself and are allowed to wander around the set while narrative unfolds . Punchdrunk places great importance in “details of the work”(Machon, 2013, p. 159), creating a more immersive experience for spectators through discovery of “something of merit”(Machon, 2013, p. 159) .

In creating of atmospheric scenes that trigger specific emotions in audiences, colour goes hand-in-hand with light. The use of colour in production taps on various beliefs and relations with certain emotions. For example, red is said to make a space feel

To hold attention of viewers, storyline is essential. It is important to understand how screenwriters build narratives that engage and create specific emotional responses in audiences. There are various methods used for crafting narratives; one such way that writers do are through beat sheets. Beats sheets are cards that each represents a single scene in the production. Within it holds information such as series of events that happen, either a positive or negative emotion to the scene and an incident that moves the story forward(Brooks, 2012) , giving writers the flexibility to arrange and rearrange scenes within the storyboard. refer to appendices refer to appendices

How is it then possible to create a memorable experience in our everyday by drawing from these theatrical techniques? To understand possibilities and effects of these techniques in an everyday situation, I began testing out a combination of these techniques on a normal conversation. Adapted from beat sheets, conversation cue cards were created to prompt participants, giving information of conversation topics such as themes and prompting questions. Gobos and coloured lightings were used to create moods and atmosphere according to conversation topics and emotions. An overall lighting was also used to control brightness of the scene. A speaker was used to create surrounding sounds that change in accordance to the conversation. Lastly a recorder was hidden under the table to record the conversation. The scene that struck me most was when participants spoke about what they disliked about the tube. Loud sounds of crowds and approaching trains drowned their voices, while red, white and blue coloured lights flashed in the background. Participants found that they had to raise their voices in order to be heard. With increased immersion within their surroundings, these elements start to cue a response from participants. This set up however lacked many elements that would allow greater immersion in the environment. Although it cued some response, they were more physical then emotional. It lacked emotional elements, the tube for example, feeling of warm air and claustrophobia was absent from the set. Memories are made when significant events happen; our emotional responses

refer to appendices refer to appendices

are crucial in the actual experience and recollection of the event. A tangible object, subject or action triggers these feelings. (Plantinga & Smith, 1999, p. 9) Smith states â&#x20AC;&#x153;memories of emotional episodes can have considerable longevityâ&#x20AC;?. (G. M. Smith, 1999, p. 112) Emotional reactions in films also guide audiences towards goals, moving the narrative forward.(G. M. Smith, 1999, p. 103)

IMMERSIVE EXPERIMENT SETUP (Kok, 2015)

IMMERSIVE EXPERIMENT PREPARATION (Kok, 2015)

Put on the 3D Glasses placed at the back of the book.

3D IMMERSION (Kok, 2015)

How do we create an immersive experience bringing participants’ attention from moment-to-moment? Immersive theater is a new performing art form where instead of being passive, audiences are part of the narrative itself. Depending on their degree of participation, each audience has a hand in crafting their own experiences. I was interested in how various elements were used to create a believable yet unfamiliar environment in which audiences transition from one moment to another smoothly. To find out more, I volunteered for ‘You Me Bum Bum Train’ an organization that creates immersive theater productions in London. The production involved about 20 different scenes designed and timed such that at any point there was only one audience to a scene. Each show lasts for approximately 45mins and each night there are almost a hundred audiences. Volunteers were allocated to specific scenes and were tasked to carry out improvised roles. I was in a group called “screaming fans”. Just before the show started, I was lead into a makeshift room, the back of the walls were crafted using wood panels and supported by wooden planks placed at an angle. Walls of the interior draped with black cloth and a string of flashing lights hung on the top half. At the furthest left corner of the room sat a larger speaker. At the center was a life size black hatchback car; the interior of the car was a square hole that has a depth of 8ft and its width large enough to fit a single human being. This was where audiences would be brought into the scene through a lift, made out of a wooden platform and a simple pulley system. Standing on the exterior of the car, it was apparent that none of this was reality; it looked too make shift to be believable. However, the green signal was given, sound and lights were cued, and volunteers started acting, the scene that was once seen refer to appendices refer to appendices

as make shift, came to life. From the interior of the car, flashing lights looked like camera flashes, few volunteers screaming backed with a soundtrack seemed as though there were hundreds of them.

YOU ME BUM BUM TRAIN EXPERIENCE (Kok, 2015)

80 BACKSTAGE EXPERIENCE The backstage is indicated by the blaack line drawings.

All sets were made using temporary structires with wood backings that could be interchanged quickly. Ipads were used as communication and information tool. Surrounding props were minimal and looked temporary from the backstage.

The audience experience is indicated by the orange and blue line drawings. Audiences are motioned towards certain lifts and tunnels for transition into another scene. The experience consisted of 28 scenes, and the total experience lasts for 45mins. Scenes for the audience looked realistic and believable.

AUDIENCE EXPERIENCE

LES MISERABLES SET SKETCH (Kok, 2015)

What I found most interesting was how the scene transitioned from makeshift to totally immersive, simply through the change in lighting, audio and surrounding atmosphere. Mood therefore presupposes and cues emotive responses, by enhancing the degree of immersion within the scene (G. M. Smith, 1999, p. 114) . Furthermore, for a narrative to flow from one scene to another the method of transition was crucial. Upward motion of the wooden platform created an illusion of travelling to another place, it also allowed the audience to reflect on and process the previous scene. Thus contributing to their memory of events experienced and emotions felt within the show. In other more traditional productions such as Les Miserables, circular motion within a scene signaled the passing of time. Elements such as lighting, audio, and motion play an important role in creating immersion; it is however timing that ties all of them together. For a successful production, timing is key. Take for example repeated scene of the two children in Inception. Too many repetitions the scene losses its mystery and too little repetitions audiences would not register the scene to memory. A balance in timing therefore plays an important role in creating the desired audience response. (Plantinga & Smith, 1999, p. 172) Timing thus determines the amount of time within each transition and scene, thus acting as a baseline for the narrative to continually excite and intrigue. “ In some cases, timing does not change one’s belief but intensifies and extends the viewer’s apprehensiveness by bringing those feelings to and fro.” (Plantinga & Smith, 1999, p. 172) The collectiveness of various elements coupled with right timing is hence essential in the degree of immersion needed to achieve a memorable experience. INCEPTION SCENE (Imgur, 2013) refer to appendices refer to appendices

ABSTRACT INTRODUCTION 1ROUTINE 2STIMULI 3FAMILIARITY 4IMMERSION CONCLUSION BIBILOGRAPHY APPENDICES

TRAIN EFFECT (Kok, 2015)

ries that most might remember for a longer term. The exploration of ways of creating immersive experiences sets the foundation for my project. The project aims to temporarily transform the domestic environment into a space where memorable conversations could be experienced through the use of theater techniques. Creating immersive environments that cue specific emotive responses in users. This could take the form of a series of devices or structures that work hand-inhand to bring these conversations to life. A set of atmospheres, created through varying light, sound, colour and background, could be produced and created to construct and reconstruct varying narratives. This set of atmospheres should have the ability to be arranged differently, such that a variation of narratives could be formed to keep an unfamiliar quality, which enhances and excites the experience. The ability to transform encourages a range of possibilities in creating new and unexpected stories, which constantly captivates the user.

The dependence of recollection of our memory on our senses is often greater than we realize. Our senses play a large role in what we remember or forget, it has the ability to focus and refocus our attention, and to influence emotions felt. Thus controlling the significance of a certain memory. This results in some memories being remembered for a much longer period then others. As stated before, the balance of familiarity, timing and its effect on our senses cues emotive responses, leading to the creation of immersive and memorable experiences. Eventually translating some of these new memories created into significant memo-

In fine-tuning the project, various limitations have to be considered. Although it aims to prolong retention of new memories created, it is crucial to note that new memories still draw from known knowledge and familiarized by old memories. The foundation knowledge built by long-term memories is still required for formulation of new ones. Hence effectiveness of the design is heavily reliant on severity of memory problems that the user faces. Also the degree of captivation of attention is also subjective and could only be controlled to a certain extent. This is dependent on each individual. Lastly, it is difficult to quantify the extent to which the design is effective in cueing emotive responses. Though similar to that of theater/film where emotive responses are inevitable, the degree of this response is susceptible to each individual. refer to appendices refer to appendices

As memory problems faced occur in varying degrees, I decided to work within the parameters of a defined medical condition. Amnestatic Mild Cognitive Impairment (MCI) is condition where memory problems are less severe then Alzheimers but more severe than memory problems faced by that of a normal elderly.(National Institute on Aging, 2011) There is a possibility that people with this condition may develop Alzheimers. At this stage however, there is no form of treatment.

AGE UK EXPERIENCE (Kok, 2015)

In recent years, we see a rise in a number of products designed to alleviate and aid people faced with Alzheimers, most focusing on emphasizing daily routines, such as that of Ode, and others focusing on reminiscing past memories. While workshops organized by organizations such as Age UK, which aims to bring enjoyment and encourage interaction through music and art, little attention was given to the importance of immersion in triggering emotions. Through my experience volunteering with Age UK, I have observed that active participants benefit most from the workshop. Passive participants derived little enjoyment and interaction from these activities.

My project therefore lies within a territory where few have explored; the formulation of new memories through the use of increased “environmental press”(Christenson & Taira, 2014, p. 5) and immersion, which encourages a prolonged retention of memories formed. With increase in age, comes deterioration in the precision of stimulus(Christenson & Taira, 2014, p. 3) . Enhanced elements within theater therefore aids in capturing and holding attention of elderly. The project thus challenges boundaries of entertainment and well being, siting just outside the realms of them. Like Heston Bluementhal’s work, which marries food and science together, the project aims to create spectacles that excite and captivates the user.

HESTON BLUEMENTAL‘S SALAD (Moore, 2011)

ABSTRACT INTRODUCTION 1ROUTINE 2STIMULI 3FAMILIARITY 4IMMERSION CONCLUSION BIBILOGRAPHY APPENDICES

TEXT REFERENCES BBC 2. (2013, October 15). Design Elements. The Curious Incident of the Dog in the Night-Time: From Page to Stage. London: BBC 2. Retrieved from http://www.bbc.co.uk/programmes/p01jydtx Brooks, L. (2012). Lesson 4.2 â&#x20AC;&#x201C; The Beat Sheet. Retrieved from http://storyfix.com/beat-sheetbasics-101-plus Carver, R. K. (2012). Stagecraft Fundamentals: A Guide and Reference for Theatrical Production. Taylor & Francis. Christenson, M., & Taira, E. D. (2014). Aging in the Designed Environment. Routledge. Coleman, M. (2009). SoundWorks Collection: The Sound of WALLâ&#x20AC;˘E. Retrieved from https:// vimeo.com/3043867 Coleman, M. (2011). Soundworks Collection: Walt Disney Imagineers. Retrieved from https:// vimeo.com/18945157 Corkin, D. S. (2014). Permanent Present Tense: The man with no memory, and what he taught the world. London: Penguin. Crown, I. by S. (2009, July 25). A life in books: Penelope Lively. The Guardian. Retrieved from http://www.theguardian.com/books/2009/ jul/25/life-books-penelope-lively-interview Fernyhough, C. (2013). Pieces of Light: The new science of memory. London: Profile Books.

94 Foer, J. (2012). Moonwalking with Einstein: The Art and Science of Remembering Everything. Large Print Press. Fraser, N. (1988). A Phaidon Theatre Manual Lighting and Sound. London: Phaidon Press Ltd. Gawande, A. (2011). The Checklist Manifesto: How To Get Things Right. London: Profile Books. Grodal, T. (1999). Emotions, Cognitions and Narrative Patterns in Film. In Passionate Views: Film, Cognition, and Emotion (pp. 127–145). Baltimore: Johns Hopkins University Press. Groeger, L. (2012, February 28). Making Sense of the World, Several Senses at a Time. Retrieved January 11, 2016, from http://www.scientificamerican.com/article/making-sense-world-sveral-senses-at-time/ Herz, R. S., Eliassen, J., Beland, S., & Souza, T. (2004). Neuroimaging evidence for the emotional potency of odor-evoked memory. Neuropsychologia, 42(3), 371–378. http://doi. org/10.1016/j.neuropsychologia.2003.08.009 History. (2013, March 8). Memory. Your Bleeped Up Brain. London: History. Retrieved from http:// www.history.com/shows/your-bleeped-up-brain/ season-1/episode-2 Kitwood, T. (1997). Dementia Reconsidered: The Person Comes First. Buckingham England ; Philadelphia: Open University Press. Lunde, A. (2013, August 20). Procedural memory remains robust as dementia develops. Retrieved from http://www.mayoclinic.org/diseases-conditions/alzheimers-disease/expert-blog/memory-and-dementia/BGP-20055891 Machon, J. (2013). Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. Palgrave Macmillan. Microsoft Corporation. (2011). Using SenseCam to Alleviate Memory Loss. Retrieved from http:// research.microsoft.com/en-us/um/cambridge/ projects/sensecam/memory.htm

National Institute on Aging. (2011, July 12). Forgetfulness: Knowing When to Ask for Help. Retrieved January 11, 2016, from https://www.nia. nih.gov/health/publication/forgetfulness Plantinga, C., & Smith, G. M. (Eds.). (1999). Passionate Views: Film, Cognition, and Emotion. Baltimore: Johns Hopkins University Press. Rossato-Bennett, M. (2014). Alive Inside. MVD Entertainment. ROS Therapy Systems. (2014). The Importance of Routines for people with dementia. Retrieved January 11, 2016, from http://www.rostherapysystems.com/the-importance-of-routines-forpeople-with-dementia/ Smith, G. M. (1999). Local Emotions, Global Moods, and Film Structure. In Passionate Views: Film, Cognition, and Emotion (pp. 103–126). Baltimore: Johns Hopkins University Press. Smith, J. (1999). Movie Music as Moving Music: Emotion, Cognition, and the Film Score. In Passionate Views: Film, Cognition, and Emotion (pp. 146–167). Baltimore: Johns Hopkins University Press. Smith, P. (2013, November 2). Charles Spence can change your flavour perception using sound (Wired UK). Retrieved January 12, 2016, from http://www.wired.co.uk/magazine/archive/2013/02/start/mixology-for-your-ears Underwood, G. (1975). Attention and Memory. Oxford; New York: Pergamon Press. Watson, L. (2015, May 15). Humans have shorter attention span than goldfish, thanks to smartphones. Retrieved from http://www.telegraph. co.uk/news/science/science-news/11607315/ Humans-have-shorter-attention-span-than-goldfish-thanks-to-smartphones.html Weiner, S. (2015, May 11). To Remind Dementia Patients To Eat, This Device Conjures The Smells Of A Delicious Meal. Retrieved January 11, 2016, from http://www.fastcodesign.com/3046104/ to-remind-dementia-patients-to-eat-this-deviceconjures-the-smells-of-a-delicious-meal

IMAGE REFERENCES Alive Inside,. (2014). Alive Inside Poster. Retrieved from http://pics.filmaffinity.com/ Alive_Inside_A_Story_of_Music_Memory-895444773-large.jpg Butcher, M. (2011). Dealing Cards. Retrieved from https://mikeebutcher.files.wordpress. com/2011/04/dealing-cards3.jpg Imgur,. (2013). First picture from his last memory of his kids. Retrieved from http://imgur.com/ gallery/cLVuU

Kok, E. (2015). Production Techniques Map. Retrieved from Personal Photograph Collection Kok, E. (2015). Routine as Experience. Retrieved from Personal Photograph Collection Kok, E. (2015). Set and Prop Sketch. Retrieved from Personal Photograph Collection Kok, E. (2015). Soundscape Experiment Actions. Retrieved from Personal Photograph Collection Kok, E. (2015). Soundscape Experiment Stills. Retrieved from Personal Photograph Collection

Kok, E. (2015). 3D Immersion. Retrieved from Personal Photograph Collection

Kok, E. (2015). Tea Brewing Process. Retrieved from Personal Photograph Collection

Kok, E. (2015). Age UK Experience. Retrieved from Personal Photograph Collection

Kok, E. (2015). Tea Set Prototype. Retrieved from Personal Photograph Collection

Kok, E. (2015). Ageing Timeline. Retrieved from Personal Photograph Collection

Kok, E. (2015). Techniques Map. Retrieved from Personal Photograph Collection

Kok, E. (2015). Book 1. Retrieved from Personal Photograph Collection

Kok, E. (2015). Train Effect. Retrieved from Personal Photograph Collection

Kok, E. (2015). Book 2. Retrieved from Personal Photograph Collection

Kok, E. (2015). You Me Bum Bum Train Experience. Retrieved from Personal Photograph Collection

Kok, E. (2015). Grandmaâ&#x20AC;&#x2122;s Routine Map. Retrieved from Personal Photograph Collection Kok, E. (2015). Immersion Experiment. Retrieved from Personal Photograph Collection Kok, E. (2015). Immersion Experiment Setup. Retrieved from Personal Photograph Collection Kok, E. (2015). Immersion Experiment Preparation. Retrieved from Personal Photograph Collection Kok, E. (2015). Les Miserables Set Sketch. Retrieved from Personal Photograph Collection Kok, E. (2015). Memory Tray. Retrieved from Personal Photograph Collection Kok, E. (2015). Memory in Theatre. Retrieved from Personal Photograph Collection Kok, E. (2015). Prototype Making. Retrieved from Personal Photograph Collection

Maru, P. (2011). PunchDrunk. Retrieved from https://playgroundroleplayingmagazine.files. wordpress.com/2011/11/172391_1015009644 8610925_501940924_6771305_6537057_o. jpg?w=584&h=389 May, D. (2012). MacDonald using straws to make sound effects, circa 1950s. Retrieved from https://en.wikipedia.org/wiki/Jimmy_MacDonald_(sound_effects_artist)#/media/File:Jimmy_ MacDonald.jpg Moore, A. (2011). Garden Salad with Sauce Gribiche. Retrieved from http://www.figandcherry. com/wp/wp-content/uploads/2011/11/heston-garden-salad.jpg Ode Trading Ltd,. (2014). Why use Ode as part of dementia care?. Retrieved from http://www. myode.org/wp-content/uploads/2014/03/ode_ WHYODE4_LowMaintenanceAndHandsFree.jpg

ABSTRACT INTRODUCTION 1ROUTINE 2STIMULI 3FAMILIARITY 4IMMERSION CONCLUSION BIBILOGRAPHY APPENDICES

APPENDIX A SOUNDSCAPE EXPERIMENT Participants were given sounds to listen to. They were then asked what they related these sounds to. Video is provided in the CD entitled ‘Soundscape Experiment’.

100

SOUNDSCAPE 1| Alarm Clock

SOUNDSCAPE 4| Rotary Telepone

Mrs Cheng: It’s an alarm clock, it tells me when to wake up. I hea it in the morning and afternoon, after my nap.

Chris: I recognize it but I can’t remember what it’s called. Pressing down on something vibrating, it’s not like a typewriter, but I can’t remember.

Chris: It’s a morning alarm clock. Very tiring. I usually turn it off. It just comes again, turning it off again. Rachel: Alarm, sounds very much like the alarm I use to have. Where is the snooze button? SOUNDSCAPE 2| Chopping of Vegetables Mrs Cheng: It’s a knocking of the door. I normally hear it either when I’m in the bathroom or sometimes at the front door when someone is outside. It usually happens when someone is looking for me. I’ll ask “Who’s that?” if it is’nt someone calling me from outside the bathroom, I’ll check the front door to see if there’s anyone. Chris: Cooking like someone chopping. It’s heard usually before dinner in the kitchen. Hui Jun: Drawing of some sort. An action that is quite forceful, either in the classroom or a studio space. SOUNDSCAPE 3.1| Loud Traffic Noises Chris: It’s traffic jam in the morning, on the way to school. It’s very busy. Hui Jun: It’s definitely traffic but you’re not in the car. You’re definitely outside, because its so loud. It sounds like peak hour to me, where everybody is very agitated. Sasha: Traffic. I hear it when I’m walking to university. It’s normally in the morning. SOUNDSCAPE 3.2| Soft Traffic Noises Chris: I’m normally in the car, which is stuck in the traffic. Hui Jun: Usually hear this inside a classroom or a building, because it’s further. Sasha: I hear it when I’m inside.

Rachel: Old film machine, like the changing of slides, it sounds quite mechanical. It exist not in my daily life but from what I watch in movies. Sasha: Pulling something back and then clicking. Something like that, but I don’t really know what it is. SOUNDSCAPE 5| Kettle Boiling Mrs Cheng: This sound is quite difficult to tell. It sounds like cooking or some electronics in the kitchen. It could be the ventilator above the stove, or the stove itself when starting the gas. Chris: It’s like a kettle boiling. I normally hear it at nighttime in the kitchen making tea or something. Jireh: Maybe rain, I have the impression that it’s falling on something like a cover. Like rain falling on the shelter covers of shops or Kopitiami. SOUNDSCAPE 6| Kettle Boiling Chris: It’s like a child’s cartoon that I use to watch. Sounds like a boom. Rachel: A movie soundtrack where there’s a crash at the end. Like someone falling. Hui Jun: Its so Tom and Jerry, they are like running into some kind of glass. SOUNDSCAPE 7| Door Bell Mrs Cheng: It’s a doorbell. I’ll stand here and see whom that is. Chris: The doorbell. Rachel: Doorbell, its usually an amazon package. I’ll get excited then I’ll rush to the door.

i Kopitiam: A Singapore term for local coffeeshop/cafe.

101

APPENDIX B IMMERSION EXPERIMENT Participants were given conversational cue cards. they were then asked to converse as per normal, while lighting, colour and sounds changes depending on the converstaion.

102

Hui Jun: Tell me about the last time you went to the beach? Sasha: I don’t know if you call it a beach in Singapore, but that was the time when we were at East Coast Park. Hui Jun: Yes, we were literally right by the water and we can hear the waves. Sasha: Its kind of surreal also, it was dark, so we couldn’t really see the sea. Hui Jun: We could see the boats on the horizon. Yeah, the last time you went to the beach was the same as the last time I went to the beach. Sasha: Yeah you took me there I didn’t take you. Sasha: What do you dislike most about the tube? Hui Jun: What I don’t like about the tube is how loud it is. It screams and it screeches. I don’t like that. Everytime you’re in the tube you feel like you’re being drowned out by the sound of everything. Sasha: You have to shout quite a lot. Hui Jun: Yeah and even when you’re inside a carriage you have to shout. Sasha: You get really hot and sticky. You get very hot in the tube. Hui Jun: What’s your favourite season? Sasha: Spring, I think spring is my favourite. Hui Jun: Its nice, everything’s lush, green, and kind of fresh. Everything smells really good because of all the flowers. Sasha: Yeah you walk pass and you’re like, “Oh, what’s that smell?” Hui Jun: For me it’s maybe autumn. Sasha: Yeah the trees go all red, brown and orange. It’s just like a whole forest.