Action! Research Journal by Prudence Djajadi

String p0 =

“Action!”; println (p0); String p1 =

“Prudence Djajadi”; println (p1); String p2 =

“MA Graphic Design Communication”; println (p2);

String p3 =

“Chelsea College of Art and Design”; println (p3); String p4 =

“2013”; println (p4);

// Experience becoming the actors of your own film

About the Author ( );

I am not a code, I am a person who loves sushi and milkshake. I was trained as a graphic designer and knew so little about all the things I am talking about in this book. However, after a number of sleepless nights and stay in weekends, I managed to achieve what I always wanted to do; Interaction and filmmaking. I decided to shift to interaction because I realized that my design intention has always been trying to bring excitement to the users. Then I get obsessed with it which is why I started to explore it futher in my personal practice.

P.S. Iâ&#x20AC;&#x2122;m not including any page number as I intend to add more pages in the future. My practice doesnâ&#x20AC;&#x2122;t just stop here, it has just begun!

www.prudencedjajadi.com

String p5;

â&#x20AC;&#x153;Malcolm LeGriceâ&#x20AC;? println (p5);

// Interactivity replaces the concept of the passive viewer by the active participant.

Page (Content);

// P 1 // Counter Cartography // // P 2 // Design Ideology // // P 3 // Interactivity in Communication Design // // P 4 // Early Cinema // // P 5 // Avant-Garde Film // // P 6 // The Audience Experience // // P 7 // Cinema As New Media // // P 8 // Expanded Cinema // //P 9 // Close Circuit System // 92 - 109

String p1;

â&#x20AC;&#x153;Prudence Djajadiâ&#x20AC;? println (p1);

Year (2013);

// Jakarta, the city I was born and lived most of my life at. I was 6 and all I knew were candies and cartoons. Behind my very eyes, my kind were rapped, murdered, burnt and kidnapped. I hadaplace to sleep and watch my favourite cartoon shows, meanwhile people struggle to protect their home from being burnt and destroyed.

{

Part (1);

// Counter Cartography This project was my first exhibition at Chelsea College of Arts at Triangle Building. The project encouraged students to create a self interpreted map based on their hometown / place they feel most connected to. This is a good exercise to kick start the course before proceeding on figuring out the topic for our main project.

Experiment ( );

// The task was to create a map out of a significant event in our hometown based on our own interpretation. Navigation is not necessary in this map; nonetheless it should represent the characteristic of the chosen event occurring in our hometown. My chosen city was Jakarta, where I was born at and where I spent most of my life. In May 1998, a barbaric riot spread all over Jakarta causing major damages and disruptions around the city. The riot was mainly caused by the significant monetary crisis and the discrimination against Chinese-Indonesians. // As a child, I have never been acknowledged regarding this event, especially because I lived in the suburb and luckily the riot did not spread around my neighbourhood. It still chills me when I read about the riot now which is why all I could do is envision it. I was lucky enough to live during that period and not having to directly experience the event.

// I created my mock ups out of paper templates and cards before finally carving blocks of styrofoam for the 3D sculpture of the map.

Final Outcome ( );

// Based on that concept, I created an animation to portray the aggressiveness of the riot. The animation is projected onto a carved Styrofoam mimicking the map of Jakarta. Each element that forms the map in overall represent the different districts of Jakarta; North, East, West, South and Central. The different depth of each districts are derived from the significance of the riot that stroke each district. For instance west Jakarta was the most affected district, east was second, central was third, south was fourth and north was fifth.

// Animation projected directly onto the styrofoam sculpture.

/* Blink Turns on an LED on for one second, then off for one second, repeatedly. This example code is in the public domain. */ // Pin 13 has an LED connected on most Arduino boards. // give it a name: int led = 13; // the setup routine runs once when you press reset: void setup() { // initialize the digital pin as an output. pinMode(led, OUTPUT); } // the loop routine runs over and over again forever: void loop() { digitalWrite(led, HIGH); // turn the LED on (HIGH is the voltage level) delay(1000); // wait for a second digitalWrite(led, LOW); // turn the LED off by making the voltage LOW delay(1000); // wait for a second

// The first code I used when I picked up Arduino

}

String p2;

â&#x20AC;&#x153;Keedyâ&#x20AC;? println (p2);

Year (2004);

// Designers should have originality and authenticity. There is no shortage of stupid original ideas. Originality doesnâ&#x20AC;&#x2122;t count in design because design is not original after all. Design is primarily about organizing and making, not from scratch.

{

Part (2);

// Design Principles My MA practice began by coming up with 5 keywords which answer the question â&#x20AC;&#x153;How will graphic design communication be in the future?â&#x20AC;? This chapter will explore the design principles I value which are also gradually form a topic for my MA practice.

Keywords ( );

// The case studies are of the chosen keywords which are also the design principles I value for my main MA topic. Each keywords are followed by a case study responding to the definition of the keyword.

Adjustment ( );

// A small alteration or movement made to achieve a desired fit, appearance, or result. // Throughout the time, designers do not invent designs, they alter existing designs in order to be accepted in the current environment.

// Figure 1 Printed Optics - Disney

Fibre Optic Printing ( );

// Disney acknowledged a problem regarding how people nowadays only depend on smart phones, computer screens, and TVs as the media to display pixels. Therefore, they thought there is a need to expand those devices into a new dimensional, yet conventional device. They invented â&#x20AC;&#x153;PRINTED OPTICSâ&#x20AC;? which are fibre optic pipes printed inside a solid 3D form. The team has successfully printed 250 microns fibre which is the size of a hairline, each of the pipes serve as pixel. Currently, they could only invent B&W qualities which is similar to bitmap. In the future, they plan to improve the pixel quality into High-Definition.

Imagine living in a place where you can watch a movie on your night light while brushing your teeth, or even having your coffee without having to turn on your TV or computer in the morning.

Interactive ( );

// Act in such a way as to have an effect on each other. // Interaction design is a way to extending the thought of graphic designers using poster as a media to design an experience.

// Figure 2: T-shirt OS - Cutecircuit

T-shirt OS ( );

// A programmable, sharable and wearable T-shirt designed by CuteCircuit in collaboration with Ballantineâ&#x20AC;&#x2122;s. This ordinary T-shirt is embedded with 1,024 LEDs which work as a mobile billboard. The T-shirt could display the messages the user post on Facebook or Twitter using their smart phone. This is just one of the solutions to share information physically and virtually to the surrounding.

I reckon this design works best in terms of providing the opportunity to the user to share their messages using multiple devices. The T-shirt just physically realizing the concept of sharing the message. However my only concern would be when it rains, will the LEDs behind the T-shirt be affected? Is it harmful?

Hint ( );

// A slight or indirect indication or suggestion. // Providing the viewers with slight excitement when trying to figure out the hidden message from a design.

// Figure 3: Fedex - Lindon Leader

Fedex Logo ( );

// Lindon strived for simplicity and clarity in his designs; he thinks great design is born from those 2 philosophies. A “punch line” also plays a role in his design, he quoted: “You look at something, then you look at it again, and you say “hey, wait!” and “oh I get it!” “. The arrow connotes forward direction, speed, // and precision; whilst the brand itself is mend to communicate the breadth of service & leveraging the most valuable assets FedEx brand. There has been an argument regarding changing the arrow’s colour in order to make it more obvious.

I disagree to the idea of making the arrow in the logo visible because I think that the invisible arrow is what makes the logo successful.

Impact ( );

// Act in such a way as to have an effect on each other. // Accordingly Graphic designers are encouraged to build a strong social, political, and cultural foundation in order to be able to communicate the message to a large society

// Figure 4: Drinking Driving Campaign

Drinking Driving Awareness ( );

// This is one of my favourite design from the V&A London Design Festival 2012. This campaign consist of a series of messages printed inside a beer bottle cap and an image of a car on top of the bottle cap. Once the consumer open the bottle cap, the image of the car on the top of the cap will be distorted and the message on the inside will be readable. The aim is to create a sarcastic message of which the consumer opens the bottle cap, they should not drive, otherwise they could end up in an accident.

Unfortunately I could not remember the designer of this campaign because I did not manage to snap a picture of the designer. However, I do reckon this campaign is successful in terms of providing the awareness to the consumer regarding the potential consequences of drinking followed by driving.

Narrate ( );

// A spoken or written account of connected events; a story // The individuals that have been involved in crafting stories have bee successful in tapping into a way of communicating that has been around for thousands of years. (Inchauste, 201)

// Figure 5: Movie Posters - Maxime Pecourt

Film Poster Artefacts ( );

// Graphic designer, Maxime Pecourt created film posters from the iconic films from the past. The films that Pecourt has chosen were the films that influenced her and she intended to do something artistic about the films that inspire her.

This film poster is subconsciously providing the audiences with a hint of narration. In a way, these posters could somehow tell the stories to the audiences only using iconic objects form the films. My concern is that are these posters providing too many hints to the audiences who have not seen the film yet?

/* Fade This example shows how to fade an LED on pin 9 using the analogWrite() function. This example code is in the public domain. */ int led = 9; // the pin that the LED is attached to int brightness = 0; // how bright the LED is int fadeAmount = 5; // how many points to fade the LED by // the setup routine runs once when you press reset: void setup() { // declare pin 9 to be an output: pinMode(led, OUTPUT); } // the loop routine runs over and over again forever: void loop() { // set the brightness of pin 9: analogWrite(led, brightness); // change the brightness for next time through the loop: brightness = brightness + fadeAmount; // reverse the direction of the fading at the ends of the fade: if (brightness == 0 || brightness == 255) { fadeAmount = -fadeAmount ; } // wait for 30 milliseconds to see the dimming effect delay(30);

// The second code I used when I picked up Arduino

}

String p3;

â&#x20AC;&#x153;Dubberly et. alâ&#x20AC;? println (p3);

Year (2009);

// Interaction is a way of framing the relationship between people and objects designed for them therefore is it a key aspect of function, and function is a key aspect of design.

{

Part (3);

// Interactivity In Communication Design My next practice proceeded on finalizing 3 keywords and one of them became the most significant keyword which I will base most of my practice in. In this part, I will also start exploring the true meaning of interactivity and how it could be combined with my other chosen keywords. Moreover, the case studies in this part will be about the inclusion of interactivity from a multidisciplinary approach.

Case Studies ( );

// After figuring out the 5 keyword stages, I narrowed down my keywords into 3 which are interactivity, narrative and adjustment. From those 3 keywords, the main keyword which I focused my practice on was interactive. The quote from the previous page (Dubberly, et. al) has successfully convinced me regarding the impact of interactivity in the design sphere. // Based on my personal experience whilst being a graphic design student at multiple institutions, my tutors always agree with the concept of embedding interactivity in my project. I took their advice seriously because I believed they had the experience in their field and apparently the inclusion of interactivity has the potential in adding value to the function of the design.

CD Cover ( );

// Figure 6: Skeleton Key - Stefan Sagmeister

Skeleton Key CD (Stefan Sagmeister );

// Stefan Sagmeister designed a CD cover for the band Skeleton Key’s album entitled “Fantastic Spikes Through Balloon”. The album artworks consist of baloon-like objects e.g. sausages, balloons, blowfish, cushion etc. Holes were punched through the images intentionally since the band did not want the listeners to read the lyrics while listening to their CD. // On the other hand, the words of the songs were printed flipped so that the listeners could only read the lyrics when the CD is inside the case (the texts will only be visible through the reflection on the CD)

Branding ( );

// Figure 7: OUCRU - Scott Lambert

OUCRU (Scott Lambert );

// OUCRU (Oxford University Clinical Research Unit) is a network group formed to track and prevent infectious disease such as Dengue, HIV, AIDS, etc. OUCRU is based in Vietnam and works with partners in Thailand, Indonesia, and Nepal. // The branding is aimed towards people from a diversity of language. In order for them to understand the meaning of the logo, the designer created a colour code for each letters. Therefore, it is expected that the target markets would be able to understand their logo comprehensively. On the other hand, it also allows the viewers to interact with the design by searching for the definition of each code to be able to understand the definition of the symbol.

Product ( );

// Figure 8: Startcap - Strongbow

Startcap (Strongbow );

// Strongbow recently invented a prototype of “The First Digital Bottle Top” called “Startcap”. Initially, there is a chip inserted into the bottle’s cap which is connected to a chip reader elsewhere. When the bottle cap is unscrewed, the chip will send a signal to the reader that will activate a switch from one of the machines. For instance one of the bottle’s chip reader is located in a stereo; therefore, when the person unscrews the bottle cap, the signal will be sent to the stereo and the stereo will play the music. /*

I see the potential of this product working in a celebratory atmosphere where people start to gather and consume some drinks, however I do not quite see the potential of it working in a small scale party.

Experiment ( ); Collapsing Cards (Butterfly Effect);

// Based on the butterfly effect theory and my interest in cinematography, I started to make a video to portray the butterfly effect theory. I used House of cards as the metaphoric medium portraying the vulnerability of system. I structured the card so when I poked it, it started to collapse. // This is only a 1 minute video of me poking the card. It took me awhile to actually structure those cards and it took me 2 seconds to destroy the structure. Butterfly effect apparently has a similar theory as well where small event could cause catastrophic event.

However, I am not fully convinced if I wanted to portray interactivity using film as it has been done a lot previously. I aim for something more exciting, dealing with the viewerâ&#x20AC;&#x2122;s experience in seeing film by incorporating interactivity in it. Cinema is considered one of the successful medium to engage with the audience emotionally and narratively, why not combine interactivity with the narrative characteristic of modern cinema?

#include <CapacitiveSensor.h> /* * CapitiveSense Library Demo Sketch * Paul Badger 2008 * Uses a high value resistor e.g. 10M between send pin and receive pin * Resistor effects sensitivity, experiment with values, 50K - 50M. Larger resistor values yield larger sensor values. * Receive pin is the sensor pin - try different amounts of foil/metal on this pin */ CapacitiveSensor cs_4_2 = CapacitiveSensor(4,2); // 10M resistor between pins 4 & 2, pin 2 is sensor pin, add a wire and or foil if desired CapacitiveSensor cs_4_6 = CapacitiveSensor(4,6); // 10M resistor between pins 4 & 6, pin 6 is sensor pin, add a wire and or foil CapacitiveSensor cs_4_8 = CapacitiveSensor(4,8); // 10M resistor between pins 4 & 8, pin 8 is sensor pin, add a wire and or foil void setup() { cs_4_2.set_CS_AutocaL_Millis(0xFFFFFFFF); on channel 1 - just as an example Serial.begin(9600); }

// turn off autocalibrate

void loop() { long start = millis(); long total1 = cs_4_2.capacitiveSensor(30); long total2 = cs_4_6.capacitiveSensor(30); long total3 = cs_4_8.capacitiveSensor(30); Serial.print(millis() - start); // check on performance in milliseconds Serial.print(“\t”); // tab character for debug window and spacing Serial.print(total1); Serial.print(“\t”); Serial.print(total2); Serial.print(“\t”); Serial.println(total3); delay(10);

// print sensor output 1 // print sensor output 2 // print sensor output 3 // arbitrary delay to limit data to serial port

// Capacity sensor code which I could never quite figure out how to use

}

String p4;

â&#x20AC;&#x153;Gunningâ&#x20AC;? println (p4); Year (1986);

// Early cinema was aimed more towards captivating the audiences using the devices rather than the content of the film itself.

{

Part (4);

// Early Cinema Early cinema is known for its exhibitionist characteristic which differ to modern cinema. Moreover, early cinema was more focused on the devices to create moving image rather than the content of the film itself. Scientists and photographers were mainly in charge in the development of these devices. The devices were often exhibited to the audiences at exhibition halls where audiences are also allowed to interact with the devices. On the other hand, modern cinema has found the media to create the comprehensive cinema experience, however this structure has not quite been explored any further. Since the medium to project the film has been invented, filmmakers have to deeply consider about the content of the film. This part will question the need of bringing back the early cinema characteristics into the modern cinema.

Cinema As Attraction (Tom Gunning);

// Tom Gunning suggested that early cinema was aimed more towards captivating the audiences through the devices rather than the content of the film itself. Therefore, early cinema was not too constrained within the narrative aspect because audiences did not pay too much attention on the content. // Venue such as The Royal Polytechnic institute established in 1838 exhibited magic lantern shows and the latest technical inventions until 1876. This clearly resembles that early cinema were invented for this purpose, not to actually allow audiences to be captivated by the narration. However, throughout the century, the characteristic of cinema slowly changed. I hinted that early cinema had more interactive characteristic derived from the devices which differ to modern cinema which is not allowing audiences to be active.

Kinetoscope (Thomas Edison);

// An early motion picture device invented in 1891 and powered by motor that allows a single audience to view moving image through a peephole. The device comprises of a roll of film inside a four foot high wooden cabinet with a peephole on the top. The peephole is also equipped with magnifying glass to enlarge the film allowing viewers to view the film. The 35 mm film in the Kinetoscope was transported by an electrical driven sprocket holes.

// Figure 9: Kinetoscope

Zoopraxiscope (Eadweard Muybridge);

// An early motion picture device invented in 1879 by photographer Eadweard Muybridge. The device projected sequential images onto a spinning disk which will eventually form motion. Zoopraxiscope was also regarded as the early stage of the projector mechanism as it technically comprises of a series of images.

// Figure 10: Zoopraxiscope

Praxinoscope (Charles-Ă&#x2030;mile Reynaud);

// Praxinoscope was invented by Charles Emile Reynaud, a French scientist. This motion picture device has a similar characteristic as Zoetrope consisting of a series of images places around the inner surface of a spinning cylinder. The images could only be viewer through a series of narrow vertical mirror placed at the center of the cylinder. In order to view the still images as motion, audiences are encouraged to spin the cylinder.

// Figure 11: Praxinoscope

Experiment ( );

// The idea of cinema as attraction became the main topic of my first experimentation; I sought to find the interactive aspect utilized by the early cinematic device. Finally I decided to deconstruct the mechanism of projector. The users could interact with the simulation by twisting the film roll. The film roll needs to be twisted in a considerably quick pace (ideally 1/24 frames per second) in order to view the movement of the imageries.

Kinetic Projector (Early Cinematic Device);

// I printed the sequential images onto pieces of acetates and cut them into strips. The strips were then rolled into the wheel placed inside the box that accommodated the mechanism. Skewers were also used as the winder for the film wheels. I decided to use my iPhone flashlight to simulate the high intensity projectorâ&#x20AC;&#x2122;s light. The hole on the front part of the box was made to release the projection of the film onto the wall created by the flashlight placed behind the transparent film.

Unfortunately, this experimentation limited me from moving cinema experience onto another medium referring back to expanded cinema. By limiting my experimentation purely within the area of projector mechanism, I would not be able to explore the bigger possibility of interaction emphasized by the space. Projector as a device had been invented years ago; therefore there is no need in simulating the mechanism of the projector.

Content (Ink Drop);

// In this video, I just recorded myself dropping a blob of ink into the water. Eventually the ink will blend in with the water in a very artistic pace. The beauty of seeing the process of how the water slowly become intoxicated is really appealing. Then I started to wonder if I should portray the beauty of distruction in my next practice.

/* Knight Rider 3 * -------------* * This example concentrates on making the visuals fluid. * * * (cleft) 2005 K3, Malmo University * @author: David Cuartielles * @hardware: David Cuartielles, Aaron Hallborg */ int pinArray[] = {2, 3, 4, 5, 6, 7}; int count = 0; int timer = 30; void setup(){ for (count=0;count<6;count++) { pinMode(pinArray[count], OUTPUT); } } void loop() { for (count=0;count<5;count++) { digitalWrite(pinArray[count], HIGH); delay(timer); digitalWrite(pinArray[count + 1], HIGH); delay(timer); digitalWrite(pinArray[count], LOW); delay(timer*2); } for (count=5;count>0;count--) { digitalWrite(pinArray[count], HIGH); delay(timer); digitalWrite(pinArray[count - 1], HIGH); delay(timer); digitalWrite(pinArray[count], LOW); delay(timer*2); }

// Blinking light at different time

}

String p5;

â&#x20AC;&#x153;MacDonaldâ&#x20AC;? println (p5);

Year (1993);

// Avant-Garde film provides us with more complete understanding of cinematic experience, the pleasure and inspiration it may give us that the conventional movie experience is not.

{

Part (5);

// Avant-Garde Film From the cinema experience, I then started to explore the genre of films which evokes the experience. Accordingly, Avant -Garde was regarded as the film that encapsulated the experience. Its experimental approach was not too much constrained within the narration since they focused more towards exploring the new technique of film-making and captivating the audiences. This part will explore a series of Avantgarde film which are the pioneers of Avantgarde films. In addition, I also undertook experimentations which dealt with the mechanism of moving image.

Avant-Garde Film (Scott MacDonald);

/* Avant-garde films

extends the critique of peopleâ&#x20AC;&#x2122;s conventional movie experience.

// The paper provides a rear information regarding the phenomena of Avant-Garde film. Avant-garde film is a film that provides us with the opportunity to comprehensively understand what cinematic experience could actually be, and the pleasure and inspiration it may give us which conventional movie could not do. // Considerably, Avant-garde film brings a critical approach towards the cinematic ambience because when people first see it, they are not expected to recognize it as a form of movie. Avant-garde films extends the critique of peopleâ&#x20AC;&#x2122;s conventional movie experience. In addition, it also provides critical alternative to the mass-market cinema for more than seventy-five years. /*

In my opinion Avant-Garde films are deliberate, however I do reckon quite a lot of them confuse me. Sometimes I get caught up with my boredom due to staring at the same image constantly for a goo 15 minutes. I suppose it is also regarded as a part of the experience itself.

Man With a Movie Camera (Dziga Vertov);

// Man with a Movie Camera is a 1929 Russian silent movie directed by Dziga Vertov. The movie captured the early urbanization of the soviet country without including any actors or actresses in the filmmaking process. Back in the days, using cinematography as a media to narrate an event was considered to be an inventive idea, Vertov has definitely taken cinematography into a whole new different level. He introduced multiple techniques in capturing the movie which consist of double exposure, fast and slow motion, freeze frames, jump cuts, split motion, Dutch angles, extreme close ups, etc.

// Figure 12: Man With A Moving Camera

The movie depicted a guy who took his camera // with him at all times to film all the catastrophic events; such as filming from the train railways while the train was passing by until the birth of a new born baby fully exposed. Narratively, this movie does not successfully follow the structure of narration, however judging from the interventions made by the natural actors and actresses, this movie is definitely special and quite distinctive. The camera positions and the shooting techniques were incredible and this is why the movie is named one of the 10 best movies ever made.

Om (John Smith);

// This video showcases a person humming “OMMMMMMM” continuously for around 2 minutes. While he was humming, there is a smokey effect appear in front of him which I would perceive as one of the Buddhist praying elements. After humming for awhile, a shaver appeared behind him and started to shave his head. Afterwards, the monk took his robe off and underneath the orange robe, a polo T-shirt from Fred Perry appears. It appears that the monk is a Skinhead; a subculture originated in the UK where the members wear Fred Perry Polo T-shirts, shave their head, listen to reggae music, etc. Then the guy picked up a cigarette where the smoke (that I suspected to be a part of the Buddhist praying element) came from. // The aim of this video is to explore the current stereotype of society’s image. The inversion of the current social status is becoming a social problem. At first we thought that the guy is a monk judging from the way he dresses up and presuming he is performing a praying ritual. However, when the true identity is revealed in the end,

/* The message addressed through this 4 minute video is very powerful and it relates to the metaphor “Don’t judge the book by its’ cover”. */

// Figure 13: Om

Experiment ( );

Video (Photomotion);

// Throughout my understanding of early cinematography development, I created a video to experiment with the speed of static images that will eventually produce motion. I created a mock up of â&#x20AC;&#x153;film rollâ&#x20AC;? then I stick a black paper over it to create a frame within the roll. Then I pulled the film roll in a high speed so that the movement of the film could create a simple interpretation of motion piece. In the book Technologies of Seeing by Brian Winston, it is explained that Captain Franz von Uchatius invented projector by combining 2 key elements consisting of zootrope and magic lantern.

}

String p6;

“LeGrice” println (p6);

Year (2001);

// The action and the character in a film could trigger the viewers’ emotional responses, viewers experience desires, frustrations, pleasures, and satisfaction portrayed by the character’s action. However viewers are only psychologically engaged, they are not the film character itself and the psychological experience they encounter is illusory

{

Part (6);

// The Audience Experience Cinema enhances audience emotional experience to a certain level, unfortunately the enhancement is not regarded as interactive because their emotional responses do not contribute anything to the content of the cinema. Thus, what is regarded as participatory in this particular case?

// Figure 14: IMAX

IMAX (Cinema);

// IMAX was originally a multi-screen installation at Montreal’s Expo ‘67, Canada called Labyrinthe founded in 1970. Its screen is 10 times bigger than the normal cinema screen and it also stretches the limits of human vision which makes IMAX audience tend to lean back. Most of the films played in IMAX have rich colours, deep focus, vertical tilts, and travelling shots into spaces for the eyes to visualize in a single glance. (Wasson, 2007)

I do agree with the fact that IMAX cinema provides very immersive cinema experience, on the other hand, I do not agree it’s participatory. It only evokes the viewer’s senses, not physically interacting with them. Even though the spectators tend to lean in, it is just the type of experience it offers due to its over-sized screen.

// Figure 15: QuickTime

QuickTime (Format);

// Introduced in 1991 by Apple Computers, QuickTime is one of several streaming formats that allow computer screens to play video files accessible on numerous Web pages. QuickTime turns computer screen into a private, ondemand playback system, providing a platform where users could just click and be directed to thousands of short movies that remain in their host sites. QuickTime spectators tend to lean in and are provided with the concept of networked screens by acknowledging them with interconnection between institution, screens, and image.

QuickTime audience might be exposed to a huge amount of films, however this experience is nowhere near interactivity. Viewers do have the authority to choose which film they fancy watching and choose another whenever they want, but clicking a mouse is not considered interaction.

// Figure 16: Exploding Plastic Inevitable

Exploding Plastic Inevitable (Andy Warhol);

// The work included three to five projectors displaying different reels of the same film simultaneously; a similar number of slide projectors, movable by hand so that their images swept the auditorium; four variablespeed strobe lights; three moving spots with an assortment of coloured gels; several pistol lights; a mirror ball hung from the ceiling and another on the floor; as many as three loudspeakers blaring different pop records at once; one to two sets by the Velvet Underground and Nico, and the dancing of Gerard Malanga and Mary Woronov or Ingrid Superstar. There was a stage and the audiences were psyched under the spell of projection totality. (Joseph, 2004) /*

EPI provided a different sort of experience to the audience in terms of participation. It created a sort of 3D space through the combination of mediums displayed to the spectators all at the same time and space.

// Figure 17: Secret Cinema Events

Secret Cinema (Fabien Riggall);

// Secret Cinema is a participatory experience founded by Fabien Riggall where the audience become a part of the narrative. Their tagline is “Tell No-one” and each production spills a film’s narrative to real life. Spectators who have experienced this are not allowed to spoil the experience to anyone else. The cinema takes the narrative from a specific film, however in the interview with Wired magazine, Riggall refused to explain too much regarding the experience. (Chesire, 2013) /*

The idea of not telling anyone about the experience is also a very unique way of engaging the spectators with the experience before even witnessing it. Secret Cinema could be regarded as one of the examples of making an effort to break the passivity and since it is regarded as “the future of cinema” it is definitely worth being introduced to a wider audience.

/** * This sketch demonstrates how to use the BeatDetect object in FREQ_ ENERGY mode.<br /> * <p> * This sketch plays an entire song so it may be a little slow to load. */ import processing.serial.*; import ddf.minim.*; import ddf.minim.analysis.*; import cc.arduino.*; Minim minim; AudioPlayer song; BeatDetect beat; BeatListener bl; Arduino arduino; int ledPin = 12; int ledPin2 = 8; int ledPin3 = 2;

// LED connected to digital pin 12 // LED connected to digital pin 1 // LED connected to digital pin 0

float kickSize, snareSize, hatSize; void setup() { size(512, 200, P3D); minim = new Minim(this); arduino = new Arduino(this, Arduino.list()[1], 57600); song = minim.loadFile(“spectrum.mp3”, 2048); song.play(); // a beat detection object that is FREQ_ENERGY mode that // expects buffers the length of song’s buffer size // and samples captured at songs’s sample rate beat = new BeatDetect(song.bufferSize(), song.sampleRate()); beat.setSensitivity(100); kickSize = snareSize = hatSize = 16; // make a new beat listener, so that we won’t miss any buffers for the analysis bl = new BeatListener(beat, song); textFont(createFont(“Helvetica”, 16)); textAlign(CENTER); arduino.pinMode(ledPin, Arduino.OUTPUT); arduino.pinMode(ledPin2, Arduino.OUTPUT);

}

arduino.pinMode(ledPin3, Arduino.OUTPUT);

void draw() { background(0); fill(255); if(beat.isKick()) { arduino.digitalWrite(ledPin, Arduino.HIGH); // set the LED on kickSize = 32; } if(beat.isSnare()) { arduino.digitalWrite(ledPin2, Arduino.HIGH); // set the LED on snareSize = 32; } if(beat.isHat()) { arduino.digitalWrite(ledPin3, Arduino.HIGH); // set the LED on hatSize = 32; } arduino.digitalWrite(ledPin, Arduino.LOW); // set the LED off arduino.digitalWrite(ledPin2, Arduino.LOW); // set the LED off arduino.digitalWrite(ledPin3, Arduino.LOW); // set the LED off textSize(kickSize); text(“KICK”, width/4, height/2); textSize(snareSize); text(“SNARE”, width/2, height/2); textSize(hatSize); text(“HAT”, 3*width/4, height/2); kickSize = constrain(kickSize * 0.95, 16, 32); snareSize = constrain(snareSize * 0.95, 16, 32); hatSize = constrain(hatSize * 0.95, 16, 32); } void stop() { // always close Minim audio classes when you are finished with them song.close(); // always stop Minim before exiting minim.stop(); // this closes the sketch super.stop();

// BeatWrite Code to play LEDs in Accordance to the beat of the chosen song

}

String p7;

â&#x20AC;&#x153;LeGriceâ&#x20AC;? println (p7);

Year (2001);

// The current cinema is not very much constrained within using film as the primary medium; it becomes illusionistically spatialised through new generations of cinema technologies with surround sound and 3D.

{

Part (7);

// Cinema As New Media This part includes my research regarding the latest invention of cinema and how artists and designer has taken cinema to a whole new different level: digital and interactive. Cinema hacking has also started to flourish where designers created cinematic experience using open source programming and console hacking (i.e. Kinect). Moreover, I also experimented with creating illusions from the traditional mechanism to propose the potential of future cinema.

// Figure 18: Black Maria

Black Maria (Gruppe);

// The theatre structure was called “Black Maria” derived from Edison’s Kinetoscope cinema. The concept was to build a theatre which could serve both as cinematic viewing and a venue for performing arts. A tiered seating area is positioned in front of the installation and framed behind a wooden screen, creating an “inhabitable billboard”. /* This gigantic structure is quite beautiful interiorly, not quite exteriorly. Sound proof should definitely be added into this structure as well as it really still looks quite raw to my graphic design eyes; I see a room build entirely using wood which (maybe) could enhance my cinematic experience. I haven’t seen any films yet here, it would be great to be given the chance to see a film here in the future! */

// Figure 18: Digital Zootrope

Digital Zootrope (Troika);

// Zootrope was an early motion picture device consisted of perforated drum mounted horizontally on a spindle. The paper strip containing sequence of drawings or paintings was placed around the inner edge of the drum. A London based studio, Troika created a digital Zootrope which was a spinning poetry device. // The device displays text-based narratives of 5 individuals living in the city that functions as a collective network of relations in which their life seem to coincide but never intersect. The pattern started to display an abstract pattern which then started to form readable texts when it’s powered. The deconstructed letters and texts show how different speed could make the viewers perceive the pattern as a proper text. In addition, the content of the text is narrative poetry which provides the impression of including narrative into a ‘cinematic device’.

// Figure 20: Videodrome

Videodrome (Madeline Schwartzman);

// This installation consist of a dome filled with multiple cameras which are connected to a projection. Audiences are provided the chance to place their head inside the helmet and experience the live capture of themselves onto the projected screen. Audiences become the source of the cinematic experience as they become the actor for their own film. // This installation gives quite an eerie feel to it especially because the audience will experience seeing their face projected onto the wall in a much bigger scale than the physical size. The helmet is transparent which allows the audiences to actually experience their own film.

Alabastra Theater (Oskar Meester);

// Oskar Meesterâ&#x20AC;&#x2122;s Alabastra Theater in Berlin demonstrated the combination of theatrical performance and cinema apparatus. The Alabastra Theater gave the impression of moving through three dimensions which became the early pioneer of three-dimensional cinema without the need of three - dimensional spectacles. The technique included in Alabastra Theater was similar to the Pepperâ&#x20AC;&#x2122;s Ghost effect which exposes the reflection of a hidden actor on a clear medium. The combination of cinema device and physical space was fully utilized in this mechanism.

// Figure 21: Alabastra Theater

Strangely, I was unable to find any reference regarding this theater in English. Also in the book Gramophone, Film, Typewriter where this image was taken from, there was not any information whatsoever regarding the success of this theater. Perhaps it secretly failed?

Experiment ( );

// I conducted a number of experimentation based on the idea of new media. I utilized a number of techniques from video mock ups and I finally designed a hologram structure for the outcome of my Unit 1. I struggled with content because I spent too much time trying to figure out how the system and the mechanism would work.

Interacting With Projection (Video Mock up); // This experimentation questioned the idea of â&#x20AC;&#x153;what if you could touch the illusion and it reacts to your physical movement?â&#x20AC;? I am still unsure of what sort of content I am going to display using hologram. What I realised back in the days was that these sort of illusions were used as a performative purpose to display the movement of a ghostly illusion interacting with real actor and actresses on the stage. Perhaps bringing back this topic to the current audience would be effective.

// My concept tried to resembled the idea regarding interacting with hologram illusion. I created a short demo video to show how I wanted my concept to work. I am still unsure of the materials needed in order to create this effect physically. I just thought that perhaps in the future it would be quite an interesting idea if audiences in the cinema could interact with the 3D films which seem to come out from the screen.

Presence Detector (Processing);

// This is a presence detector experiment using Processing platform. This idea emerge from experimenting and remodelling the codes to act accordingly to my motion. I placed the webcam behind my back and the projector is placed in front of me. // This idea gave the impression of exposing yourself from the perspective of someone behind you which you could never experience. Imagine seeing your own projection from the back, does it feel a bit weird?

Four-Sided Hologram (Projection Structure);

// These are the final products of my hologram mechanism wooden box. The idea is to have a projector projecting through the white surface of the box and the Perspex which is angled 45 degrees would help create the illusion. Audiences could touch the projection if they place their hand inside the box by the projection, however I have not quite figured out how it will work in the future. // The materials I used for this box consist of MDF board, clear acrylic (Perspex) and card to cover the hole. This mechanism took awhile to think through since it is complicated to get the projection not to intervene too much with the Perspex otherwise the projection would bounce and the image would not be as clear.

Three-Sided Hologram (Projection Structure);

// I am quite pleased with the quality of the model. Actually I created 2 boxes just to test which work best in which environment. One is a 4 sided box and the other is a 3 sided box. It is harder to see the hologram through the 3 sided box whereas on the 4 sided box it seems easier because the back is covered. I reckon the sizing is still quite odd and in order to experience the illusion, this device needs to be placed in a pitch dark environment.

The Hologram Mechanism (Projection Structure);

// The projector is placed in front of the outer area of the white section of the box and the projection will be revealed on the inner side of the box. The Perspex create a floating projection between the inner back of the box and the 45 degree acrylic. On the images on the top, the box I used to project the hologram is the 3 sided box and unfortunately the projection is not as clear as the 4 sided box.

import processing.video.*; Capture capture; int tolerance = 20; //control how much a pixel must be diffrent from the corresponding pixel of the “samplingImage” int pixelsNecessary = 100; //this describes the quantity of reactive pixels required to set to activare a sensor int whichMode = 0; //this variables is just to show the functionality and is not necessary boolean backgroundCaptured = false; //this variable are just to show the functionality and is not necessary rects[ ] rects; //this object array contains all the instances of the rectangles defined into the class “rects” PImage samplingImage; //this is the image that is used check the differences with the live image void setup(){ size(1000,700); samplingImage = createImage(1000,700,RGB); //create a new blank image just to define its dimensions capture = new Capture(this, width, height, 30); //here begins a new sessions of capturing of the images from the webcam rectMode(CORNERS); rects = new rects[100]; //define the rects array dimension //here you can insert more rectangles (sensors) by specifying x1,y1,x2,y2 rects[0] = new rects(0,0,100,100); rects[1] = new rects(100,0,200,100); rects[2] = new rects(200,0,300,100); rects[3] = new rects(300,0,400,100); rects[4] = new rects(400,0,500,100); rects[5] = new rects(500,0,600,100); rects[6] = new rects(600,0,700,100); rects[7] = new rects(700,0,800,100); rects[8] = new rects(800,0,900,100); rects[9] = new rects(900,0,1000,100);

rects[10] = new rects(0,100,100,200); rects[11] = new rects(100,100,200,200); rects[12] = new rects(200,100,300,200); rects[13] = new rects(300,100,400,200); rects[14] = new rects(400,100,500,200); rects[15] = new rects(500,100,600,200); rects[16] = new rects(600,100,700,200); rects[17] = new rects(700,100,800,200); rects[18] = new rects(800,100,900,200); rects[19] = new rects(900,100,1000,200); rects[20] = new rects(0,200,100,300); rects[21] = new rects(100,200,200,300); rects[22] = new rects(200,200,300,300); rects[23] = new rects(300,200,400,300); rects[24] = new rects(400,200,500,300); rects[25] = new rects(500,200,600,300); rects[26] = new rects(600,200,700,300); rects[27] = new rects(700,200,800,300); rects[28] = new rects(800,200,900,300); rects[29] = new rects(900,200,1000,300); rects[30] = new rects(0,300,100,400); rects[31] = new rects(100,300,200,400); rects[32] = new rects(200,300,300,400); rects[33] = new rects(300,300,400,400); rects[34] = new rects(400,300,500,400); rects[35] = new rects(500,300,600,400); rects[36] = new rects(600,300,700,400); rects[37] = new rects(700,300,800,400); rects[38] = new rects(800,300,900,400); rects[39] = new rects(900,300,1000,400); rects[40] = new rects(0,400,100,500); rects[41] = new rects(100,400,200,500); rects[42] = new rects(200,400,300,500); rects[43] = new rects(300,400,400,500); rects[44] = new rects(400,400,500,500); rects[45] = new rects(500,400,600,500); rects[46] = new rects(600,400,700,500); rects[47] = new rects(700,400,800,500); rects[48] = new rects(800,400,900,500); rects[49] = new rects(900,400,1000,500); // Figure 21: Half of the code for Presence Detector

}

String p8;

â&#x20AC;&#x153;LeGriceâ&#x20AC;? println (p8); Year (2008);

// Expanded cinema engages with the audience using preferable methods - whether it is through multi-projection or other aspects stressing physicality and presence

{

Part (8);

// Expanded Cinema Expanded Cinema was a cinematic era established in 1969 exploring the varieties of projection medium and multiple cinematic experience. Expanded cinema sought to move the cinematic experience from the dark isolated room into a white space gallery. Accordingly, this is concept was proposed due to the fact that moving the projection spectrum into the gallery will allow the audiences to be more mobile in exploring the medium. On the other hand, the isolated characteristic of the current cinema is making audiences more passive. Expanded cinema has a similar characteristic with Avant-Garde film; the only difference it the medium utilized. Avant-Garde film focused more on the content of the film whilst expanded cinema focused more on the medium of projection to enhance the experience. This part will discuss several case studies and experimentations base on the notion of expanded cinema.

PART [8]

Newsprint (Guy Sherwin);

// This artwork consist of newspaper print glued on a clear 16mm film then punched out the sprocket holes to enable the film to run through the projector. The film runs on a projector placed a few metres above a flat plain table which is mend to be the screen for the projector. A set of mirror is placed in front of the projectorâ&#x20AC;&#x2122;s light adjacent to one another. The function of the mirrors is to reflect the projection light of the projector so that the film would project onto the table. Moreover, a set of speaker is also hung a few centimetres above the table to play the sound of the sequence created by the movement of the film.

// Figure 22: Newsprint, Camden Art Center

// This installation is a very distinctive piece because it projects the film onto a table. Audiences get used to seeing film on a wall-fitted screen rather than table-fitted screen, however this installation brought a new sensation of cinematic experience. The graininess of the film projected on the table also allows the audience to better enhance the quality of cinema experience. They are invited to look ON the table to see what is actually projected.

Phantom Ride (Simon Starling);

// Figure 23: Phantom Ride, Tate Britain

// This film installation directed by Simon Starling captured the history of Tate Britain as a museum that kept several artefacts over the past few years. The filming was taken place at the Duveen Galleries and it exposed the past works of art and events that haunted the space. Opened in 1937, the film was based on the establishment of the gallery which includes the history of the space; from landmark exhibitions to the reconstruction of damage caused by the Blitz. // The film combined real and computer generated objects. In order to expose the history of â&#x20AC;&#x153;what was in the galleryâ&#x20AC;? a CGI model is necessary to be included. Filmed with motion control camera, the film also includes the mechanical sound of its motor to an evocative ghost dance. The impression the film gave was the early techniques of cinema; it gave the impression of moving through tunnels and invisible vehicle.

Man With Mirror (Guy Sherwin);

// This cinematic performance was performed by Guy Sherwin. In the performance, Sherwin held a one-sided white screen and mirrored on the other side to capture the projected film produced by the projector. The activity in the film is the same as the real life, however the activity on the film is exposed within a sunlit landscape Therefore the visual echoes were set up between the live and the film event. The performance could include directional sound aimed at the screen and bounces of around the space.

I noticed the scenes actually interact to one another, either the film showing the activity or real life shows the activity. There is a slight confusion in between the transition of the scenes, but it is interesting how at times Sherwinâ&#x20AC;&#x2122;s figure is invisible. Also, the occasional laughter produced by the audiences which means that this piece has also engaged emotionally with them. The drawback of this installation is that I could not quite identify the element of narration in it, it still seems quite abstract to me.

// Figure 24: Man With Mirror, Live Performance

// Figure 25: Movie Drome, New York

Movie Drome (Stan Van Der Beek);

// The Movie Drome is basically a projection of film on a concave domed surface. It seems as if the spectators enter a dream-like environment when they enter this particular environment. // It is understood that such life theatres would use some of the coming techniques…and thus be real communication and storage centres, that is, by satellite, each dome could receive its image from a world wide library source, store them and program a feedback presentation to the local community that lived near the centre, this newsreel feedback, could authentically review the total world image reality in an hourlong show.

// Figure 26: Line Describing a Cone

Line Describing Cone (Anthony McCall);

// Anthony McCall’s Line Describing Cone could be considered as an example of exploring the physicality of the primary element of cinematic experience; the projection. The light sculpture utilized the main elements of film consisting of celluloid and projected lights that could be experienced in a three-dimensional form. In his work, McCall emphasized on the quality // of the air produced by the projection; he quoted that “The light of the beam is visible through contact with particles in the air, be they from dust, humidity or cigarette smoke. Smoking should not be prohibited” (Chamberlain, 2009). The invisibility of particles such as dust could even be made visible by the projector’s beam. This phenomenon creates another sort of screen functioning in between the projected screen and the audiences.

Experiment ( ); Video (Moving Lights);

// Whilst doing my previous shot regarding the ink droplet, I discovered an interesting effect of my phoneâ&#x20AC;&#x2122;s flashlight when I shinned it to the camera. I held a red acetate and position it on top of the flashlight shinned onto my camera lens. When the acetate was moved around, I discovered that it created a very interesting flickering motion. I then recorded it and projected this video onto multiple medium creating an immersive experience.

Serial serial; int serialPort = 1; // << Set this to be the serial port of your Arduino - ie if you have 3 ports : COM1, COM2, COM3 // and your Arduino is on COM2 you should set this to ‘1’ since the array is 0 based int sen = 3; // sensors int div = 3; // board sub divisions Normalize n[] = new Normalize[sen]; MomentumAverage cama[] = new MomentumAverage[sen]; MomentumAverage axyz[] = new MomentumAverage[sen]; float[] nxyz = new float[sen]; int[] ixyz = new int[sen]; float w = 256; // board size boolean[] flip = { false, true, false}; int player = 0; boolean moves[][][][]; PFont font; void setup() { size(800, 600, P3D); frameRate(25); font = loadFont(“TrebuchetMS-Italic-20.vlw”); textFont(font); textMode(SCREEN); println(Serial.list()); serial = new Serial(this, Serial.list()[serialPort], 115200); for(int i = 0; i < sen; i++) { n[i] = new Normalize(); cama[i] = new MomentumAverage(.01); axyz[i] = new MomentumAverage(.15); } }

reset();

void draw() { updateSerial();

}

drawBoard();

void updateSerial() { String cur = serial.readStringUntil(‘\n’); if(cur != null) { String[] parts = split(cur, “ “); if(parts.length == sen ) { float[] xyz = new float[sen]; for(int i = 0; i < sen; i++) xyz[i] = float(parts[i]); if(mousePressed && mouseButton == LEFT) for(int i = 0; i < sen; i++) n[i].note(xyz[i]);

}

nxyz = new float[sen]; for(int i = 0; i < sen; i++) { float raw = n[i].choose(xyz[i]); nxyz[i] = flip[i] ? 1 - raw : raw; cama[i].note(nxyz[i]); axyz[i].note(nxyz[i]); ixyz[i] = getPosition(axyz[i].avg); }

// Half of the code for my Capacity Location detector experiment

}

String p9;

â&#x20AC;&#x153;Andrewsâ&#x20AC;? println (p9);

Year (1988);

// Video installations could be seen as ultimately â&#x20AC;&#x2DC;interactive; where viewer is presented with a kind of variable narrative of spatial and representational possibilities that she/he must negotiate

{

Part (9);

// Close Circuit System In Expanded Cinema, the notion of Close Circuit System has been the topic explored various video artists. Most of the works mainly utilized television as the main medium. In terms of interactivity, video might serve a better userbased system rather than cinema in addition, video is also a more flexible medium as compared to cinema which makes it better to be allocated to the gallery. This chapter will discuss the example of works related to the close circuit system using television as the main medium to portray the outcome of the system.

PART [8]

// Figure 27: Wipe Cycle

Wipe Cycle (Ira Schneider);

// This particular work of Ira Schneider was an early example of interactivity in the Expanded Cinema experience where she integrated live action of viewers using camera (what we call webcam nowadays). The work consist of 9 monitors which displays were controlled by synchronized cycle patterns of live and delayed feedback, broadcast television, and taped programming shot by Gillette and Schneider with portable equipment. These displays are signalled every 2, 4,8, and 16 seconds and each displays acted as a layer of video information while all the levels determine composition of the work at any given moment. /* The aim of this piece of work is to demonstrate the viewerâ&#x20AC;&#x2122;s existence as a piece of information by taking a satellite relationship to the information. She tried to portray the viewer in experiencing being a part of an information which I think is a really interesting idea. */

// Figure 28: Progressive Recession

Progressive Recession (David Hall);

// Hall created a participatory work of which the audiences become a part of the work. The corridor becomes the venue where this installation is placed. The installation consisted of 9 cameras and 9 monitors - 2 facing monitors are placed on either end - and the rest on 1 side. Each monitors are linked with a camera on top of it. The first monitor on the entrance of the corridor displays the participant facing the camera on top of it. The second remains blank when the participant faces it and their image will appear on the next, ahead of the participant’s move along the corridor. // Similar as the second, third monitor’s output will appear on the monitor 2 ahead, and so on. The image moving further ahead by a systematic rate of ‘acceleration’. The 2 end cameras are linked to the one opposite each other, each image receding away with the participant’s move towards it.

Iris (Les Levine);

// This work consisted of closed-circuit system contained in one eight-foot-tall sculptureconsole. The viewer faced 6 monitors and three concealed video cameras. The cameras shot the space in 3 different views; close-up, middle distance, and wide angle. Standing in front of this console, the viewer faced six monitors and three concealed video cameras. The cameras shot the space in front of the console, and presented views of the environment in close-up, middle distance, and wide angle. Each of these cameras had its own monitor and the three others provided distorted images that might or might not be recognizable. The viewer could view juxtaposed video formation whilst standing infront of it.

// Figure 29: Iris

// He noted that many people were terrified with their own appearance on the television. They see themselves as how others see them on the television. Often he noticed people adjusting their hair, tie and spectacles whilst viewing the sculpture.

// Figure 30: Hello, Boston

Hello (Allan Kaprow);

// This work consisted of a station with closedcircuit inputs from variety of locations in the Boston-Cambridge area; a line to M.I.T., another to a hospital, another to an educational video tape library, and a fourth to Boston Airport. These were interconnected with five TV cameras and twenty-seven monitors demonstrating the possibilities of creativity in the act of videotronic communication,including obstacles to communication. // A number of people were provided with instructions regarding what they would say on camera (such as â&#x20AC;&#x153;Hello, I see you) when they witness their friend on screen and sent to various locations. If someone at the airport were talking to someone at M.I.T., the picture might suddenly switch and one would be talking to doctors at the hospital. Thus not only the process of communication was involved, but the elements of choice and decision-making as well.

Experiment ( );

// I conducted a number of experimentation based on the idea of combining the manipulation of time and the close circuit system aspect of Expanded Cinema. These experiments provided the opportunity for the audience to actually interact and become the content of the work itself rather than viewing the work that does not have a content on its own.

Live Cinema (Recording and Video);

// I designed an audience based experience where they become the main element of the experience. Based at the Triangle space during the mid-term show, the experience consisted of twenty spectators (half of my classmates), one projector, and a camera placed in front of the spectators. The projector displayed a threeminute video containing a set of rules spectators need to obey. The rules were simple and fun such as telling them to bark, pose to the camera, and so on. The camera recorded the spectatorâ&#x20AC;&#x2122;s actions whilst responding to the rules. When they had finished obeying the rules, I // played the recorded video back to them so they could see what they actually did and what sort of reaction they came out with. The content of this first experimentation was not too focused on creating a proper narration. However, I developed this idea and tried to create a proper narration out of the actions.

Action! (The Big Kahuna);

// The next part of my studio practice focused on the similar concept, only narrowing down the spectators to two. I arranged a space with a partition where each space was occupied by a laptop with a recording webcam. I invited two of my classmates to demonstrate the rules shown on the laptop screen in the form of a two-minute video. In this case, the rules at two cubicles are different and they are taken from film extracts. For instance in “The Big Kahuna” scene from the film Pulp Fiction where Jules Winnfield and his working partner came to Brett’s apartment to take the stolen suitcase, one person has to simulate Jules Winnfield and the other person has to simulate Brett. Both spectators are unaware of this difference, which potentially made them wonder what are the rules applied to each person. // The first rules are formatted in a dynamic form; viewers are allowed to manipulate it subjectively according to their own interpretation. Instead of stating “take the burger from the person beside you” the rules were “demonstrate what you would do if you had a gun and somebody stole your suitcase”. In this way, audience could frame their own interpretation of “The Big Kahuna” scene based on how they perceived and understood the rules. Again, the webcam recording was played back to them after the session.

Action! (The Joker);

// I also did another set of rules where each viewer demonstrated â&#x20AC;&#x153;The Jokerâ&#x20AC;&#x2122;sâ&#x20AC;? qualities. The rules are similar to one another; the only difference is that the first person views the video in a normal chronological order whilst the second person views the video in a reversed chronological order. In this way, spectators start to wonder why they acted differently at first, however in the end they are expected to understand the order of the rules.

Action! (The Mechanism);

// My plan is to create a system that plays the video and records the spectatorâ&#x20AC;&#x2122;s action at the same time. When the video has ended, the webcam will also stop recording and it will play the entire recording back to the spectators. This system will be triggered using an Arduino button and Max/Msp.

Action! (The Logo);

// The logo emphasizes the green dot because the experience relies on the act of pressing the button and following the rules on the computer screen. Moreover, green represents â&#x20AC;&#x153;STARTâ&#x20AC;? which means pressing the green button starts the entire system.

X Height

X Height X Height

X Height

Logo (Usage and spacing);

// Minimum negative space around the logo equals to the X Height of the logo.

Action! (The Logo);

// Application of the logo in Black and white consisting of black on white background and white on black background.

import processing.serial.*; import processing.opengl.*; Serial serial; int serialPort = 1; // << Set this to be the serial port of your Arduino - ie if you have 3 ports : COM1, COM2, COM3 // and your Arduino is on COM2 you should set this to ‘1’ since the array is 0 based int sen = 3; // sensors int div = 3; // board sub divisions Normalize n[] = new Normalize[sen]; MomentumAverage cama[] = new MomentumAverage[sen]; MomentumAverage axyz[] = new MomentumAverage[sen]; float[] nxyz = new float[sen]; int[] ixyz = new int[sen]; float w = 256; // board size boolean[] flip = { false, true, false}; int player = 0; boolean moves[][][][]; PFont font; void setup() { size(800, 600, P3D); frameRate(25); font = loadFont(“TrebuchetMS-Italic-20.vlw”); textFont(font); textMode(SCREEN); println(Serial.list()); serial = new Serial(this, Serial.list()[serialPort], 115200); for(int i = 0; i < sen; i++) { n[i] = new Normalize(); cama[i] = new MomentumAverage(.01); axyz[i] = new MomentumAverage(.15); } }

reset();

void draw() { updateSerial(); drawBoard(); } void updateSerial() { String cur = serial.readStringUntil(‘\n’); if(cur != null) { String[] parts = split(cur, “ “); if(parts.length == sen ) { float[] xyz = new float[sen]; for(int i = 0; i < sen; i++) xyz[i] = float(parts[i]); if(mousePressed && mouseButton == LEFT) for(int i = 0; i < sen; i++) n[i].note(xyz[i]); nxyz = new float[sen]; for(int i = 0; i < sen; i++) { float raw = n[i].choose(xyz[i]); nxyz[i] = flip[i] ? 1 - raw : raw; cama[i].note(nxyz[i]); axyz[i].note(nxyz[i]); ixyz[i] = getPosition(axyz[i].avg); } }

}

popMatrix(); for(int z = 0; z < div; z++) { for(int y = 0; y < div; y++) { for(int x = 0; x < div; x++) { pushMatrix(); translate(x * sw, y * sw, z * sw);

// Half of the Processing code for the previous experiment

}

String p10;

â&#x20AC;&#x153;LeGriceâ&#x20AC;? println (p10);

Year (2001);

// Interactive cinema blurs the distinction between producer and spectator. In addition, spectators could actively participate in the process of constructing the meaning of the work. Interactivity also replaces the concept of passive viewers to active participants.

Part (10);

// Assembling Action! Based on Malcolm LeGriceâ&#x20AC;&#x2122;s definition of expanded cinema, Action! was born. Action! is a close circuit system allowing actors/actresses to become the viewer of the film that they will later watch themselves. The concept itself is adapted from the notion of Expanded Cinema through the manipulation of time, space and system. This chapter will discuss in greater detail regarding the final outcome and insights regarding Action!

Action! (The Final Patch);

// From the former plan, my concept has slightly changed in terms of developing the system. I decided to replay the spectatorâ&#x20AC;&#x2122;s recording in split screen mode in order to enhance the contrasting characteristic of the storyboard I applied to each spectator.

Action! The Final Set Of Rules;

// Finally, the rules which are designed for the system comprises of 2 different storylines â&#x20AC;&#x201C; the first storyline is about a slow-paced lazy individual who functions slowly whilst doing their daily activity. The second storyline is about a fast-paced restless individual who functions rather quickly and impatiently whilst doing their daily activity. This contrast is created allowing the audience to witness their contribution to the overall storyline in a split screen mode rather than merely watching a playback of their own recording.

Restless Individual

Slow Individual

Action! The Final Setup

// The setup of the installation comprises of 3 elements, a button, computer and projector– the button which is triggered by Arduino is connected to the computer alongside the projector which is also connected to the computer. As soon as the spectator enters the cubicle, they are informed to press the green button to activate the system. When they press the green button, they will have to act according to the rules displayed on the computer screen whilst being recorded by the webcam. The spectator will either be playing as the restless individual or the slow-paced individual. The rule’s format is not arbitrary meaning the restless individual scenario comes after the slow-paced individual’s scenario and the order repeats. After the spectator is done with their acting, the computer screen will blackout and the webcam will shut down. Then, the unexpected playback of the spectator will be played vastly on the projection in split screen mode alongside the previous spectator. This will consequently surprise the spectator when witnessing their video on the projector since no hints are provided regarding the possibility of the projector being the medium to showcase the playback video.

Bibliography ( ); Part 2 ( );

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Part 3 ( );

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// Figure 8: Work Club (2012) Strongbow Startcap. Available at: http://work-club.com/ post/32661250713/introducing-the-strongbowgold-startcap-the (Accessed 23 July 2013)

Part 4 ( );

// Gunning, T. (1986) Cinema of Attraction: Early Film, Its Spectator, and the Avant Garde. Wide Angle, Vol. 8, nos. 3 & 4 fall. // Figure 9: Edison, T.A. (1888) Kinetoscope // Figure 10: Muybridge, E. (1879) Zoopraxiscope // Figure 11: Reynaud (1877) Praxinoscope

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Part 7 ( );

// Figure 18: Gruppe (2013) Black Maria. London: Central St. Martins // Figure 19: Troika (2008) Digital Zoetrope. Available at: http://troika.uk.com/ digitalzoetrope (Accessed 24 July 2013) // Figure 20: Schwartzman, M. (2010) Videodrome // Figure 21: Messter, O. (1910) Alabastra Theater

Part 8 ( );

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Part 9 ( );

// Andrews, C.M. (1988) Video Installation in Europe and North America, in D. Curtis, A L Rees, D. White and S. Ball (eds), Expanded Cinema: Art, Performance Film, London: Tate Publications // Figure 27: Schneider, I. (1969) Wipe Cycle, New York: Howard Wise Gallery // Figure 28: Hall, D. (1974) Progressive Recession, London: Serpentine Gallery // Figure 29: Levine, L. (1968) Iris // Figure 30: Kaprow, A. (1969) Hello, USA: Boston

Fun Fact ( );

// Type the code on the very first page of the book on Processing and see what comes out!