Language of Perception : The Embodiment of Memory in Space

NAZELI GHAZARIAN

UNIVERSITY OF WESTMINSTER MA ARCHITECTURE (DIGITAL MEDIA) W1808943

JANUARY 2022

ACKNOWLEDGEMENTS I would like to thank my professor Filip Visnjic for his continued guidance and support throughout the development of my thesis.

I would like to also thank my family and friends for their continued support, patience throughout the duration of my studies and their productive criticisms and invaluable discussions around the topic.

In addition, I would like to thank God for giving me the strength and determination during these testing times. Lastly, I would like to thank me for believing in myself and never quitting. Ցանկանում եմ իմ անկեղծ երախտագիտությունը հայտնել իմ պրոֆեսոր Ֆիլիպ Վիշնիչին՝ շարունակական աջակցության և առաջնորդության համար: Կցանկանայի նաև շնորհակալություն հայտնել իմ ընտանիքին և ընկերներին օվքեր հավատում էին ինձ և արժանի դարձնում իրենց քննարկումների և գնահատականներով։

ABSTRACT

To understand the effects of the built environment on human perception one must understand how architecture can connect with the human mind.

Perception is a complex relationship between visual stimuli to your brain and a personal interpretation of it to objectify reality. This process consists of collecting, processing, constructing and storing information from the environment/space via our sensory organs as spatialised memories- later to be de-coded. Memory has been studied for millennia in various disciplines such as philosophy, psychology, neurology and architecture. Though, the environmental components which constitute a singular memory are invisible and have no skin or skeleton to see physically. Computation and integrated information theories propose that the human mind is an information processing system and that memory construction is a form of computation.

This thesis aims to investigate and explore different forms of spatial information which constitute memory construction. This spatial information will then be interpreted in a conceptual mechanical system giving visibility to the invisible. I aim to narrate the communication taking place between human computation and space systems, as space is a mnemonic device itself.

I attempt to illustrate the memory matrix of time and space and the invisible architectural systems which go against natural reality as we know it, but which can exist and communicate with each other.

CONTENT Abstract 4 Introduction 7

CHAPTER ONE - RESEARCH & PRECEDENTS

8

1.1 Methodological Approach 9 1.2 Neuroscience: Perception & The Representation of

Space in the Human Brain 10 1.4 The Process of Memory and Space as the Setting for

Memory 12 1.5 My Memory Is Not Your Memory 13 1.6 Integration Information Theory 14 1.6.1 Integration of Information 15 1.6.2 Modes of Integrated Information: Impressionism 16 1.6.3 Modes of Integrated Information: Optical Illusion 18 1.5 Computation Theory of Mind 20 1.5.1 Memory Palace 22 1.5.2 The Memory Wheel 23 1.5.3 Mimetic Computation 24 1.5.4 AI Assisted Visual Stimuli 25 1.5.5 Reconstructing Memory 26 1.5.6 Random Access Memory 27 1.5.7 Computation of Human & Spatial Data 28

CHAPTER TWO - THESIS DEVELOPMENT

30

CHAPTER THREE - MNEMONIC LANDSCAPE

51

2.1 Concept 31 2.2 Experiments 2.2.1 Fragmented Memory 32 2.2.2 The Memory Matrix 34 2.3 Mnemonic Combination Lock 37 2.4 Device Development 38 2.4.1 Perception, Data Collection & Memory 40 2.4 Mnemonic Device 41 2.4.1 System Diagram 41 2.4.2 Data Collection 43 2.4.2 Device Interface 47

CHAPTER FOUR- CONCLUSION 57 Bibliography 58 Processing Codes 60

INTRODUCTION The basis of my thesis began at the time when I was creating a psychogeographic map of Soho, London. Two phenomena occurred whilst doing this exercise. The first felt like my steering and navigation was being controlled by a different force, and secondly, perceptually I was recollecting memories of the past and also constructing new memories in the present.

I wanted to investigate beyond the materials, construction, historical and aesthetical context of Soho, and move more toward how and why this occurrence was taking place and how our brain processes space and makes representations of it- which are the very basics of human perception and memory construction1. The word space in an architectural context usually has a meaning associated with a mathematical and geometrically meaning often seen as an empty area. However, we are present in architecture every moment of our lives and most of architecture we don’t seen at all.

“The eye does not see things but images of things that mean other things.”

But what if space has its own layers of sensory outputs and has its own mind communicating with ours. Our experience of architectural space is a subjective and generated version - embodied with our personal interpretations occurring through the cognitive simulated mental visualisations produced as a result of the processing of spatial architectural data into our subjective simulated versions.

The thesis aims to bring together a diverse spectrum of theoretical frameworks to seek to allow different perspectives of phenomena and concepts of memory. I created a methodological toolset to aid in my desired outcome. The first part of the toolkit is relevant theoretical discourse and theory specific case studies. The second stage of my toolkit consists of experiments which find their root from the various theories explored. Lastly, a final design encapsulating an evaluation and tracing of all the case studies, precedents, theories and experiments.

Marco Polo – when describing the invisible city of Tamara.2

This thesis aims to express a narrative of understanding and connection between space and memory. For we are always present in this medium where body, mind and space are linked. Architecture is profoundly a visual medium, however, there are many more layers containing detailed notions of self, time and place within the spatial tissue.3 Furthermore, our body has many minds, each sensory organ having a mind of its own connected by neural networks to one central core, the brain.

1 Parker, R. D., 1997. The Architectonics of Memory: On Built Form and Built Thought. Leonardo, 30 (2), pp.147-152.

2 Osman, B., 2017. Three Principles of Architecture as Revealed by Italo Calvino’s ‘Invisible Cities’

3 Puertas Villavicencio, A., 2019. Architecture as Extension of the Mind. Conscious Cities Anthology, 2019(1).

HUMAN MIND

SPACE MIND

CHAPTER 01 - RESEARCH & PRECEDENTS

CHAPTER 01

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- RESEARCH & PRECEDENTS

CHAPTER 01 - RESEARCH & PRECEDENTS

METHODOLOGICAL APPROACH The Visual Cliff Eleanor Gibson (1960) Neuroscience

Form follows function, Nanda (2013)

Perception

Modes of Integrated Information Theory

Hard-wired

by K.Jeffrey

How does the brain transfer sensory information into coherent individual perceptions?

How are the senses integrated?

Consciousness Integrated Information Theory "To understand consciousness, we must understand the brain. The conscious mind is a product of the brain. " Christof Koch.

Proposes an identity between consciousness and integrated information.

Impressionism

In order to comprehend an event, various aspects of the event must be interpret by us. We store in memory not the environmental input itself but the interpretation that we give to the input.

Computation Theory of Mind Computation theory of mind requires mental representation, as input into a computation comes in the forms of symbols or representations. A computer cannot compute an object but must interpret and represent the object in some other form and then compute the representation.

KEY MAP START

Mimetic Computation Memory Wheel Memory Palace

NEUROSCIENCE

History of Mnemonics

PERCEPTION I N T E G R AT E D INFORMATION THEORY

C O M P U TAT I O N THEORY

MEMORY CONSTRUCTION

END

EMBODIMENT OF MEMORY IN SPACE

Mnemonics in digital format

Human Data

ReConstructing memory

Spatial Data

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NEUROSCIENCE: PERCEPTION AND THE REPRESENTATION OF SPACE IN THE BRAIN Research made available in the field of neuroscience is able to factually locate which areas of the brain are responsible for navigation, perception and memory storage4. John O’Keefe5 found in 1976 exactly which cell in the brain is responsible for a human to know its place within its environment (place cells).

Further research strengthened the fact that humans have the ability to sense colour, shapes, textures and shades of objects6.

One study which reinforces this awareness was an experiment conducted by Eleanor Gibson, The Visual Cliff7. The study observed infants, who do not have any prior knowledge or experience but immediately have dimensions of consciousness. This case study was one of the most intriguing studies of perception in architectural space. A stage was set spanning across the length of a room. On one side of the stage were mothers calling their infants to crawl to them. The stage has black and white squares and shapes across it with the last section of the stage completely transparent. The infants were able to process shapes, corners and depth. Gibson’s experiment concludes that intelligence is not needed to process perception and that we as humans are ‘hard-wired’ to this process.

Furthermore, perception is the choice which occurs sometimes ‘non-consciously’ of the stimuli humans consider from selective attention to stimuli8.

4 Pedersen, M., 2021. How Architecture Affects Your Brain: The Link Between Neuroscience and the Built Environment.

5 Grieves, R. and Jeffery, K., 2017. The Representation of Space in the Brain. pp.113-131.

6 Martínez-Soto, J., Gonzales-Santos, L., Pasaye, E. and Barrios, F., 2013. Exploration of neural correlates of restorative envi¬ronment exposure through functional magnetic resonance. pp.10-28.

7 Purves, D., Beau Lotto, R., Mark Williams, S., Nundy, S. and Yang, Z., 2001. Why we see things the way we do: evidence for a wholly empirical strategy of vision. pp.285-297.

8 Rodkey, E., The woman behind the visual cliff Goldhagen, S., 2017. Welcome to your world.

10 10

FIG. 01

FIG. 02

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Also, Upalli Nanda piloted an experiment where candidates were given three sets of the same image presented in different contexts gradually blurring. The study found that general orientation and proportion can be extracted by our perceptual system which can trigger a response and interpretation before we have completely recognised and understood it9.

Additionally, Justin Hollander, in ‘Brain Responses to Arhcitecture and Planning’, a study which investigated the neuro-assessment of the pedestrian experience, found that “the brain reconstructs reality according to its own biological rules”10.

FIG. 03

9 Nanda, U., Pati, D., Ghamari, H. and Bajema, R., 2013. Lessons from neuroscience: form follows function, emotions follow form. Intelligent Buildings International, 5, pp.61-78 10 Hollander, J. and Foster, V., 2016. Brain responses to architecture and planning: a preliminary neuroassessment of the pedestrian experience in Boston. pp.474-481.

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CHAPTER 01 - RESEARCH & PRECEDENTS

THE PROCESS OF MEMORY & SPACE AS THE SETTING FOR MEMORY

The process of memory construction is vital to understand before attempting to bridge the gap between space, the mind and memory. The biological process of memory can be broken down into three stages. Encoding, storing and recalling. These steps consist of receiving the information, processing the information and creating a record of the information. The construction of memory begins from an external stimulus within the spatial environment the subject is situated in. As information is absorbed via the sensory organs and their coding processes, it could be inferred that space is the setting and gives the basic structure to the construction of a memory.

The direction of my exploration in this thesis is the communication and relationship between memory construction and spatial information rather than memory processes autonomously, as space contains the data required for memory construction to take place.

12 12

MY MEMORY IS NOT YOUR MEMORY Neuroscientific research provides an understanding of the basic cognitive processes which humans are hard wired and born with. The experiments and research conducted from this angle give insight and understanding to the biology surrounding memory singularly. What it fails to provide is an understanding of the subjective mechanistic principles behind consciousness - how memory construction and recollection (coding and decoding) takes place and other spatial cognitive processes which take place that make us individually human11. Neuroscience is unable to quantify or narrate how the brain transfers sensory information into coherent individual memories12. Or what are the spatial constituents that establish perceptual experience which result in memory construction and how spatial data is organised and stored as a memory. However, we cannot disregard neuroscience as Christopher Cook says “…to understand consciousness we must understand the brain. As the conscious mind is a product of the brain…”13 Though, Eleanor Gibson’s experiment does probe architectonic forms of space in the perception of spatial surroundings. The experiment allows one to infer that the body does not act autonomously when experiencing and understanding space, but as an interaction with the space.

CHAPTER 01 - RESEARCH & PRECEDENTS

Experiencing and perceiving space is a subjective communication between human and space. The spatial information is not simply received, instead is interpreted subjectively as a projection of one’s own depiction. Hence, my interpretation of the spatial information is not the same as your interpretation, therefore, my memory won’t be the same as yours.

“the eye collaborates with the body and other senses… providing the ground for perception and horizon of experiencing and understanding” – Juhani Pallasmaa.14 11 Pedersen, M., 2021. How Architecture Affects Your Brain: The Link Between Neuroscience and the Built Environment.

12 De Paiva, A., 2018. Neuroscience for Architecture: How Building Design Can Influence Behaviours and Performance.

13 Cook, C., 2021. Visually Conscious 14 Pallasmaa, J., 2012. The eyes of the skin

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PERCEPTION

INTEGRATED INFORMATION THEORY

MODES

IMPRESSIONISM OPTICAL ILLUSION

COMPUTATION THEORY OF MIND

HISTORY MIMETIC COMPUTATION ALGORITHMIC COMPUTATION ALGORITHMIC COMPUTATION

14 14

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INTEGRATED INFORMATION THEORY

Integrated Information Theory proposes an identity between consciousness and integrated information. Where information flows from the sensory organs and filters directly into memory. For example, in order to comprehend an event that we witness, various aspects of the event must be interpreted.

Part of this interpretation is based upon the environmental data that gives rise to it and part comes from our interpretation. Integrated information theory hypothesises the complex relationship between visual stimuli and a personal interpretation and evaluation of it15. The theory suggests that the storage of an event as memory is not the environmental input itself but the generated interpretation that we give to the input/s which were present or chose to be collected at the time of experiencing.

STIMULUS

SENSORY STORAGE AND FILTER

AWARENESS

CONSCIOUS RESPONSE

15 Tononi, G., 2016. Integrated Information Theory: From consciousness to its physical substrate

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INTEGRATION OF INFORMATION

My illustration using information integrated theory principles. As we know, sensory information is transferred via the five sensory organs. I created a simple diagram showing an example of which sensory organ has received stimuli from space, the processing of the relevant active organ receiving the environmental input and the resulting output into a coded language format. In this instance I have represented the output as a symbolic geometrical shaped language. The embedded language ‘holds’ the interpreted depiction of the original event.

16 16

MODES OF INTEGRATED INFORMATION THEORY: IMPRESSIONISM

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An early example of integrated information theory can be seen in Maurice Merleau-Ponty’s, Phenomenology of Perception where he states that “sensing is a living communication with the world that makes it present to use as the familiar place of our life”16. In his artistic practices MerleauPonty expresses between human and its surroundings. His expression of perception is represented as an interpretation and an optional way of depicting the world17.

Claude Monet, Van Gogh18 and Cezanne could arguably be other early examples of integrated information theory. The ‘impressionistic’ styles used convert representations of reality as we know it into generated and interpreted simplistic shapes and forms.

FIG. 04 AQCUISITION

SPATIAL INPUT

INTERPRETATION AT TIME OF THE EVENT (BASED ON EXISTING KNOWLEDGE AND UNDERSTANDING

FRAGMENTS STORED IN MEMORY

RETENTION

RETRIEVAL

INTERPETATION AT FRAGMENTS TIME OF THE POST STORED AT TIME EVENT INFORMATION OF POST EVENT INFORMATION

RECONSTRUCTION OF INTERPRETATION

SPATIAL INPUT

16 Ponty, M., 1945. Phenomenology of Perception 17 Anapur, E.,2016. How Perception in Art Changes our Views 18 Van Gogh, V., 1889. The Starry Night

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MODES OF INTEGRATED INFORMATION THEORY: OPTICAL ILLUSION ‘The Geometry of Conscience” an art installation by Alfredo Jaar19.

The exhibition is a memorial to victims of oppression and dictatorship in Santiago, Chile. As the viewer descends to the exhibition room, they are met with complete silence and darkness. The light intensity then grows slowly and silhouettes of the victims are projected. The lights then suddenly return to complete darkness, leading to a strong after effect on the viewer’s eyes. The silhouettes are now embedded in their memory- carrying with them a memory of the frozen past.20

FIG. 05 19 Jaar, A., 2010. The Geometry of Conscience.

20 Pallmaal, C., 2012. The Geometry of Conscience Memorial

18 18

CHAPTER 01 - RESEARCH & PRECEDENTS

PERCEPTION

INTEGRATED INFORMATION THEORY

IMPRESSIONISM

MODES

OPTICAL ILLUSION

COMPUTATION THEORY OF MIND

HISTORY MIMETIC COMPUTATION ALGORITHMIC COMPUTATION ALGORITHMIC COMPUTATION

19

CHAPTER 01 - RESEARCH & PRECEDENTS

COMPUTATION THEORY OF MIND

Computation Theory of Mind is a concept that the human mind is an information processing system. It proposes that cognition and consciousness (Integrated Information Theory) together are a form of computation. Humans are conscious in that we have an awareness of selfhood in space and body21. Humans have use of sensory organs and a capacity of understanding coupled with our cognitive functions. Computation Theory of Mind is the process in which these functions are computed by our brains. Computational interpretations of the mind into symbolic systems which can represent reality as we know into generated mechanical contexts.

Computation requires three main components. An input, a processing system and an output. Inputs can be both visible and invisible in a spatial context for example, environmental data such as temperature. The processing system can choose any form of instruction (symbolic, sequential, mimetic, algorithmic, associative) given to the input which then results in a personal interpreted output.

Braille- a form of computing information usually associated with sound and vision into touch. (Language in different form)

EYES

EARS

PERSONAL INTERPRETED OUTPUT

Processing

SKIN

INPUTS

NOSE TONGUE

21 Putnam, H., 1991. Representation and Reality.

FIG. 06

20 20

PARALLEL BETWEEN HUMAN BRAIN AND COMPUTER

CHAPTER 01 - RESEARCH & PRECEDENTS

The comparison between the human brain and a computer has been incorporated in modern memory models. The comparison has been made as the human brain, like a computer, is an energy-efficient mechanism.

Computers store information in various formats differing from their original versions (.mp3, .jpeg, .js). The computer does this so as not to have an information over-load. This way of visualising the brain is fundamental to being of the viewpoint that space itself is a memory storage container and that the brain does not internalise all spatial information, rather it picks and chooses specifically the required spatial information required to internalise and externalise others.

Data Bank

Human Brain

Index File

Hippocampus

Disk Storage

Cortex

Forgot Password

Not Remembering Memory

Power Off

Seizure

Updating File

Dreaming

Temperature Change

Systematic Drug

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CHAPTER 01 - RESEARCH & PRECEDENTS

MEMORY PALACE

A mnemonic device is a device which aids information retention or retrieval in human memory. Mnemonics use encoding, cues and imagery to allow for efficient storage and retrieval, these can be in any formula of interpretation associated by the user. Spatialising knowledge as a mnemonic function has been explored since ancient Greek and Roman Time using the method of loci, which suggests an imagined space which has spatial continuity to encode information and its sequence.

Giulio Camillo’s Theatre of Memory is one of the earliest examples of a mnemonic device22, where mystical spatial layouts could be assigned images or ideas to various rooms and corridors. Thereby entering a celestial consciousness - one could eventually ‘walk through’ the imagined space to retrieve information and memories. During the Italian Renaissance, Camillo created an architectural structure which aimed to conceptualise everything which exists in the world. The structure was based on a half circle theatre where the roles of the usual theatre are reversed. The stage looks outward toward the audience rather than vice-a-versa, reversing the roles of the spectator. The theatre is then divided into seven sections and seven levels with each row and column (gateways) associated with symbols from mythology.

The theatre represents a projection of human knowledge as:

AN ARCHIVE OF THE MIND

allowing for better memory or encoding of information through association – the spatialisation of memory. A juxtaposition of a modernday encyclopaedia or computing one’s own internet. 23 22 Fabrizi, M., 2019. Spatializing Knowledge: Giulio Camillo’s Theatre of Memory (1519-1544) 23 Savas, A., 2018. The Celestial Memory Palace

FIG. 07, 08 & 09

22 22

CHAPTER 01 - RESEARCH & PRECEDENTS

THE MEMORY WHEEL

Frances Yates’ interpretation of The Memory Wheel by Giordano Bruno.

Another device used in the construction and embodiment of spatialised memory is that of Giordano Bruno’s memory wheel. The wheel is a highly personalised mechanism for storing and recalling of experience within space. Mapping events as cognitive visualisations.

The memory wheel has five cells divided into 150 rays. The user assigns a figure to each letter on the first ring, then corresponds an action or scene associated to the second ring.

The third ring contains attributes, the fourth and fifth rings are left to the user’s imagination. Once the rings are set in motion and rotating, versions of the occurrence are ‘played back’.24

24 Yates, F., 1966. The Art of Memory

FIG. 10 & 11

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CHAPTER 01 - RESEARCH & PRECEDENTS

MIMETIC COMPUTATION

In the modern age computing information can come in various different forms. One example is mimetic computation, where data can be used to mirror or parallel real world experiences by encoding its information and sequence.

Sougwen Chung is an artist who paints in collaboration with a robotic arm.

The case study explores human-machine collaboration, robotic memory of humans and how the tool is informed by humans.

The robotic arm learns and collects the behaviour and drawing style of the artist. It does this through processing and constructing neural networks trained on the artist’s gestures25.

FIG. 12 & 13 25 Chung, S., Drawing Operations Unit: Generation 2 - Memory

24 24

AI ASSISTED VISUAL STIMULI

CHAPTER 01 - RESEARCH & PRECEDENTS

This case study demonstrates integrated information theory and computation theory of mind working together. The application was developed using algorithms and artificial intelligence neural networks.

The application is based on machine learning processes of image recognition and detects patters from visual stimuli. The camera interface identifies letters in shapes of objects in space and writes them down sequentially. The application then matches letters found in space into readable words by using a matching algorithm to the English dictionary. The second algorithm then takes the word through a prediction network and converts the word into likely sequences of text thus creating full sentences.

The application is an example of integrating information from spatial data, in this case shapes detected in space and computing those shapes into other forms. Giving the space language and creating another generated transcript of space26.

26 Visnjic, F., 2021. The Transcriptions of Space - AI assisted visual stimuli https://www.creativeapplications.net/environment/the-transcriptions-of-space-ai-assisted-visual-stimuli/

FIG. 14 , 15 & 16

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CHAPTER 01 - RESEARCH & PRECEDENTS

RECONSTRUCTING MEMORY

Another form of cognitive computing to re-evaluate, re-vision and re-frame the state of our consciousness.

Reconstructing memory using quantum algorithm by Willard Van De Bogart explains how a quantum composition can aid in retrieving memories. The information processing that humans undergo in daily life leave impressions and those impressions are converted through frequencies into a codes that develop into its own language. The quantum algorithm function in the neural network of a simulated quantum computer mimics the exchange of information embedded in the neural networks of the brain. The compressed data is then generated into a 3d image which creates a visual stimulus - a reconstructed version of the original27.

27 Van De Bogart, W., 2017. Re-constructing memory

26 26

FIG. 17 & 18

RANDOM ACCESS MEMORY

CHAPTER 01 - RESEARCH & PRECEDENTS

Random Access Memory by Miroslav Bulka is an art installation which emphasises the viewers experience and their communication/negotiation of space which is fundamental to meaning.

The gallery is blocked by a heated metal wall which goes across the entire width and height of the space. Random Access Memory refers to the complex form of computer data storage that we all use but do not necessarily comprehend as a generalised concept of memory. The exhibition makes visible and physical a single component of space, in this case temperature, which is invisible in reality but is generated physically for the viewer to interact with and appreciate28.

FIG. 19 & 20

28 Bulka, M., 2019. Random Acess Memory

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COMPUTATION OF HUMAN AND SPATIAL DATA

This research is an exploration of what a cognitive representation of a memory may look like and how impressionistic and tangible representational views of memory can be illustrated or computerised.

Refik Anadol is an artist who collects different human life data and uses various computation methods to represent data which has been fed through a neural network29.

Melting Memories is one of many exhibitions produced by the artist. The artist collected data using an EEG, participants were asked to remember childhood memories and the resulting pulses in two areas of the brain (hippocampus and frontal left lobe) were recorded. The data recorded was algorithmically transcribed in an abstract language which resulted in the final piece of art.

29 Anadol, R., 2021. Melting Memories

28 28

FIG. 21

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FIG. 22

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CHAPTER 02 - THESIS DEVELOPMENT

CHAPTER 02

30

- THESIS DEVELOPMENT

CONCEPT

Using the research and precedents that I have explored, I aim to explore the spatial characteristics which can prompt sensory response resulting in memory construction and recall. As I have understood, we do not perceive space passively, but rather are engaged in a communication with it. Continuing from this idea, I aim to develop and test notions of how self and space act as cohesive bodies as a dualistic representation in view of space as an external memory container.

The brain selects and internalises relevant human and spatial data, but also ‘leaves’ external data in space, later to act as cues when called upon to remember a memory. This evaluation gives rise to metaphorical embodied approach to memory.

CHAPTER 02 - THESIS DEVELOPMENT

INTEGRATION AND COMPUTATION OF DATA

VISION SELECTED FROM ALL SENSORY ORGANS

VISIO-SPATIAL DATA & HOW IT RECEIVED AND COMPUTED

IS

EXPERIMENT 01

HOW SPATIAL DATA IS STORED AS MEMORY INTERNALLY IN THE BRAIN & EXTERNALLY IN SPACE

EXPERIMENT 02

ENCAPSULATES BOTH HUMAN & SPATIAL DATA IN A METAPHORICAL MECHANISM

COMBINATION LOCK

31

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EXPERIMENT 01:

Second 1

FRAGMENTED MEMORY In this experiment I use integrated information theory and computation theory of mind concepts to create an example of how an event is constructed and embedded as a memory. The space where the event takes place is filled with thousands of pieces of spatial data. However, the event’s visiospatial data is stored as fragmented pixels. Metaphorically showing how the brain offloads irrelevant data to not cause an ‘over-load’ of information.

The pixels which constitute the most important parts of the event to the subject are captured and embedded. The final image is a concept of how the memory is stored as fragmented yet still allows for the subject to be able to recollect the memory.

Second 5

EVENT

SECOND 10

Second 10 SECOND 5

SECOND 1

THREE DIFFERENT TIMES IN THE EVENT

Second 1

32

Second 5

Second 10

CHAPTER 02 - THESIS DEVELOPMENT

CODING THREE IMAGES CONVERTED INTO NUMBERS OF 1-3

R A N D O M N U M B E R GENERATOR G E N E R A T E N U M B E R S BETWEEN 1-3 AND CREATE A TABLE OF RANDOM PIXELS

The experiment explores how mental imagery of space is interpreted to a degree where it is recognisable and understandable for the subject at a later time. The subject is then able to recollect the spatial experience using only few and particular pieces of spatial data. The experiment also shows how the human brain only selects and represents specific points of the visio-spatial environment required to represent the scene internally (as a memory). The experiment tries to generate how visual and spatial components interact, combine and preserve relevant points in the scene for the construction of the memory.

F I N A L RESULT A FRAGMENTED AND DISTORTED VERSION OF THE MEMORY AS WE DO NOT ALWAYS REMEMBER THE WHOLE EVENT. WE REMEMBER FRAGMENTS OF THE EVENT

33

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EXPERIMENT 02:

THE MEMORY MATRIX In this experiment I aim to conceptualise a matrix where not only time and space ‘bend’, but also where consciousness and unconsciousness ‘meet’. Bending in this instance is how an event one is experiencing in the present can take them to another dimension of time and space and also, how spatial data is evoking ‘multi-states’ of the brain consciously recognising the present, yet, unconsciously recalling the past.

Particular pixels hit each other (align) from both side and the memory is triggered

I created a final interpreted image not only based on the current spatial data in the present one is witnessing, but of one which is constructed of a combination of retrieved memories from a past event based on spatial stimuli which was encoded at that time. These are shown by the pixelated images and the singular pixel which was the responsible stimuli to cause this occurrence.

BENDING TIME AND SPACE

34

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Past

Present Particular pixel from internal storage is being triggered by an external data (pixel) and colliding with each other to cause a past memory to be recalled.

35

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SCAN TO SEE ANIMATION

36

DEVICE DEVELOPMENT

CHAPTER 02 - THESIS DEVELOPMENT

MNEMONIC COMBINATION LOCK To aid my concept visualisation, I took inspiration from The Memory Wheel and based my device on a combination lock mechanism. The combination lock has conceptual layers which store data (memory data). The information stored via stimuli can come from both human and spatial data. This idea stems from the impression that both space is communicating with human, human is communicating with space and that their resulting computed communications’ narrative is ordered into a single layer in the combination lock. When the stimuli to those layers are present in a spatial context at a different point in time, these layers become ‘active’, align and the past memory can be ‘retrieved’ and ‘recalled’. The combination lock mechanism acts as a vehicle for the embodiment of memory. Encapsulating internal (human) and external (spatial) information.

FIG. 23

FIG. 24

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DEVICE DEVELOPMENT COMBINATION LOCK

Arduino circuit demonstrating a combination lock working. When the lock is unlocked one is able to attain the information stored.

The example is used to illustrate the alignment of relevant pieces of information required to ‘open the memory’.

The Arduino was given a code as it’s password. When the code is incorrect the lock shows a red led showing that the information stored is unable to be retrieved. The numbers act as layers which make up the lock’s data. Each number (layer) contains a specific piece of encoded data.

1

38

4

3

2

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2

1

3

4

39

CHAPTER 02 - THESIS DEVELOPMENT

Perception, Data Collection and Memory This mnemonic device is an example of perception and personal data collection. Unlike unconscious memory construction, the device aims to provide a more conscious way of collecting information. The user simply presses one button to remember a thought or any information the subject wishes to remember, the moment is simply displayed as a time stamp in one line. The user can ‘rewind’ to the day of the memory and can assess the line embedded at certain points in the day. The device’s feedback is only given as a line, designed to aid memory recall and also respects the right to forget30.

FIG.25

FIG.26 30 Visnjic, F., 2016. Perception, Data Collection and Memory - Ishac Bertran https://www.creativeapplications.net/objects/perception-data-collection-and-memory-ishac-bertran/

40

CHAPTER 02 - THESIS DEVELOPMENT

MNEMONIC DEVICE

The two previous experiments gave an understanding of visual stimuli which are present in space. However, there are two minds at work here. One of the subject’s and one of space’s. Therefore, I aim to create a device which is able to collect both spatial data and human data together combined into one layer conterminously. I used Arduino and Processing to achieve this. The device collects both spatial data and human data, then codes the data by a processing code which it is instructed to do and embeds the output as layers in the ‘combination lock’.

TIME LIGHT INTENSITY

MIMETIC COMPUTATION

MIMETIC COMPUTATION

SEQUENTIAL COMPUTATION

SEQUENTIAL COMPUTATION

LOCATION

SYMBOLIC COMPUTATION

SYMBOLIC COMPUTATION

BODY TEMPERATURE

ALGORITHMIC COMPUTATION

ALGORITHMIC COMPUTATION

BODY BATTERY

SMELL WEATHER

AUDIO

DATA INTEGRATION

SPACE

MEMORY

HUMAN

HEART RATE

DATA INTEGRATION

SYSTEM DIAGRAM

41

CHAPTER 02 - THESIS DEVELOPMENT

MNEMONIC DEVICE

Importprocessing.serial.*;JSONObjectjson,main1,main2, wind1,wind2,wind3,wind4,wind5,wind6,wind7,wind8Tablet able;StringAPIKE"fc40e870efe7d80a083e9e6692a539d5"; Stringfilename;floattemp1,pressure,humidity1,speed1;Str

ingimagename;intincrement1=nttime_to_fetch;inttime_be tween_fetches6000;Tenseconds.voidsetup()2etc.tomatch yourportdelay(5000);sie(500,900);table=newTable();table.

DATA COLLECTION PROCESS WITH PROCESSING AND ARDUINO A SET OF FUNCTIONS FOR COLLECTING ENVIRONMENTAL RAW INFORMATION / CLASSIFICATION OF OUTPUTS IN FORM OF VISUAL,AUDIO AND TEXT. THIS CODE CAN BE USED TO CONSTRUCT SEQUENCE OF DATA FROM SPACE AROUND US.

addColumn("Speed");table.addColumn("Humidity");table .addColumn("Temperature");table.addColumn("Pressure ");noStroke();fill(0);soundsetup();camerasetup();ldrsetup

();clocksetup()}voiddraw(){background(0);if(millis()>time _to_fetch){loadData();}imagename="Camera-"+frameCou nt+"jpg";println(imagename);pushMatrix();translate(20,20

CAPTURE MOMENT

CAPTURE TIME & DATE

CAPTURE LIGHT INTENSITY

0);scale(0.5,0.5);sounddisplay();popMatrix();pushMatrix() ;translate(20,280);cameradraw();popMatrix();pushMatrix() ;translate(300,30);ldrdraw();popMatrix();pushMatrix();tran slate(280,40);clockdraw();popMatrix();pushMatrix();transl ate(280,40);clockdraw();popMatrix();textSize(15);fill(255)t ext("Temp1:"+str(temp1)"\nHumidity1:"+str(humidity1+"\n Speed1+str(speed1)etch=millis()+time_between_fetches; LoadJSONObject("http://api.openweathermap.org/data/2.

5/group?id=2643743,4497666,4938157,5088438,5805687,4

12:51 08:12 12:51 08:12 11:24 04:20 11:24 04:20 13:02 09:35 13:02 09:35 657

534

330

650

CAPTURE SOUND

969398,4487042,4951257&units=metric&APPID="+APIKE Y);JSONArrayweatherArr=json.getJSONArray("list")printl n(weatherArr);JSONObjectweatherObj1=weatherArr.getJ SONObject(0)//println("WeatherObject:\n"+weatherObj,E NTER);main1weatherObj1.getJSONObject("main");wind1=

weatherObj1.getJSONObject("wind");speed1=wind1.getFl oat("speed");humidity1=main1.getFloat("humidity");temp 1=main1.getFloat("temp");pressure=main1.getFloat("pres sure");//exit();newRow=table.addRow();newRow.setFloat( "Speed",speed1);newRow.setFloat("Humidity",(humidity1 ));newRow.setFloat("Temperature",(temp1));newRow.setF

42

CAPTURE WEATHER CONDITION

TEMPERATURE HUMIDITY 10 12 9 10 6

81.0 90.12 63.45 50.05 81.88

WIND 1.34 4.43 4.63 1.25 3.32

}

Turn on light

ENVIRONMENTAL RAW INFORMATIONS

CUSTOM CODE WRITTEN IN

OUTPUT DATA IN VISUAL,AUDIO

FINAL LOOK OF THE DEVICE

THE OBTAINED DATA IS COLLECTED &

AS INPUT TO BE COMPUTED IN THE SYSTEM

ARDUINO & PROCESSING

& TEXT FORMAT

ALL IN ONE PLACE

CLASSIFIED IN THE FILE

CHAPTER 02 - THESIS DEVELOPMENT

DATA COLLECTION Arduino LDR sensor The sensor that can be used to detect light Intensity

Arduino LM35 temperature sensor the sensor can be used as a thermomete and gives the temperature inside the space r Laptop webcam Processing allows the user to Take a snapshot of the moment

Processing code for time & date Displayed real-time date and time

Laptop microphone Processing allows the user to Record and save the background sounds

Online API key Written code in processing get access to get real-time

updates on temperature, humidit y, wind & more

ARDUINO

+

PROCESSING

43

CHAPTER 02 - THESIS DEVELOPMENT

DATA COLLECTION The LM35 is a high voltage Arduino temperature sensor. I used this in my experiment to collect environmental data inputs. These were then collected and manipulated through Processing. I chose to collect spatial temperature as it can be a vital input in memory construction and recall.

44

CHAPTER 02 - THESIS DEVELOPMENT

DATA COLLECTION In this experiment I attempted to capture evenironmental inputs that are often neglected in the construction of memory. Light intensity is measured using LDR Arduino sensor. The sensor works by light intensity- when the light intensity is low the LED turns on. Light intensity is also another key component present in space which can effect many other stimuli and how sensory organs operate in different light settings.

45

CHAPTER 02 - THESIS DEVELOPMENT

DATA COLLECTION

After having collected both spatial and human data sets. The last step of my device experiment was to write a selected corresponding instruction to the specific data set to classify and store the data from Arduino and Processing in one place.

ligh t o

16.70

PLAY

MOUSE PRESSED

PROCESSING FINAL INTERFACE

46

CHAPTER 02 - THESIS DEVELOPMENT

DEVICE INTERFACE

CLOCK

SOUND VISUALIZATION

RECORDS OF TEMPERATURE IN HEAT MAP FORMAT

RECORDS OF VISUAL OUTPUTS

The device interface is a conceptual illustration of the recorded data sets the device has compounded.

The layers of specific data stores in the combination lock are taken apart to show visually they’re place within the combination lock. Each layer consists of specific outputs relating to its data set. The rings (layers) of data are stored later to be realigned when memory recall occurs.

47

CHAPTER 02 - THESIS DEVELOPMENT

INTERFACE

Data collected from the device is stored conceptually as layers in rings to be inserted and make up the combination lock. Each layer contains its specific data set from many different events.

The layer can rotate until alignment of sequence with sound, vision, temperature, time or whichever data information has been stored takes place, resulting in memory recall.

LAYERS OF DATA IN COMBINATION LOCK CONCEPT

48

CHAPTER 02 - THESIS DEVELOPMENT

DEVICE INTERFACE

WITH ALIGNMENT OF THE LAYERS IN THE COMBINATION LOCK THE MEMORY CAN BE RECOLLECTED

SCAN TO SEE ANIMATION

49

03 - THESIS MNEMONIC LANDSCAPE CHAPTER 02 DEVELOPMENT

50

CHAPTER LANDSCAPE CHAPTER03 02--MNEMONIC THESIS DEVELOPMENT

CHAPTER 03

- MNEMONIC LANDSCAPE

51

CHAPTER 03 - MNEMONIC LANDSCAPE

FINAL DESIGN

Developing further from my conceptual combination lock analogy, my final design is a conceptual landscape which aims to re-imagine, re-envision and recreate the spatial tissue as we know it incorporating the ‘meeting of minds’. Making perceptible the spatial constituents which can be embedded resulting in an embodiment of a memory, by transforming them into visible elements within a spatial tissue.

I achieved this by populating a cross-section of space as a cube with some invisible members and bodies of entities which can constitute sensory stimulation and become archives (layers) in memory for the subject, making them visible and in focus, which can be present in any space. The theoretical ‘populated’ space is a combination of space-mind and body-mind elements present in space waiting to be ‘activated’ in dialogue with one another to become embodiments of memories.

TOP VIEW OF BODIES OF DATA ALIGNED IN SPATIAL TISSUE

52

FINAL DESIGN - THE UNLOCK MECHANISM

CHAPTER 03 - MNEMONIC LANDSCAPE

LAYER 1 (VISUAL STIMULI) STRETCHED PIXEL CLOUD CONTAINING VISIO-SPATIAL DATA USED TO ILLUSTRATE VISUAL INPUTS.

LAYER 2 (SMELL STIMULI) BUBBLES AS SMELL INFLECTIONS IN SPACE.

EACH LAYER CAN MOVE THREE DIMENSIONALLY , THE “UNLOCK MECHANISM” OCCURS WHEN THESE LAYERS ALIGN. SAME AS THE COMBINATION LOCK MECHANISM.

LAYER 3 (SOUND STIMULI) DIFFERENT SOUND FREQUENCIES. SOUND LANDSCAPE TO SHOW THE AUDITORY DATA IN SPACE.

TOP VIEW OF BODIES OF DATA CONTAINING RELEVANT INFORMATION FLOATING IN SPACE.

53

CHAPTER 03 - MNEMONIC LANDSCAPE

VISUAL REPRESENTATION (POPULATING THE SPACE)

OF

MEMORY

STIMULI

Cubes which contain externalised bodies of data that exist in the environment.

VISUAL STIMULI AS PIXELS

54

SMELL STIMULI AS BUBBLES

SOUND STIMULI AS WAVES

LANDSCAPE MEMORY

OF

THE

CHAPTER 03 - MNEMONIC LANDSCAPE

EMBODIED

For the final design I tried to illustrate a populated landscape filled with environmental inputs and stimuli in a virtual space containing no gravity. The stimuli were encapsulated in the space though are able to freely spread across the landscape. The result was a space container embodying layers of environmental data ready to become active and trigger new construction of memories or recollection of previous memories.

LAYER 1

LAYER 2

LAYER 3

55

CHAPTER 04 - CONCLUSION

CHAPTER 04

56

- CONCLUSION

CHAPTER 04 - CONCLUSION

CONCLUSION

Intrinsically encapsulating relevant theory and case study precedents, the complexity of space in its embodiment with memory is simplified as a subjective absorption and compression into a personalised model. Defining how space is a projection of our own simulated and generated imagery.

As expressed throughout the thesis, perception and memories are subjective mental imageries of reality as we know it. The data within architectural space which has been embodied as memories are simulated continuities of time and space, combining the past, present and the future. We see architectural space subjectively as cognitive visualisations and resulting embodied memories of both human and spatial data.

The re-envisioned mnemonic landscape is an attempt to make visible the phenomena of the greater system of communicative layers and content between human and space which are present in space and which can act as agents and components to memories.

An embodied approach to memory therefore aims not to redefine the definition of memory but attempts to extend its meaning.

57

BIBLIOGRAPHY Anadol, R., 2021. Melting-memories Anapur, E., 2016. How Perception in Art changes our Views Barrett, P. and Barrett, L., 2015. The potential of positive places: Senses, brain and spaces. Salford Centre for Research and Innovation in the Built Environment, University of Salford,.

Bulka, M., 2019. Random Access Memory Chung, S., 2020. Drawin Operations Unit: Generation 2 – Memory De Paiva, A., 2018. Neuroscience for Architecture: How Building Design Can Influence Behaviors and Performance. Journal of Civil Engineering and Architecture, 12(2).

Eberhard, J., 2009. Applying Neuroscience to Architecture. Neuron, 62(6).

Fabrizi, M., 2019. Spatializing Knowledge: Giulio Camillo’s Theatre of Memory (1519-1544) Goldhagen, S., 2017. Welcome to your world. Harper Collins.

Grieves, R. and Jeffery, K., 2017. The representation of space in the brain. Behavioural Processes, 135, pp.113-131.

Hollander, J. and Foster, V., 2016. Brain responses to architecture and planning: a preliminary neur-assessment of the pedestrian experience in Boston. Pp. 474-481 Jaar, A., 2012. The Geometry of Conscience Memorial Martínez-Soto, J., Gonzales-Santos, L., Pasaye, E. and Barrios, F., 2013. Exploration of neural correlates of restorative envi¬ronment exposure through functional magnetic resonance. Intelligent Buildings International, 5(sup1), pp.10-28.

Nanda, U., Pati, D., Ghamari, H. and Bajema, R., 2013. Lessons from neuroscience: form follows function, emotions follow form. Intelligent Buildings International, 5(sup1), pp.61-78.

Osman, B., 2017. Three Principles of Architecture as Revealed by Italo Calvino’s ‘Invisible Cities’ Pallasmaa, J., 2012. The eyes of the skin. Chichester, West Sussex [U.K.]: Wiley.

Papale, P., Chiesi, L., Rampinini, A., Pietrini, P. and Ricciardi, E., 2016. When Neuroscience ‘Touches’ Architecture: From Hapticity to a Supramodal Functioning of the Human Brain. Frontiers in Psychology, 7.

Parker, R.D., 1997. The Architectonics of Memory: On Built Form and Built Thought. Leonardo, 30 (2). Pp/147-152 Pearce, M., Zaidel, D., Vartanian, O., Skov, M., Leder, H., Chatterjee, A. and Nadal, M., 2016. Neuroaesthetics. Perspectives on Psychological Science, 11(2), pp.265-279.

Pedersen, M., 2021. How Architecture Affects Your Brain: The Link Between Neuroscience and the Built Environment. [online] ArchDaily.

Available at: <https://www.archdaily.com/876465/how-architecture-affects-your-brain-the-link-between-neurosci¬ence-and-the-builtenvironment> [Accessed 15 April 2021].

Pont, M., 1945. Phenomenology of Perception Puertas Villavicencio, A., 2019. Architecture as Extension of the Mind. Conscious Cities Anthology, 2019(1).

Putnam, H., 1991. Representation and Reality Purves, D., Beau Lotto, R., Mark Williams, S., Nundy, S. and Yang, Z., 2001. Why we see things the way we do: evidence for a wholly empirical strategy of vision. Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences, 356(1407), pp.285297.

Savas, A., 2018. The Celestial Memory Palace Spence, C., 2020. Senses of Place: Architectural design for multisensory mind. Cognitive Research: Principles and Implica¬tions, 5(46).

Rodkey, E., 2016. The woman behind the visual cliff Salingaros, N., 2017. How Neuroscience Can Generate a Healthier Architecture. Conscious Cities Anthology 2018: Hu¬man-Centred Design, Science, and Technology, 2018(1).

Tononi, G., 2016. Integrated Information Theory: From consciousness to its physical substrate Van De Bogart, W., 2017. Re-constructing memory using quantized electronic music and a ‘Toridion byte’ quantum algo¬rithm:. Technoetic Arts: A Journal of Speculative Research, 14(3).

Van Gogh, V., 1889. The Starry Night Visnjic, F., 2021. The Transcriptions of Space - AI assisted visual stimuli https://www.creativeapplications.net/environment/the-transcriptions-of-space-ai-assisted-visual-stimuli/ Visnjic, F., 2016. Perception, Data Collection and Memory - Ishac Bertran https://www.creativeapplications.net/objects/perception-data-collection-and-memory-ishac-bertran/ Yates, F., 1966. The Art of Memory

FIGURES 01. Grieves RM, Jeffery KJ. The representation of space in the brain. Behav Processes. 2017 Feb;135:113-131. doi: 10.1016/j. beproc.2016.12.012.

02. Rodkey, E. N. 2015 ,The Visual Cliff’s Forgotten Menagerie 03. Nanda, U., Pati, D., Ghamari, H. and Bajema, R., 2013. Lessons from neuroscience: form follows function, emotions follow form.

Intelligent Buildings International 04. https://artsandculture.google.com/exhibit/vincent-van-gogh-starry-night/MQIC3K4HQxZGLw?hl=en 05. https://alfredojaar.net/projects/2010/the-geometry-of-conscience/ 06. https://www.pharmabraille.com/pharmaceutical-braille/the-braille-alphabet/ 07. https://socks-studio.com/2019/03/03/spatializing-knowledge-giulio-camillos-theatre-of-memory-1519-1544/ 08. IBID 09. IBID 10. https://nickkahler.tumblr.com/post/114156410929 11. IBID 12. https://sougwen.com/project/drawing-operations-unit-generation-3 13. IBID 14. https://www.creativeapplications.net/environment/the-transcriptions-of-space-ai-assisted-visual-stimuli/ 15. IBID 16. IBID 17.https://www.researchgate.net/publication/311212296_Re-constructing_memory_using_quantized_electronic_music_ and_a_%27Toridion_byte%27_quantum_algorithm_Creating_images_using_zero_logic_quantum_probabilistic_neural_networks_ ZLQNN 18. IBID 19. https://whitecube.com/exhibitions/exhibition/miroslaw_balka_masons_yard_2019 20. IBID 21. https://refikanadol.com/works/melting-memories/ 22. IBID 23. https://www.canstockphoto.com/rotary-combination-lock-safe-locking-7560296.html 24. https://interestingengineering.com/this-transparent-combination-lock-model-clearly-explains-what-goes-inside 25. https://www.creativeapplications.net/objects/perception-data-collection-and-memory-ishac-bertran/ 26. IBID

PROCESSING CODES

PROCESSING CODES

import processing.serial.*; //Serial myPort; // Create object from Serial class JSONObject json, main1, main2, wind1, wind2, wind3, wind4, wind5, wind6, wind7, wind8 ; Table table; String APIKEY = “xxxxxxxxxxxxxxxxxxx”; String filename; float temp1, pressure, humidity1, speed1; String imagename;

void draw() { background(100); if ( millis() > time_to_fetch ) { loadData(); } imagename = “Camera-”+frameCount+”jpg”; println(imagename);

int increment1 = 0; int time_to_fetch; int time_between_fetches = 6000;

pushMatrix(); translate(20,100); scale(0.5,0.5); sounddisplay(); popMatrix();

void setup() { delay(5000); size(1200, 1200); table = new Table();

pushMatrix(); translate(20,300); cameradraw(); popMatrix();

table.addColumn(“Speed”); table.addColumn(“Humidity”); table.addColumn(“Temperature”); table.addColumn(“Pressure”); noStroke(); fill(0, 102); soundsetup(); camerasetup(); ldrsetup(); }

pushMatrix(); translate(width/2,10); ldrdraw(); popMatrix(); textSize(12); text(“Temp1: “ + str(temp1) + “\nHumidity1: “ + str(humidity1) + “\nSpeed1: “ + str(speed1) + “\nPressure: “ + str(pressure) + “\nIncrement: “ + increment1, 20, 30);

} void loadData() { increment1++; time_to_fetch = millis() + time_between_fetches; json9398,4487042,4951257&units=metric&APPID=”+APIKEY); JSONArray weatherArr = json.getJSONArray(“list”); println(weatherArr); JSONObject weatherObj1 = weatherArr.getJSONObject(0); println(“Weather Object:\n” + weatherObj, ENTER); main1 = weatherObj1.getJSONObject(“main”); wind1 = weatherObj1.getJSONObject(“wind”); speed1 = wind1.getFloat(“speed”); humidity1 = main1.getFloat(“humidity”); temp1 = main1.getFloat(“temp”); pressure = main1.getFloat(“pressure”);

} void keyPressed(){ if ( key == ‘l’ ) { TableRow newRow = table.addRow(); newRow.setFloat(“Speed”, speed1); newRow.setFloat(“Humidity”, (humidity1)); newRow.setFloat(“Temperature”, (temp1)); newRow.setFloat(“Pressure”, pressure); newRow.setString(“Image ID”, imagename);

drawData(); loadData(); } if ( key == ‘p’ ) { int d=day(); int m=month(); int h=hour(); int min=minute(); int s=second(); filename = “data/” + str(m) + “-” + str(d) + “--” + str(h) + “-” + str(min) + “-” + str(s) + “.csv”; saveTable(table, filename); cameramousePressed(); recordaudio(); delay(3000); stoprecordaudio(); } } void keyReleased(){ soundkeyReleased(); }