What I did

1.  Went to uCreate to check on the second part of the 3D printing, to find out that the print had failed during the day, so I calibrated the machine again and started the printing process once more. (This was around midnight, the print took 9 hours[I spent 8 of those 9 hours in the library]).

2. Went to Evolution House to print posters and postcards

3. When picking up the second 3d print, I took the postcards to uCreate, and hand-cut them with a ruler and Xacto knife as they were 8 on each page.

5. Edited the secondary blender videos on iMovie.

6. Set up of the space: projectors, screens, tables, 3D models, videos on screens, and lighting.

7. Talked with the audience about the exhibition, our main concept, and about our design process.

7. Pack away all the equipment, and return tables, and boxes to their places.

8. Celebrate the end of a successful exhibition by going with some of my teammates for a pint (ok, a couple of pints).

Challenges Encountered

The day of the exhibition was a hectic one, between running around the city picking up the posters, and 3d models, back to Alison’s house to finish up the last videos we needed. A couple of hours before we started to set up, things were not working correctly, we realized that the Kinect was not gonna work in conjunction with the sound, so we decided to not use it. The computer we had planned to use TouchDesigner in, decided to not work at the last minute, so we switched to one of our computers. Also, we realized that because of a small miscommunication, the projectors we had planned to work with were not available. And once we were set up, there were problems connecting the HDMI cables from our computers to the projects, this was merely minutes before the star, so the panic was quite high. Thanks to the help of Jules we were able to fix the side screens (tip: check that your adapters work, beforehand). Some of the light fixtures that we wanted to use, were not set up properly, but with a bit of creativity, we changed the setup slightly to make it work.

In any project, unexpected challenges and setbacks can arise, and our exhibition was no exception. However, we had taken proactive measures to prepare for such eventualities, starting from the early stages of project development. We had discussed and identified potential issues and developed contingency plans, so when issues did arise, we were able to quickly adapt and implement alternative solutions. Ultimately, this allowed us to navigate the challenges and deliver a successful exhibition. (Also a quick wit and rapid thinking, saved us from mishaps)

Lessons Learned and Team Collaboration

Our collaboration was essential in the success of the exhibition, as we created a great multidisciplinary and multicultural group that came together to work on our main objective, to design and develop an engaging and emotional experience for the audience. Without this collaborative effort, we would not have been able to achieve the level of cohesion and depth that our project ultimately achieved.

One of the most important lessons I learned during the course was the significance of prioritization and organization in project management. From discussing and identifying all the necessary tasks and assigning specific roles to each team member. This approach enabled us to have a clear understanding of what needed to be done and when. Additionally, our cohesive team allowed for mutual support in problem-solving, ensuring that no one was left struggling alone.

Daniela M

Our design methodology was inspired by the double-diamond approach, which consists of the following states:

Discovery: gathering data

One of our first tasks was to start researching the concept of place, as well as the technology LiDAR. We had a brief, and pretty much the ability to follow it in any way we wanted to. So we identified our opportunity and started to ideate what kind of project we wanted to work on. We did several sessions talking about where we wanted the project to go forward and decided that each team member would pitch their final idea, and we would go on from there.

Definition: Filtering our ideas

In this stage we had our ideas all together, so we decided to have a meeting where we all explained our ideas, and from there we decided to follow the one we thought had more character, using bits and pieces from the other concepts to tie it together. At this stage, we decided we wanted to do work with The New Steps and create an immersive, interactive exhibition.

Development: Building our concept

This stage is where we started the main of our design work, we planned what scenes we need to to, and what kind of sound recording we were gonna work with. As with any project some things changed during our process, so we keep iterating it, also taking into account the feedback given to us by our tutors. 

Delivery: Exhibition

For the delivery of the project, we had to make several tests, to make sure everything worked together and in an easy and well manner. We did one full sound test, where we also saw how we were gonna set up the screens. In the following tests, we decided the best layout for the exhibition, and what kind of objects we needed to complete the space. On the day of the exhibition, problems showed up, as is a normal thing that can happen with this kind of project, but we worked fast and solved them in time for the audience to enjoy of the experience.

Daniela M

References

Echoes and Absences was inspired by our collective experiences and fascination with the idea of place. After conducting thorough research and considering several potential locations, we ultimately chose to focus on The New Steps in Edinburgh’s old town. The complexity of this transitional space, where hundreds of people pass through each day, intrigued us. Although it may seem like a non-place, as we spent more time there, we realized that the definition of the space varies based on individual experiences. While some people may see it as just a passageway, others may have developed a deep emotional connection with it, seeing it as a place full of history and memories that is a part of their daily routine. This insight led us to explore the idea of how people’s personal experiences can shape their perceptions of a place and influence the emotional connection they have with it.

Our team’s primary goal was to design a unique and immersive experience that would enable users to feel a sense of presence. To achieve this, we focused on exploring the connections and transitions between a liminal place and the audience, aiming to create an engaging and thought-provoking experience that would leave a lasting impression. 

We carefully considered how users would move through the space, designing the exhibition to guide them through a series of visual and auditory stimuli that would create a sense of immersion and transport them into this digital place. Through the use of LiDAR technology, we were able to capture and manipulate spatial data in innovative ways, creating a truly captivating environment that stimulated the senses and captured the imagination. Throughout the design process, we remained committed to creating an enjoyable, interesting, and intriguing experience for the audience. We were mindful of balancing the emotional and intellectual aspects of the exhibition, using sound and visual elements to convey complex ideas in an accessible way. 

Overall, our goal was to create an experience that would not only be engaging and thought-provoking, but also leave a lasting impression on the user. By utilizing LiDAR in innovative ways, we were able to achieve this goal and create a truly unique and captivating experience for our audience.

The desired outcome for this project was to create an immersive and thought-provoking experience for the user. We aim to transport the user to a different world and encourage them to explore the connections and transitions between a liminal place and their own experiences. Through this, we hope to evoke a sense of presence and emotional engagement that will stay with the user long after they leave the exhibition. In terms of public discourses or conversations, we aim to contribute to the ongoing discussion around the ways in which technology can be used to create new forms of art and cultural experiences. We want to challenge traditional notions of exhibition design and explore the possibilities that emerge when different creative disciplines collaborate and utilize cutting-edge technology. We also hope to engage in conversations around the concept of place and how it shapes our experiences and emotions, particularly in the context of a rapidly changing and increasingly globalized world. Overall, we see Echoes & Absences as a contribution to the broader cultural conversation and a means of exploring and challenging the boundaries of what is possible in the realm of immersive art and design.

If you’re reading this in order, please proceed to the next post: ‘Immersion vs Presence’.

Daniela M

Marc Augé (Augé, 1995) defines a “place” as a space that possesses a distinct identity and significance. They are enriched by social, cultural, and historical meaning and foster a sense of community and belonging among individuals. Augé identifies three main characteristics of a place: identity, which pertains to the unique character and significance of a location; relation, which refers to the social and cultural interactions that occur within the place; and history, which encompasses the collective experiences and memories that shape the identity of the place over time.

On the other hand, Augé defines “non-places” as a space that lacks a distinctive identity or meaning, and is instead defined by their function or purpose. These spaces are typically designed to be easily accessible and efficient, but they do not foster a sense of community or belonging due to their temporary nature. There are three primary characteristics of non-places: transience, which reflects their fleeting and temporary nature, designed for quick movement; anonymity, which refers to the lack of social interaction and connection among individuals in non-places, as people tend to be focused on their own goals rather than engaging with others; and uniformity, which describes the standardized and repetitive design of non-places, characterized by homogeneous features.

Our relationship with place is shaped by a multitude of factors, including our individual experiences, cultural background, and sensory perception. As technology continues to shape the way we interact with the world around us, the concept of place is also evolving to encompass digital spaces. These digital places offer unique opportunities for connection and community but also present new challenges and complexities. As we continue to navigate the changing landscape of place in the digital age, it is important to consider how these spaces shape our experiences and interactions and to explore new ways of fostering a sense of belonging and connection in both physical and digital places.

Based on the first phase, we have successfully linked Kinect with TouchDesigner. Next, our focus is on linking the audience and point cloud through Kinect, using specific methods.

Measuring the distance between both hands using Kinect

Considering that we will be using Arduino to implement our physical interactions, we are exploring how to interact with point clouds through hand gestures. I attempted to measure the distance between both hands by capturing their coordinates. Using a formula, we can know distance^2 = (x1 – x2)^2 + (y1 – y2)^2. So, as shown in the video below, when I spread my hands apart, the distance increases, and when I bring them closer together, the distance decreases. As shown in the Figure 2, we can use this value to change the visual effect of the point cloud (the specific content is in the blog of the point cloud visualization section in TouchDesigner).

Figure 1: Kinect measures the distance between both hands by capturing the hand coordinates.

Figure 2: Use distance value detected by Kinect to interact with point clouds.

Unfortunately, we didn’t get a chance to use the Kinect part in the last presentation because we didn’t have enough time to complete the testing. The detection range we set for the Kinect conflicted with the detection range of the distance sensor. However, if we have the opportunity to show this project to the public again, we’ll fix this issue and make sure everything works smoothly!

If you’re reading this in order, please proceed to the next post: ‘Blender Animations and Renders’.

Yijun Zhou

For me, “Place” DMSP was an irreplaceable and memorable experience of great significance. It was the first time I worked with so many people, but luckily everyone worked well together and communicated well, which made it a great experience for me. Here I would like to record my feelings, gains and the place I think could be better, the problems I encountered and how I overcame them, and express my gratitude to the group members and tutors.

I am primarily responsible for field recording, which I feel very honored to do, not only because it is an important attribute of the location, but also because it is the initial part of the sound work, and all subsequent sound creation is based on it. This made me feel obligated to do my best, so I did a lot of planning and preparation for the official recording, and the final result was satisfactory. Please check the details in the blog linked below.

Field Recording Report

The most valuable gain of this practice is that I realized how to be flexible and adaptable to solve problems – if I don’t have a windshield, we can find a similar material for an emergency, and if it doesn’t “fit” well enough,  making it rub against the diaphragm, we can use tape to fix it, there is always a way to solve the problems. I also learned some live audio tips from David, which are very useful.

Another advantage of taking on this job is that because this part will be done up front, I have full energy and time to get involved in the subsequent parts and add to the other parts of the sound design as well (Although 4 of us are responsible for a part in sound work  respectively , everyone would like to help each other out through the whole work. I really enjoy the atmosphere and way of cooperation  in our group! ).  In the process, I was deeply impressed by the great work my teammates have done——the super elaborate max patch from David and the beautiful  creatively sound design from Xiaoqing.  I was also greatly deepened my understanding of max/msp and Arduino, which is also very beneficial to my learning in other courses.

In addition, I even have the opportunity to develop more possibilities and realize it. Once again, I would like to thank our group members for their active communication with each other. It was because of a chat with Allison that I was able to make a new attempt and breakthrough my limit.

She told me that the ddm students are trying to use Kinect to capture the movement of audience to trigger the visual effect, and ask me if we sound people would also like use it as another sensor to tigger some sound.  It sound fascinating and I was very interest in it, although I don’t know any related knowledge.

This was an attempt to learn that required me to explore completely on my own, whereas before, when I encountered problems that I did not know how to solve, I could by and large find help from others,  ask teachers or students who were proficient in this area. But this time I can only search the information on the internet, and I did encounter a lot of difficulties in the process. Thankfully, I eventually found a way to do it and even expanded the functionality it could achieve, which was an unprecedented breakthrough for me.  In this way, we only have to use one sensor to control both Touch designer and max, and at the same time, use the sound data triggered in max to control the effect in Touch Designer, smartly deepens the visual and auditory connection. Since want to achieve this I have a lot more chance to communicate with the group mates who works on Touch Designer, I leaned a lot on the visual system of our project from them and also becoming friends with them. For more details on my search, please check the blog linked below.

An exploration of Kinect, TouchDesigner and Max data transfer

There are also some thing I want to but have not done or some little disappointment in the project.  Since the time was not very enough and there are already quite a lot things happened in the sound field of the project, the original field recording was not directly been put into the sound field, and we also didn’t use the Kinect to trigger interactive sound. In fact the Kinect was hardly used in the exhibition, because the ultrasonic sensor  was not enough stable and accuracy,  most of our audience have to hold an iron plate . We had a brief discussion on it after the exhibition, maybe instead letting audience holding a heavy plate, there will be better way to make it more reasonable like the “wheel idea” from Allison. As for the Kinect, it might can capture some other data like the height of audience hand, or the distance between two feet of the audience.  There is another problem happened on the exhibition. Maybe because the performance of the computer running Touch Designer was not good enough, or the network was not that good, when the sound triggered the visual effect, it did not look as smooth as in the usual test.

In a word, through this valuable experience, I not only gained knowledge, but also broke through and gained friendship. Thanks to this course for providing me with such a great opportunity, and thanks to Asad and Jules for their rich guidance, sincere advice and full support!

Chenyu Li

A definition of digital exhibition:

“A digital exhibition is the presentation of moving images to the audience, either live or prerecorded, in public spaces, via digital distribution and projection” (Walker, 2012)

At the end of his case study on Digital Exhibitions, Walker provides his own definition of the term, one I find particularly interesting:

“Digital Exhibition is not a medium, but is a designation offered to a subjectively defined collection of events made possible through the transmission of computational binary pulse signals.”

If a digital exhibition is a designation, then the term becomes more broad in its application, yet simultaneously encapsulates the fundamental elements that an exhibition requires to become a digital exhibition.

Digital exhibitions are not necessarily in-person. The concept of a completely Virtual Exhibition has been explored for those who are unable to visit or access the space in person. It was brought to the forefront for museums and public exhibition spaces during the COVID-19 pandemic. In Indonesia at the start of 2020, a virtual exhibition was created in order to allow the public to continue experiencing the art from the safety of their homes. 94.25% of the 87 visitor responded positively to the experience (Widjono, 2020). Completely virtual and online exhibitions can be successful. Therefore the advantage to having a physical exhibition be partially digital already, means that it is by default much easier to present, publicise and share to a wider online audience; thus creating a Virtual Exhibition.

Digital technology transforms the norms by letting the visitor be present in the exhibition area via sensors and tracking their performance along with artworks. Positive museum experiences come from successful interaction with artwork and other visitors. In exhibition areas, artworks and installations are incomplete without visitors’ participation, whose active engagement makes the artwork ‘alive’ (Harma, 2011).

Lev Manovich (2006) considers augmented space – which is slowly becoming a reality – as one opportunity for cultural institutions to take a more active role. Although many video installations already serve as experimental sites for exploring novel image configurations within a space, institutions as a whole can leverage their own unique assets – physical spaces – to foster the creation of fresh spatial forms of art and moving images. In doing so, they can take the initiative in testing one aspect of the future of augmented space.

As artists and curators move beyond the boundaries of the picture frame and into the physical space of the white cube, walls, floors; they should also feel comfortable taking another step: viewing this space as layers of data. This does not diminish the importance of the physical space; rather, it is through the interplay of the physical space and the data that some of the most remarkable art of our time is being produced.

Mathias explores immersive digital exhibitions (IDE) and its emergence within a broader context of society and the experience economy (2022). The public demand for such experiences is linked to the expansion and popularity of the experience economy. Experiences have always had an important role to place in the economic factor of society across the globe, as it is sometimes seen as a “genre of economic output” (Pine, Pine and Gilmore, 1999). Miles declared experience as  “the new ideological terrain of consumer society” (2020) and the modern life post-WWII is viewed by Schulze (1995) as experience driven.

relevant examples of Digital Exhibitions:

Ryoichi Kurokawa: https://www.ryoichikurokawa.com/project/saw.html

Using LiDAR and sound, he creates immersive audiovisual installations across the globe. His project: s.asmbli [wall] utilises the interior 5 faces of a cube room with 6ch video projection and quadraphonic sound for an 8 minute looped recording.

ScanLAB Projects specialise in exploring the use of large scale 3D scanning in architecture and the creative industries. https://scanlabprojects.co.uk/work/framerate/

Their recent project FRAMERATE, currently in Montreal:

“FRAMERATE: Pulse of the Earth’s hypnotic imagery bears witness to landscapes in flux. The impact of human behaviour and the immense force of nature unfolds around you across an array of screens. This is a space where your perspective may shift.”

“Three-dimensional stories unfold across an array of screens. Hypnotic imagery surrounds you. Audio shifts through the space”

These exhibitions utilise multiple screens/projections upon multiple orientations. It creates a more immersive experience when the content is not limited to only what you see directly in front of you. The user is rather encompassed in the space.

If you’re reading this in order, please proceed to the next post: ‘Chaos and Places’.

Molly Munro

References

Harma, V. (2011) ‘Interaction and Performativity in Digital Art Exhibitions’, Nordisk Museologi, (1), p. 98. Available at: https://doi.org/10.5617/nm.3148.

Kurokawa, R. (2020) Ryoichi Kurokawa: S.asmbli [ wall ], RYOICHI KUROKAWA | s.asmbli [ wall ]. Available at: https://www.ryoichikurokawa.com/project/saw.html (Accessed: April 20, 2023).

Manovich, L. (2006) ‘The poetics of augmented space’, Visual communication, 5(2), pp. 219–240.

Mathias, N. (2022) ‘Meta-artistic immersion in digital exhibitions. History – mobilization – spectatorship’, Journal of Aesthetics & Culture, 14(1), p. 2129160. Available at: https://doi.org/10.1080/20004214.2022.2129160.

Miles, S. (2020) The Experience Society: how consumer capitalism reinvented itself. Pluto Press.

Pine, B.J., Pine, J. and Gilmore, J.H. (1999) The experience economy: work is theatre & every business a stage. Harvard Business Press.

Schulze, G. (2005) Die erlebnisgesellschaft: Kultursoziologie der gegenwart. Campus Verlag.

Walker, S.J. (2012) Interpretations of digital exhibition. Assessing the academic pertinence of commercial and political definitions. A case study. Available at: http://hdl.handle.net/10454/5334.

Widjono, R.A. (2020) ‘Analysis of User Experience in Virtual Art Exhibition During Pandemic’:, in Proceedings of the International Conference of Innovation in Media and Visual Design (IMDES 2020). International Conference of Innovation in Media and Visual Design (IMDES 2020), Tangerang, Indonesia: Atlantis Press. Available at: https://doi.org/10.2991/assehr.k.201202.059.

The user experience of an exhibition is obviously an extremely important factor for a successful presentation. The impact that technology has in the context of an art exhibition has been explored in recent years as cultural establishments have been putting more emphasis on the notion of “user experience” (Carú et al., 2020).

Widjono (2020) explores the usability of virtual exhibitions as a product of interaction design. Though our exhibition is in person, these still apply. To be usable, the “product” should follow these criteria:

1. Usefulness. To create a successful exhibition, it’s important to consider both the visitor’s goals, such as browsing art information and viewing artworks, and the artist’s desire to have their work appreciated by a wider audience.

2. Efficiency. This refers to the length of time it takes for a user to accomplish and complete their visit, and it can also be used to evaluate the effectiveness of the exhibition organiser’s perspective.

3. Effectiveness. This pertains to the exhibition’s ability to deliver and operate in accordance with the users’ expectations.

4. Learnability. Learnability is associated with identifying the particular skills that users must possess in order to operate all of the features within an exhibition. Designers must take into account the user’s abilities when designing these features.

5. Satisfaction. This pertains to the user’s perception, emotions, and opinions, which are based on their experience when visiting the exhibition.

So, how did our exhibition do in relation to these criteria?

References

Carù, A. Carbonare, P. Ostillio, M. Piancatelli, C. (2020). The impact of technology on visitor immersion in art exhibitions. In: Massi, M. Vecco, M. Lin, Y. (Ed). Digital Transformation in the Cultural and Creative Industries: Production, Cons. London: Routledge. Pp.13-31.

Widjono, R.A. (2020) ‘Analysis of User Experience in Virtual Art Exhibition During Pandemic’:, in Proceedings of the International Conference of Innovation in Media and Visual Design (IMDES 2020). International Conference of Innovation in Media and Visual Design (IMDES 2020), Tangerang, Indonesia: Atlantis Press. Available at: https://doi.org/10.2991/assehr.k.201202.059.

Molly Munro