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Visual_Art Concept

Topic ideas and references

We are the presence group. At the beginning, our group thought a lot of topics, including emotional changes and psychological changes to express the existence and feelings of the spiritual level. At the same time, we also thought of natural themes such as seasonal changes and weather changes to express the existence and somatosensory feeling of the physical level. The spiritual level is more subjective.On the physical level, it is too vague.

Therefore, we want to combine these two feelings and have determined the final theme- Thalassophobia, which combines the natural ocean and the fear that is inspired by the sea.

I found some works by many interaction designers who work on emotions and natural environment as my visual reference.These works include the visual presentation of particles and lines, as well as the operation form of gesture interaction, which constitutes my initial idea of the final presentation of our project works.But I have to admit that my artistic ideas are limited by my technical abilities.

This video is about particle imaging of whales in digital media studio Bleeeeta:

The following pictures are The Folded Starry Sky interactive audio-visual performance created by interaction designer_ Ma ShiHua in China.

                     

The following picture is Gesture interaction for order in chaotic words

                     

Project visual communication

Draw_mode

Our works contain four different levels of emotions:

  1. To hear the sound of sea monsters approaching
  2. The sense of chaotic and confusion caused by fear of the ocean
  3. The third is the fear of escaping into the unknown after chaos
  4. The peace and calm left to people’s imagination.

Line particles can express our fear of the ocean concisely, and I set up different pattern changes to reflect the expression of these four emotions.There are some draw modes in my patch. Here are some pictures and lines of different modes.

tri_grid(sea creature) & triangles_adjacency(chaotic)

               

triangles_strip_adjacency(unknown wave) & line_strip(calm peaceful)

               

Interactive method

Considering that we need to do gesture interaction, my visual effect part gives some variable parameters to the sensor as artificially controllable parameters.

These videos are the visual effects produced by direct regulation on my patch.

You can see in the video that I adjusted the draw_mode to change the patterns and one of the Number Objects to control the scaling strength of the lines.As shown in the figures:

Regulating line density:

Make the names of different modes in draw mode into remote controllers.

What I neglected is that it is sensitive to directly control the pattern change in patch, and even the line change is more diverse.In live performance, the pattern change is very rigid and does not give the audience a visual impact, which may be related to the sensitivity of the sensor. It seems that the signal transmitted to max by people through the sensor as a medium is gradually decreasing.

This is a video material recorded on the spot:

Improvement suggestions

During the live demonstration of the project, I communicated with some teachers, and they gave me some valuable suggestions on visual performance.

“The pattern transformation of the video is very abstract, but it can also be a little more narrative. For example, the pattern that increases the intention of falling quickly indicates that the player falls into the ocean and highlights the fear.”

I understand why the teacher made such a suggestion. At least compared with the visual effects of these visual concepts I made in the early stage, the visual effects of live performances did not meet my inner expectations.

 

 

 

 

Visual_Technical Concept

Deconstruction of visual part patch

First of all, we have to say that we are a professional group of all-sound, so we are a weak link in visual effect, and there is no fancy design. But based on my desire to try the visual aspect, I am responsible for the conception and idea of the visual part of the project.

Because we have some experience in using max for live, after discussing the original artistic concept of our group, I thought of using jitter to realize it. This can not only play our role as a sound designer, but also make the sound visual, which is very appropriate for our own professional development.

This is my primary idea—Use the imported sound to trigger the visual system to play, and then control some parameters of the sound to make the visual patterns more diverse.

In short, after the audio signal is received, it is converted into a matrix signal that can be used for images. The matrix signal is attached to the mesh, so that the change of audio can drive the change of x_y_z axis of the mesh. At the video signal sending end, the visual presentation after receiving the signal can be seen through the jit.window.

The picture is a patch annotation diagram about three-dimensional visualisation of sound.

The following is a link to the patch:https://www.dropbox.com/scl/fi/p091k40nmv145tcoim020/Three-dimensional-visualization-of-sound.maxpat?rlkey=3ni75uxbdbo1di3sht2l14xtz&dl=0

Use of srcdim and dstdim object

In the patch, you can see that I used two objects, srcdim and dstdim. The following are videos to explain the contrast of image changes caused by these two controlled parameters.

The difference between srcdim and dstdim is that the former controls the scale amplitude of the whole matrix, while the latter can update the scale amplitude of the upper or lower edge in real time. Because the audio signal is a one-dimensional matrix, after setting its X and Y axes, it will form a ground-like waveform that changes like a mountain.I use this principle to realize the change of patterns.

The following is a link to the patch about the comparison between two objects:https://www.dropbox.com/scl/fi/mbb4gf6yzz50a2a7t4d9f/dstdim-vs-srcdim.maxpat?rlkey=9t5rdkwz5nghne4sp8s7znp72&dl=0

 

Background

Overview 

Mathivanan (2017, p. 374) defines presence as the psychological experience of feeling completely enveloped within a virtual environment. Expanding on this concept, our group is inspired to craft an interactive, immersive installation to create an audio-visual virtual environment.

This project, Thalassophobia, is an immersive audiovisual installation that explores the fear of the deep sea. We aim to create an immersive experience using Max, sensors, and surround sound techniques to fully immerse the audience in the depths of fear.

The idea of having Thalassophobia as the theme is inspired by sea-based horror films, such as Jaws (Spielberg, 1975), Deep Blue Sea (Harlin, 1999), and Open Water (Kentis, 2003). Our project has four different layers. Throughout the immersive journey, the visuals and soundscape will gradually expand, unveiling different layers of Thalassophobia into the experience.

Our original plan was to structure the experience linearly, guiding audiences through escalating levels of fear toward eventual calmness. However, our project took a different approach in the final presentation, opting for a non-linear looping structure that allows participants to shape their experience through the depths of Thalassophobia. We designed four distinct levels, each presenting a different progressive level of phobia using sounds and visuals.

Participants will navigate these levels by actively engaging with sensors and a level controller, allowing for a dynamic and interactive experience. The first level explores the realm of sea monsters, providing a concrete and general understanding of Thalassophobia. The second level explores the physical and mental responses triggered by Thalassophobia, offering insight into its internal impact.

The journey then deepens with the third level, confronting participants with the abstract fear of the unknown inherent in Thalassophobia. Finally, the fourth level offers a peaceful state, reflecting upon and contrasting the deep-seated fears of the ocean’s depths. This four-level loop allows participants to choose their starting and ending points, allowing for a more personalized and creative journey into the depths of Thalassophobia.

Through dynamic audiovisual elements and interactive storytelling, Thalassaphobia aims to evoke a range of emotions and sensations, allowing participants to engage with their creations in an immersive way.

Similar Art Work

PlayLoop

PlayLoop (Wong, 2023) is an innovative interactive installation merging sound and light, allowing participants to craft distinct audio compositions through physical interaction with multiple audio loops within an immersive soundscape. Employing light-emitting diodes and motion-activated sensors, this project offers a dynamic platform for interaction and creativity.

The work embodies two core concepts. Firstly, the most important idea of this project is ‘Group Creation'(Wong, 2023). The installation is designed for multiple participants. The more individuals engage with it, the richer and more complex the sounds become. This installation encourages collaboration, inviting participants to collectively shape the auditory experience through harmonious melodies, discordant rhythms, minimalist arrangements, or complex soundscapes. The second concept of this project is ‘Co-creation’. Participants are encouraged to collaborate with the artist to create soundscape together. Every participant is essential and becomes a creator in creating the auditory and visual environment.

This project is similar to our project in how participants are involved and the core ideas of ‘Group Creation’ and ‘Co-creation’. Our project utilizes sensors for real-time interactions. We offer opportunities for participants to craft their soundscapes freely by interacting with the different sensors and the main controller. The more people interact with the sensors. The soundscape would be chaotic and scary. In addition, participants do not just collaborate with each other in the presentation. They also co-create the soundscape with us by randomly switching between different sound effects, chords, and filters.

 

Promo Video

-made by Ruojing Chen & Yuan Mei

 

References

Harlin, R. (1999) The Deep Blue Sea. Warner Bros.

Kentis, C. (2003) Open Water. Lions Gate Films.

Mathivanan, K. et al. (2017) ‘A Study of Virtual Reality’, International Journal of Trend in Research and Development, 4(3), pp. 374-377.

Papersneaker (2019) ‘PLAYLOOP – Interactive Sound & Light Installation’. Youtube. Available at: https://www.youtube.com/watch?v=qvQCBNEG-Rc (Assessed: 15 April 2024).

Spielberg, S. (1975) Jaws. Universal Pictures.

Wong, N. (2023) PLAYLOOP – Interactive Sound & Light Installation. Available at: https://www.papersneaker.com/single-post/2019/09/09/playloop-interactive-sound-light-installation#:~:text=%E2%80%9CPlayLoop%E2%80%9D%20is%20an%20interactive%20sound,speakers%20within%20twelve%20cylindrical%20structures (Assessed: 15 April 2024).

 

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