Sensory Deprivation Experience

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Sensory Deprivation Experience

Sam Hill

7th February 2012

Last week I made use of my first ever Groupon purchase – a one hour session in a floatation tank.

My understanding was that such experiences centre around sensory deprivation – no sight, no sound, no smell… the body is kept buoyant by a salt solution, heated to human body temperature, which nullifies the effects of gravity and creates a sensation of weightlessness.

The value of sensory deprivation is very interesting from a theoretical perspective. After all, if the theories we’re exploring suggest rich experiences are ultimately dependent on sensory input, and implicitly improved by greater intensity of sensation, then what would it mean to completely deny oneself of sensation as a route to experience? Can experiences be internalised? Would attempting to do so validate or invalidate our argument? Promotional literature for floatation therapy seems to suggest it is an enlightening, zen-like experience – placing the individual in a quasi-meditative state. It raises some fairly difficult issues regarding the experiential benefit of meditative thought. Obviously, this one-off event was always going to be novel in any case and would so be an enriching experience regardless of how little sensation was technically delivered – but are there long term experiential benefits to dedicating time to meditative thought (when time is such a precious commodity)?

Using the Floatation Tank

As it happened, the experience wasn’t a completely perfect case for analysis. Though it was more than adequate for it’s intended uses (relaxation, physiotherapy, catharsis) the tank did not truly deny all sensation – a tiny amount of light leaked in through the fixings, nearby traffic was just audible through the ear plugs, the water was slightly warmer than body temperature. Though this seems like nit-picking, there is a world of difference between fractional sensation and none whatsoever. In addition, this was the first time I’d done anything like floatation therapy so, as the instructor expected, it took (me) my mind quite a while to adjust to the change – I felt like my brain was urgently firing off a jumble of thoughts for the first quarter of an hour to compensate for the strange environment.

Having said all that I did, I think, get into a different mindset about half way through the hour. I felt calm, adjusted and numb. I lost track of time. The tension melted from postural muscles I didn’t realise I was knotting.  A few joints had popped and snapped in very satisfying ways. My consciousness had exhausted it’s analysis of the context and was looking inwards.

I’ll be very honest with you. I actually felt incredibly contented. Not happy, necessarily, but just very comfortable with where I was. Doing nothing. The immediate future did not matter, nor did the world outside the water tank. Then inevitably the discussion I’d been having with Ben a few weeks ago percolated up through my subconscious. I remember we discussed what it means to limit oneself from interacting with the surrounding world. I realised I was (with no melodrama implied) closer to “death” than I’d ever been. That’s not to say I was in any real way close to dying, of course, but I was removed from existence as much as a rational and lucid mind could be – I had severed any real link with (weasel word) ‘reality’ and was inhabiting an abstract non-context.

I then did a very stupid thing and rubbed my eyes. My fingers were covered in the magnesium sulphate solution and it caused a fairly nasty stinging sensation I couldn’t escape from. It probably wouldn’t have been that bad normally but this was the only thing I could feel, which meant it was the only thing I could think about. I snapped out of any kind of state that I might have been in and was jerked back into reality. It was difficult from that point on to return to any kind of meditative or theta-level state.

The idea that pain can bring an individual from a state of detachment to feeling alive synchronises well with a ‘pure’ experiential viewpoint, which suggests that all sensations (good or bad) have a richness of value. However I was startled by a more sinister parallel – using pain to feel connected and alive is sometimes cited as one psychological explanation for self harm. This should be acknowledged, I feel, but it should also be noted that emotional detachment and sensory detachment are two very different fish kettles.

Conclusion

Research into sensory deprivation appears to show there are cognitive benefits associated with occasional use but as with anything, prolonging sessions provides diminishing returns, eventually becoming counter-productive.

Returning to the difficult question ‘is there an experiential value in meditation?’, the issue is clearly more than a little complex. Unfortunately I’ve not much personal experience to draw from, other than this isolated event.

There are many interpretations of what meditation means and what purpose it serves. A cynic might claim it is mostly a waste of time – certainly an individual engaged in meditation is ‘doing’ nothing, so how can it be seen to be productive?

Is this fair? We might say one of the many interpretations is that meditation is a process conducive for focused thought. If this were so, then perhaps yes, it could be perceived as experientially rich, because concentrated enquiry can help us to rationalise, conclude and review – to make knowledge from data.

Applications

Knowledge is a critical element of experience value. This implies that an appropriate meditative session should be undertaken soon after any experientially rich happening in order to help exploit the maximum experiential potential from it. If this were the case, how would that effect the closure of experience-services, such as the credits to a film, or the returning flight from a holiday?

Sensory deprivation can also be very useful when used in combination with any tele- or pseudo-sensory application. That is to say, if there is a desire to have an individual be completely immersed in a non-local experience then they should be sensationally divorced from their immediate context. Some culturally close-to-hand examples include the ubiquitous goo baths of Minority Report, The Matrix, BSG and Avatar.

goo baths – from various sci-fi sources

Another more tangible example is Auger & Loizeau’s Isophone – paired communication devices that ensures the individuals using them have each other’s undivided attention.

Auger-Loizeau’s Isophone  – original source here

Define Intervention

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Define Intervention

Sam Hill

30th January 2012

Experiential interventions (systems designed to improve the quality of experience for an individual) can essentially be split into two groups. One is an event – something that occupies a specific period in time and most likely a particular place, or context. The other is a passive effect and can change an individual’s perception of their circumstances, and thus the actions they commit.

Experience Value

The below graph is an illustration of ‘Experience Value’, a concept we often use to explain the benefit of applying experience-design thinking. Experience Value is what an individual retains from ‘events’ (moments of time), in the form of memory; a mental record of how they felt, both emotionally and sensationally, as well as the knowledge they acquired. The more intense the experience, and the longer the period over which it is sustained, the more experience value that is accrued and the stronger the memories that will be retained.

Experience value is essentially an intangible commodity that represents richness of life. By visualising it graphically we can explain how to generate experiences through a design process.

Intervention Type #1 – time and context dependant

The first way to enrich someone’s life is to create an event with a beginning, middle and end. This event will typically be a break from normal routine. It could last an indefinite amount of time – seconds or years – but it is probably not sustainable as a constant way of being. Many formats for this kind of experiential interaction will already be familiar to most people – watching a film, a day at a theme park, playing football, eating a chilli pepper, going on a cruise, being surprised by a car back-firing etc. These events can be something that is paid for, but this isn’t necessarily always the case. They can be planned or accidental; man-made or natural.

Intervention Type #2 – perception augmentation

The second type of intervention is a change to what already exists. It affects daily life. It is applying a lens, or filter, in order to enhance or recontextualise (refresh) experiences of the otherwise mundane. It catalyses salient events. It might literally be a pair of rose-tinted glasses. Or perhaps it is the period of reflection that occurs after a near-death experience. It might be the psychological effect of wearing expensive clothes, or having one’s prejudices challenged during an argument. It could be an effect from the use of narcotics. Perhaps it can also be retroactive – such as having a camera recall and reinforce one’s memories. The Proustian madeline serves a similar purpose.

(More information on Experience Value theory can be found here)

You Me Bum Bum Train

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You Me Bum Bum Train

Sam Hill

24th January 2012

 

YMBBT_2_cover

The extended 2011-’12 run of immersive theatre experience You Me Bum Bum Train (YMBBT) has now finished. This means it’s now pretty much okay to talk about what happens during a show. Whilst it was still running it was definitely, definitely NOT okay to talk about it. If you’ve plans to attend a future performance and don’t know anything about the overall format you may not want to read on.

The name doesn’t really mean anything, by the way.

The event was started in 2004 by artists Kate Bond and Morgan Lloyd. This is how they describe it in their own words:

You Me Bum Bum Train is an experiential form of live art that will leave you completely overwhelmed. As a sole participant, you are taken in a wheelchair on a bizarre voyage … Unlike any other theatrical experience, the show is based around you: the only audience member throughout the entire journey. The intense nature of the ride makes You Me Bum Bum Train a most unique, unforgettable adventure … You are continuously catapulted into unimaginable situations”

YMBBT is sort of like a haunted house ride taken to the extreme. However, instead of focusing all immersive activity around one theme – as seen in parallel productions from  Punchdrunk and Secret Cinema – the energy of YMBBT comes from the deliberately jarring nature of each successive scene – the experience is similar to walking through an episode of Monty Python’s Flying Circus. What’s lost in cohesive narrative is made up for in variety and intensity – some scenes are very quiet and intimate, others fleeting, and some requiring literally crowds of actors.

The show has steadily grown in the last seven years and has received increasingly more acclaim and attention. Critics and fans such as Steven Fry received it very warmly, tweeting:

“Holy hound dog! “You Me Bum Bum Train” the theatrical experience of my life. Exhilarating, scary, brilliant, breathtaking and SO original <3″

This year it occupied much of Holborn Tower’s cavernous interior – a former postal sorting office on New Oxford St. An audience member (or ‘Passenger’) wouldn’t have known this however, as within the aircraft hanger-sized space the ride/ show took the form of many variously sized rooms, connected by a series tubes and corridors like a giant hamster playpen. The sheer scale of the production was staggering – There were about 20 different environments, each one meticulously designed and built from scratch. Some scenes were enormous. Every night required a cast of 200, performing 70 times to as many audience members. Including stage hands, technicians, set-builders and administrators the contributors list quickly escalates into something like 2-3000.

This creates a very interesting situation. More people worked on the show than those who ended up consuming it. Or to put it another way, more people were experiencing the show as a contributor than as a passenger. Tickets were almost impossible to come by – the original 800 sold out within 10 minutes (and the site suffered over 80,000 hits during that time). As an odd consequence, many of the actors and other volunteers that became involved did so because they weren’t able to source tickets themselves.

Two members of PAN were amongst that number. We volunteered ourselves as designers and actors and had an amazing time. I did have some photos of the stuff we worked on but was asked to delete them to retain an overall element of secrecy. I suppose you have to respect that.

(One scene from a previous year of YMBBT – you can see how well each scenario is fleshed out)

The economics and logistics of an endeavour like this deserve some scrutiny, because it would be great if there was more stuff like it out there. YMBBT is not-for-profit, but it relies so heavily on goodwill that it could hardly exist in any other way. Generally, for a project of this sort, income opportunities would come from ticket sales, sponsorship, investors and governmental arts funding schemes/ grants. The tickets could have been prohibitively expensive and still have sold, but they were deliberately kept accessible and democratically available (having said that, at ~£35 a ticket, they would seem expensive if you didn’t know what to expect).

Typical expenditure for a project like this would include production, location hire, organisation and talent. For YMBBT, many of the materials and props were skilfully begged, borrowed and scrounged; amazing considering the attention to detail. The cast and crew were the real saving grace however – everyone I met appeared to be volunteering their time for free, with many people dedicating whole months to make sure the show went on. Within the community that developed the dedication to the cause seemed practically fanatical.

The most inspiring thing for us was seeing the potential of a good idea being scaled over several years to create something extraordinary. Many of the passengers have called the 40-minute show “the best thing they have ever done”. That’s not just their favourite theatrical experience, but the best possible experience of their lives’. To know that designing and engineering such events is possible is more than a little bit motivating.

(edit: To further retain secrecy, mentions of specific scenes have been removed at the request of YMBBT)

This Is Why You’re Festive

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This Is Why You’re Festive

Sam Hill

1st December 2011

Today we launched This Is Why You’re Festive, a combined advent calendar and high-street sandwich review blog. Updates’ll be posted daily on @PAN_studio. The project leads on from some exploration we’ve been doing into experience and food. The premise is as follows:

“…For the grown adult sans offspring, the wonder and nostalgia of a childhood Christmas really only lives on through the tastes, sights and smells of a decent Christmas Dinner – a magical combination of sausages wrapped in bacon, cheese wrapped in bacon, roasties, sprouts and turkey.

Many supermarkets, coffee franchises and fast food establishments have cottoned on to this gustatory link to the past and have attempted to commodify it, portioning out festive joy in the form of pre-packaged, mayonnaise saturated turkey sandwiches.

Which begs the question: which off-the-shelf festive foodstuff best conjures up an authentic and sincere *Christmassy* feeling?”

What constitutes a “Christmassy feeling”?

Feeling “festive” (in the platonic sense) is obviously going to be subjective and varied. So to be a bit more specific – how do you describe that typical cocktail of emotions felt as a young (santa fearing) kid, in the west, in the run up to Christmas?

There are two parts – the anticipation, which starts around about the first of December (or after Guy Fawkes/ Thanksgiving) and builds until the frenzied insomnia of Christmas eve, and the climactic release on Christmas morning, with the opening of presents, chocolate, visiting of family, dinner and other rituals.

Arguably, the cocktail is greater than the sum of it’s parts: the “Christmas feeling” is a hybrid of excitement, anticipation, wonder, receipt of attention and family love and a faith in magic. It’s enforced by natural cues (darker nights, frost, fog, occasionally snow) and cultural ones (advertisements, decorations, school holidays, religious activity etc.). It’s difficult to imagine a parallel state of mind, it might as well be a discreet emotion in it’s own right.

Designing the Feeling of Christmas

It’s no wonder then that we make efforts to recreate this state as adults, even through the paltry gestures of packaged sandwiches. Unfortunately conditions change – the faith in magic is lost; expectations are lowered and tempered by the politics and etiquette of gift-giving; prolonged family interactions can cause stress; we worry about what we eat; social expectations must be met – there is an obligation to perform in certain ways.

It’s curious then, to imagine how an emotional state as powerful as a “Christmas feeling” could be authentically induced in adults. Not a rehash of jaded childhood values, but something adapted to subvert the socially matured and pragmatic mindset. Schmaltzy festive cinema does this to a small extent, but as a medium it’s hardly engaging enough to illicit a lasting effect.

Variety in Food

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Variety in Food

Sam Hill

28th November 2011

It’s probably best to get the “Variety is the spice of life” axiom out of the way as soon as possible. But like most hackneyed phrases, it’s still observably true, and appropriately this is especially applicable with food. Meals are significant daily experiential events, and their consumption is analogous to other sensory stimulating activities.

The argument for this post is as follows: the difference in flavour between mouthfuls is arguably as important as the quality of flavours themselves.

It’s a contentious idea, perhaps. But can you imagine eating a piece of mackerel immediately after a mouthful of toffee? Or a slice of liver after a spoonful of banana ice-cream? Flavour combination is a science – hence The Flavour Thesaurus and Heston Blumenthal’s ‘Molecular Gastronomy’.

Choice and Variety

Most western cities afford their denizens a luxury of access – access to the world’s cuisine: Italian, Moroccan, Caribbean, Thai, Mexican, Polish, Chinese, Indian…  there’s never been more choice. And yet, a meal will often take the same format – carb, meat, veg, sauce.

OK – Admittedly, that’s a little simplistic. Most cultures take an encouragable approach to variety – i.e. putting a lot of different things past your taste buds in one sitting. In France they have degustation; in Japan they have bento; in India they have thali; in Spain they have tapas; in the Mediterranean they have Meze; in Scandanavia they have Smörgåsbord.  In the UK we have our classic Sunday Roasts with all the trimmings, and the occasional, colonically ambitious ‘mixed grill’.

‘The Überbuffet’


These kinds of meals are enormously satisfying, and the total amount consumed doesn’t need to be enormous. But what happens when we go further, take the idea to the logical conclusion and try to get as much variety into a meal as possible? In other words: should we propagate a hyper-varied überbuffet? After all, at any particular sitting, assuming an individual can consume only a finite amount of food, is there really any experiential benefit to eating the same kind of thing more than twice?

Experiential Analysis of the Eating Process

Eating foodstuffs follows a sort of narrative. It is a ritual, familiar and daily, with definable and discreet stages. The first bite allows a ‘consumer’ (in the most literal sense) to explore the taste and texture of a food. Between it and the second bite they have the memory of enjoying the first piece and the anticipation of the next. At the last bite, the now familiar flavours can be actively savoured. Between these milestones, any intermediary moments will lack the same level of concentration or awareness – so they are surplus to any experiential requirement. Therefore, it makes sense to pack as much into a meal as possible by using only pairs of each morsel.

An appreciation for food consumption as a designed experience can allow us to both maximise the sensory potential of our olfactory and taste receptors, and ensure we consume in a way that is sustainably healthy. A homogenous foodstuff can encourage rushed eating because a different reward mechanism to taste is employed – the dopamine release from binging. This in turn is likely to cause over-eating, because the body’s appetite-feedback system is not immediate. If food is consumed at a controlled rate with appreciation for its flavour being the primary reward, then the body is likely to feel full before eating too much. This controlling of pace can be achieved through careful experiential design, and in this case using a greater variety of flavour in smaller quantities is a suggested design solution.

There’s nothing too revolutionary here. The slow food movement has been making a point of promoting Taste Education for decades, and  it’s been a while since hypnotherapist Paul McKenna began recommending to aspiring weight-losers to chew mouthfuls 20 times.

Summary

From an experience designer’s point of view especially, the value of variety deserves a little respect. Though the focus here is on food, the applications are global. The intensity of an experience is bound by context because it is relativistic – we don’t have absolute values or experiential calculus to quantify with (not yet anyway). To talk about events, or objects in any meaningful way we have to draw comparisons with what we already know and use phrases like ‘better than’, ‘worse than’ and ‘different to’. Hence, successive differences are what we use to make sense of what there is, what there was, and what there will be.

(Thankyou to Goldsmith’s first-year BA Design students for helping compile the meal featured in the above images)

 


 

Appendix I: Experiential Counter-Arguments

This proposition is not without its’ criticisms, even from a pro-experiential view point. Here are some counter arguments, with their criticisms addressed.

– “Two mouthfuls are not enough – it takes longer to “get into” something.”

On the first hand, this might be a conditioned belief. Perhaps some do not “get into” a meal until after a few bites because it isn’t necessary to do so. If placed within a context where flavour needs to be savoured, then new behaviours would be learnt.
Secondly, this criticism might be based on a misunderstanding. The claim is not that two mouthfuls of a meal are more experientially rich than a dozen mouthfuls of the same thing, as this is clearly not the case. Rather, all intermediary mouthfuls are much less rich than the first and last. The true argument is that six pairs of flavoured mouthfuls are experientially richer than one flavour repeated 12 times.

– “I’d rather have a different meal every day, than an überbuffet every single day.”

This is an interesting point – macro-variety is as important as micro-variety. But the premise of this criticism is that the two cannot exist together. Bento on a Monday followed by thali on a Tuesday followed by meze on a Wednesday does not make for generic consumption, certainly no more generic than the overarching typology of what a “meal” is. In actual fact, adding more options to a plate increases the uniqueness of each potential meal by an exponential magnitude – having more combinations of flavours, textures and smells to play with would ensure you need never have the same plate of food twice.

– “I don’t really like X, I much prefer Y. Why would I have a bit of X, when I could just have more Y instead?”

The aim here is not to increase pleasure of consumption per se, though that would hopefully be an incentivising by-product. The aim is, instead, to increase the experiential value of a meal. For a distinction between the two, and an overview of experiential value have a look at this.

But secondary to that, it is hoped that the variety of flavours, not just the flavours themselves could become something to relish and enjoy.

– “Aren’t flavour clashes more likely on a plate with more variety?”

Yes, it is likely that some flavours will clash horribly. TV chefs have been known to criticise a meal for having “too much going on”. A ‘Pure experientialist’ might accept this as part and parcel of the eating experience. A more conventional ‘hedonic-experientialist’ (full definition pending) could choose to employ the use of sorbets or other pallet cleansers, learn something about the theory of flavour combinations when preparing their own food or perhaps defer to an expert to advise on or prepare meals.

– “Preparing more complex, varied meals can be costly and time consuming. Couldn’t the time and money invested in preparing an Überbuffet be better spent doing other, more experiential, things?”

To prepare a meal from scratch with so many component foodstuffs will take a long time, and that time could be spent doing other things, so the decision to do so may come down to a personal preference. Some people get a lot more out of cooking than others.

Perhaps the most effective way to counter this is with scales of production, which, granted, has it’s own host of problems. A restaurant can more capably prepare a number of complex dishes than someone at home, but eating out is expensive. A supermarket could supply complex ready-made meals prepared in factories but the quality of preparation and ingredients can be questionable. The compromise between quality and quantity of flavours is debatable.

One option might be to encourage communal eating – i.e. people meet in large groups having prepared one dish each, then the portions are distributed evenly.

– “The experience of food should go beyond the plate. I enjoy food because I’ve prepared or grown it myself.”

This is another good point. Some people find a lot of satisfaction in the context by which they come by their food. It’s harder to achieve a broad variety solely through one’s own means, though not impossible.

– “This idea is too prescriptive. People should be able to eat however they choose.”

Absolutely, this is just a didactic suggestion for experiential enrichment, not sensory dogma.

 


 

Appendix II: Value Conflicts

As is often the case, attempting to better satisfy one value system will dissatisfy another. Though experiential richness might in some respects be beneficial to one’s health, there will be a clash with other ideals.

Other Health Issues

Practically, to have more variety might require foods have a longer lifespan. If this was the case, preservable foods might be favoured over fresh ingredients, like fruit and veg and unprocessed meat.

Ecology

Perhaps through well organised systems the effects could be marginalised, but it’s likely that a hyper-varied diet would be less sustainable. To get more choice means looking beyond local resources and forming a more complex logistical web; smaller portions and partitioned containers might mean more packaging.

Cost

Varied meals would almost certainly be more expensive to produce. The cost of a varied-consumption lifestyle would likely be higher, and so less attainable for everyone. This might exacerbate a stratification of experience wealth – a split between those that have variety and those that do not.

Earphones and Selective Reality

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Earphones and Selective Reality

Sam Hill

20th November 2011

It’s feasible an average commuting city worker might wear earphones between 5 and 12 hours a day. In some places they’re ubiquitous – on the train, in the office, on the high street – so much as to have become invisible.

This is fine of course – it’s not a criticism, just an observation. Personal experience reveals journeys are less stressful if the sound of a baby crying can be blocked; work is achieved more efficiently without the ambient distractions of an open-plan office.

But the observation does come with a hefty question in tow. It’s equally typical that the aforementioned worker might spend up to 15-16 hours a day looking at screens, but there is a significant difference: screens are not all encompassing. They can be looked away from, or around, and we can shut our eyes. Conversely, personal headphones are supposed to be all encompassing; they are supposed to override all ambient noise.

What does it mean then, to block out the world around you: to usurp an important link to one’s environment for so much of the time?

Context

The personal stereo is about 25 years old and has gone through multiple format changes. Significantly, the MP3 player massively opened up the potential for people to carry their “entire” music collections with them. Another (slightly overlooked) innovation has been Spotify for mobile, which allows someone to listen to any song they can call to mind from practically any location through their smartphone, 3G and ‘the cloud’. Even making allowances for licensing and signal strength, that’s an incredible thought isn’t it? Any song, any place, any time. From prehistory up until 150 years ago, the only way to hear music was to be in the same space as the instrument. There is an incredibly liberating cultural power that comes with the tech we now wield.

Voluntary Schism from Reality

To take a critical sensation like hearing and hack it’s primarily informative/exploratory role to instead supply entertainment will certainly have a significant effect on one’s perception of reality. Granted, ‘reality’ is a weasely, subjective term, but the choice will still affect an individual’s capacity to perceive their immediate environment. Critically, the user of earphones has made a choice: they are listening to what they want to, regardless of whether it’s what she should listen to. They have been granted the power to exert an amount of control on sensory input, and how they engage with their environment. Whether or not there is an experiential  ‘compromise’ going on is contentious.

For example, consider a typical 40 minute train commute. Coincidently, 40 minutes is the approximate length of time of an average album. So within a week’s commute it might be possible to listen to roughly 10 new albums. Doing so would impart a constant, fairly rich supply of fresh experience. On the other hand, listening instead to the daily sounds of a train carriage would probably be emotionally and sensationally lacking, most of the time. However, occasionally the ambient noise of a journey might yield (experiential) gems: eavesdropping on an argument, a phone call or the ramblings of an alcoholic.

Most likely, the album-listening route would be more rewarding in the long term, and so within this context could be considered experientially condonable. But is this true beyond the commute?

Boundaries

Has society had time to adjust to the power of being able to limit depth of engagement with the physical world? Do we understand the point at which the benefit becomes a hurdle – when a delivery mechanism for experience becomes an obstacle? The thought first occurred to me when I saw a father carrying a toddler in his arms through a park. The father had white earphones hanging from his ears and a vacant expression. The kid was babbling and humming and blowing raspberries at his dad but he was completely oblivious. The sight, an abuse of technological power, made me instantly uncomfortable. The fact this man had wilfully placed a barrier between himself and his son, to the detriment of them both, made me incredibly angry, actually. In this instance it wasn’t strangers on the tube being phased out of attention but immediate family. It seemed wrong by every measure of quality.

I’ve also been amazed to see cyclists weave through traffic whilst listening to music. In my experience it seems necessary to dedicated every possible faculty to cycling in a built-up environment. Granted, there might be marginally more experiential value in cycling to music, but is the pay-off worth the risk of failing to identify peripheral hazards? After all, a premature death will reduce an individuals net lifetime experience acquired, quite drastically.

By Analogy

In a recent workshop we held at Goldsmith’s College, a design student ran a quick experiment to limit their exposure to unpleasant smells. They subverted their olfactory sense by keeping a perfumed cloth over their nose whilst walking through bad smelling places.

The student realised within a few hours that living with a single abstract ‘pleasant’ smell was less desirable than having access to countless neutral and unpleasant odours – odours which were still relevant and contextually grounded.

The Gadget Show – FPS Simulator

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The Gadget Show – FPS Simulator

Sam Hill

25th October 2011

Earlier in the year I mentioned the potential of computer gaming and digital interaction in the future. Recently Channel 5’s The Gadget Show combined several state-of-the-art technologies to produce one particular vision of what this future might be. The build took 6 weeks, an unreleased copy of Battlefield 3 (a nice little PR coup there) and £500,000. The end result went on to be a bit of a prolific meme, and temporarily shot C5’s armchair-consumer review staple into the tech world’s periphery.

The package included:

  • A 9m wide 360° (X-Z plane) geodesic dome with 5 HD projectors
  • A roller-driven omni-directional treadmill (one of a kind, produced by MSE Weibull)
  • 10 infra-red tracking cameras, synchronised with the players orientation by APS Events and Media
  • An (Illegally modified VCRA – Sec 36.1.b) “appBlaster” gun
  • A PC, with the platform copy of Battlefield 3
  • 12 paintball guns (which were allegedly triggered by pixel mapping software reading areas of red/ blood on the screen) automated by Robo Challenge
  • ambient lighting for peripheral vision (supplied by Extra Dimensional Technologies)
  • X-box kinect with infrared motion tracking, hacked by Running In The Halls for detecting player crouching and jumping

It looks like there might be some issue with looking and moving in the y-axis as the top of the geodesic dome is not projected onto. No doubt also there were many other issues that were deliberately overlooked, such as switching weapons, reloading, climbing ladders, etc. but it’s still a very convincing proof of concept model.

Augmented Cinema

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Augmented Cinema

Sam Hill

24th October 2011

Last night I saw The Matrix Live at the Royal Albert Hall – a showing of the original 1999 motion picture, but with a live orchestra performing the score. It was phenomenal. The NDR Pops Orchestra perfectly captured the epic melodrama of Don Davis’ original soundtrack, with it’s relentless use of violins, and the big brass/ timpani crescendos. The venue was perfect for it and the film itself had aged quite well for such a stylised piece of science fiction.

The experience was similar to a treatment of 2001: A Space Odyssey by the Philharmonia Orchestra and Philharmonia Voices, which I caught last year at the Royal Festival Hall and was absolutely bowled over by. It was brilliant and haunting and an unparalleled sensory experience. Loads of other films (Star Wars in Concert for example) have received a similar treatment, and cinematic performances have diversified in many other ways too.

This brings to mind a number of questions about what makes the cinematic experience brilliant, as it is, and when it’s appropriate to toy with the format.

It might be helpful to analyse what the two film have in common to see why they were chosen:

  • To start with, 2001 and The Matrix are both excellent, popular movies with incredible scores.
  • They have a large replay value.
  • They are oscar winning classics and have endured long enough to remain relevant.
  • They are both unashamedly ostentatious and ambitious works of cinema.

I doubt this style of adaptation would work for films that do not obey theses criteria, as good as they still might be. Shrek (2001) for example, is a perfectly good film – funny, innovative and enduring, but it probably lacks the gravitas to warrant a full blown orchestra. Though new, Tinker Tailor Soldier Spy is, at the time of writing, a critically acclaimed release; but to build a proximate intervention between it and the audience would be a disservice: the movie-goer has not yet seen it as it was meant to be seen, so it shouldn’t be tampered with yet.

A rough logic is beginning to fall in to place.

Already Good

Going to the cinema is a fairly unique activity: it can only really be considered a semi-social event, seeing as talking is actively discouraged. Despite this, it’s one of the most popular public leisure activities of the last century. In a way, it’s incredible to think that though we can spend most of our working day looking at screens, and have the opportunity to go home and watch anything we want off more screens from the comfort of a sofa, we consider it a treat to instead occasionally leave the house and view another, bigger screen, at a relatively premium rate. There must be good reasons for this, surely?

Progress in delivering new experiences is important, but if the following assets of cinema are undermined too far then any intervention will be rendered distracting rather than immersive; a diminishment of the cinematic experience, not an augmentation.

What makes cinema great? –

  • First off, there is the complete, unavoidable immersion – the film stretches to the edge of the viewer’s peripheral vision and the audio overrides all other noise.
  • It’s romantic – the ritual of the popcorn, the trailers, the sense of shared experience and the analytical post-drinks.
  • It’s an easy, comfortable and passive activity to take part in, the viewer need only sit, look and listen – sometimes that’s all we want to do.
  • Finally, there’s the quality, of both narrative and production. Cinema is arguably the king of story-telling and continues to remain at the very frontier of our qualitative expectations in so many respects.

Future Cinema

(photo credit: Saulius Patumsis via Flickr)

I mentioned cinema performances have diversified in other ways. One group that seem to consistently nail immersive, film-centric nights are Future Cinema. As their site reads:

Future Cinema is a live events company that specialise in creating living, breathing experiences of the cinema…Future Cinema aim to bring the concept of ‘experience’ back to the cinema-going world.

Specialising in bringing events to life through a unique fusion of film, improvised performances, detailed design and interactive multimedia, Future Cinema create wholly immersive worlds that stretch the audience’s imagination and challenge their expectations.

The activities they organised for Blade Runner, One Flew Over The Cuckoo’s Nest, Top Gun and Watchmen have become somewhat legendary in London. Future Cinema are currently the authority on cinematic experience.

What Else?

As well as use of theatre to blur the edges of the screen, there are further tools both upcoming and established, that are employed to affect our cinema experience. 3D glasses for example, faced their first seriously commercial acid test with Avatar (2009), but seem now to be well established. The super-wide IMAX screenings are arguably even more immersive than conventional cinema and showings are often very popular. New and unusual locations for temporary cinemas are always cropping up, which provide a break of style from the multiplexes we’re used to. Olfactory stimulation (“smell-o-vision”) is a gimmick occasionally used with films for kids (see Spy Kids 4 in 4-D Aroma-scope(2011)) and in a dozen or so theme parks internationally they go a little further with a show called Pirates 4-D, a slightly cheesy film (starring Eric Idle and the late Leslie Nielsen) with “4-D effects” involving water cannons, bursts of air, vibrating seats and wires which push against the viewers feet

A friend described once how he went to the cinema to see a preview of Danny Boyle’s Sunshine (2007), a film set on a space ship heading towards the sun. He saw it in the middle of the 2007 summer heatwave, and the cinema’s air conditioning broke down. Sweating as he sat, he didn’t know if he was a victim of a PR stunt or was suffering an onset of psychosomosis caused by the film. In any case, the experience stayed with him.

Edit (I): London Dungeon have further strained the idea of extra-“dimensional” cinema by introducing a 5D ride – ‘Vengeance‘. This includes 3D vision, a number of techniques similar to Pirates 4-D (air blasts, water sprays, vibrations etc.), and laser-sighted pistols which allow the whole audience to play a cooperative, interactive game onscreen.

Edit (II): Another phenomenon that deserves looking at is audience-initiated or cinema-facilitated activity associated with certain cult films. The Room (2003), often cited as the “best, worst film ever made” serves as a really good example. A ritual has grown around the film – the audience join in with the dialogue, greet the characters as they appear, shout satirical comments and throw plastic spoons at the screen. The effect is that one of the worst films ever produced allows for one of the most energetic and entertaining cinematic experiences possible. In a similar vein, Grease, Rocky Horror and Sound of Music are often shown in independent cinemas on special sing-a-long nights, and tend to feature a degree of cosplay.

An infamous clip from "The Room":

 

Interview: Batman – Arkham City

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Interview: Batman – Arkham City

Sam Hill

21st October 2011

Yesterday I had the fortune of meeting David Hego, Adam Vincent and Paul Crocker; Art Director, Animator and Lead Narrative Designer respectively at London-based Rocksteady Studios. They commented on being a little dazed, stepping out into the daylight after having spent the last two years working on the new Batman: Arkham City game (and two years on Arkham Asylum before that).

The title looks set to be one of the industry highlights of the year. Set in the “Arkham verse” of the DC Batman world, the story arc revolves around arch-criminal activities set within a Gotham City ghetto – a district re-appropriated as an enormous open-air prison (à la Escape From New York (1981)).

It was refreshing to hear professionals at the top of their game (Arkham Asylum holds a Guinness World Record for critical acclaim) discuss their experiential considerations during development. Crocker explained the central tenet of both games:

“It was designed specifically to make you feel like Batman. We looked at what the character was; we looked for key game mechanics we could extrapolate from who Batman is, and built a game around that – having fighting, detective and predatorial modes.

…Batman should own the night. We wanted you to feel that you could jump off any building and glide and really feel like him… and we built a city to do it.  That’s the purpose of the city, it’s not the other way round.”

Hego agreed. Adding:

Every square meter of the game needed to be injected with Batman’s DNA, so that was the idea – to expand the world we had created in Arkham Asylum.

Adam Vincent commented:

“From the animation point of view – we make sure that the characters feel like themselves – Batman’s gotta feel like Batman and move like him – if we don’t think that it’s as ‘Batman’ as it can get at any one point, then we won’t do it.

How would Batman take down 3 thugs? You have to think about it… Your first design as an animator might not always work – or there might be problems with the actual mechanics of what you’re doing (the coders can say “you can’t really do that”). You’re always speaking to different departments.”

That might be the measure of the game. Though the project was run across a team of over a hundred, across many different departments with their own commitments, and with obligations to the fans, to DC, marketers, investors and Paul Dini (the games writer), they still collectively managed to maintain a single idea as a focal point and drive it through consistently, and that idea was creating an immersive and engaging feeling within the player – that they really are Batman.

Workshop at Goldsmiths

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Workshop at Goldsmiths

Sam Hill

19th October 2011

Ben and I went to Goldsmiths College yesterday (our old alma mater) to deliver a one-day workshop to the first years studying BA Design. Our objectives were to explain the value of a creative process, experimentation, prototyping, and to assist with their personal projects. We also did an overview on the importance of context. To get everyone started, we encouraged them to focus their critical analysis skills introspectively, get out of their comfort zone, and set out to change an element of themselves.

We only had six hours with the undergrads so we tried to fit in as much as possible. We managed a primer lecture on experiential design; a series of rapid-fire developmental sketches; prototype building; testing and presentations.

We also ran a midday experiment and debate on new experiences, and challenged everyone to try something over lunchtime they’d never had before. They were then asked them to bring some of their lunch back to the studio to discuss. We got a really nice response, with about seventy different foodstuffs being returned (and some good stories). We had plans for these, more info on which is soon to follow

The day went really well. We were both really impressed with the standard of the work that was produced, as well as the quality with which it was discussed.

This Way Up

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This Way Up

Sam Hill

20th September 2011

On Saturday we opened This Way Up to the general public, an exhibition/ auction/ workshop/ arts book store/ hardware shop built for the British Council, who are celebrating the fifteenth year of their Architecture, Design and Fashion department (and the 89 exhibitions they’ve created so far).

The event, which’ll be open during London Design Festival until Sunday 25th September is based at 31 Pitfield Street, N1 6HB (just off Old Street, round the corner from the fire station).

Exhibition & Silent Auction

Some of the work on show is being donated to the Design Museum’s permanent collection, but the rest is available to buy on site through a silent auction facilitated by Unity. There’s work from Tom Dixon, Peter Kennard, Pearson Lloyd, Sebastian Bergne, Tord Boontje, Nigel Shafran, John Davies, Michael Marriott, Anthony Burrill and Basso and Brooke.

Pete Collard selected the items for auction and has curated the exhibition, interviewing designers and workers from previous shows to provide content for the associated publication.

Proceeds raised from the auction and the rest of the show will go toward the new Brazil Future Fellowships Fund for emerging designers.

Book Corner

We’ve got arts books, catalogues and themed reading material from various exhibitions. It’s a bit of a mixed bag, some kids books are going for two or three quid, but there’s also a Juergen Teller worth about £300 for sale too.

Hardware Shop

All the stuff that the BC have used for their exhibitions is being sold off cheap to make space. We’ve got projectors, monitors, touch screens, CCTV systems, lightbulbs, tape, creepy felt mannequins, etc. etc.

“Upcycling” Workshop

Upcyclists are taking the raw materials and bits and pieces from previous exhibition builds and making new things with them that are available to buy.

Come over and say hello if you’re in the area. Entry is free.


SitRep 01

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SitRep 01

Sam Hill

2nd September 2011

Here we are, two days since our official launch. The dust is settling now from our frenzied efforts to get everything ready.

Thanks very much to everyone who’s taken the time so far to follow us on twitter and like us on facebook. We’ve had some really kind words from folk about the site, which is great to hear. It’s always a little scary offering up these kind of things to the world, so cheers guys!

I thought you might be interested to know what we’re up to at the moment. I’ll try and be as open as possible (NDA’s allowing) and give you a brief overview.

First of all, there’s more site to come – a few more folio pieces from our archive should be live soon enough. Then there’s the not-insignificant amount of subject matter to get through. I myself have a few blog-shaped thoughts bouncing around my skull which I’m feeling a compulsion to air. Plus there’s all the things going on around us that we want to talk about. Loads of stuff!

Also, we’ve got some great projects in the pipeline. We’re producing an exhibition/ event with the British Council for London Design Week, September 17-25th. It’s called This Way Up and it’s a sort of garage-sale/ exhibition/ auction and design workshop. There’s going to be work from Michael Marriott, Tom Dixon, Tord Boontje and others, as well as a live material upcycling exercise. Pete Collard is curating, writing and compiling interviews for a publication. He’s also organising some talks to take place in the space. It should be a lot of fun. We’re actually looking for assistants at the moment, so if anyone fancies a bit of summer work experience then drop us a line.

Following on from our game at Winterwell earlier in the year we’re developing another interactive piece for this coming Halloween as part of a larger event. I’ll explain that nearer the time, but the below picture sort of represents our starting point.

We’ve got a couple of user-interaction jobs on the go for websites this month – building a community mapping tool for one thing, implementing a political campaign application for another. I’ll let you know when they go live.

Aaand we’re set to continue making contributions to a creative-process blog called Think-Work-Play – which is a project run by a lovely agency called Unity.

I think that’s all the major news for now, but I’ll keep you all updated as we progress. Keeps your eyes on the feeds!

Sensory Augmentation: Vision (pt. 1)

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Sensory Augmentation: Vision (pt. 1)

Sam Hill

30th August 2011

Blinkered

The above diagram illustrates the full breadth of the electro-magnetic spectrum, from tiny sub-atomic gamma rays to radio waves larger than the earth (there are in fact, no theoretical limits in either direction). That thin technicoloured band of ‘visible light’ is the only bit our human eyes can detect. That’s it. Our visual faculties are blinkered to a 400-800 Terahertz range. And from within these parameters we try as best we can to make sense of our universe.

There is no escaping the fact that our experience of the environment is limited by the capacity of our senses. Our visual, aural, haptic and olfactory systems respond to stimuli – they read “clues” from our environment – from which we piece together a limited interpretation of reality.

So says xkcd:

This limited faculty has suited us fine, to date. But it follows that if we can augment our senses, we can also increase our capacity for experience.

Seeing beyond visible light

Devices do already exist that can process EM sources into data that we can interpret: X-ray machines, UV filters, cargo scanners, black-lights, radar, MRI scanners, night-vision goggles and satellites all exploit EM waves of various frequencies to extend our perceptions. As do infrared thermographic cameras, as made popular by the Predator (1987).

What are the implications of para-light vision?

Let’s for one second ignore a canonical issue with the Predator films – that the aliens sort of had natural thermal vision anyway and pretend they can normally see visible light. Let’s also ignore the technical fact that the shots weren’t captured with a thermal imaging camera (they don’t work well in the rainforest, apparently). Let’s assume instead that we have a boxfresh false-colour infra-red system integrated into a headset, and that human eyes could use it. How effective would it be?

First of all, we’re talking about optical apparatus, something worn passively rather than a tool used actively (such as a camera, or scanner). The design needs special consideration. An x-ray scanner at an airport is an unwieldy piece of kit, but it can feed data to a monitor all day without diminishing the sensory capacity of the airport security staff that use it. They can always look away. If predator vision goggles were in use today, they would be burdened with a problem similar to military-grade “night-vision” goggles.

Predator Vision is not a true sensory augmentation in that it does not *actually* show radiating heat. Instead it piggy-backs off the visible-light capability of the eye and codifies heat emissions into an analogical form that can be made sense of: i.e. false-colour. In order to do so, a whole new competing layer of data must replace or lie above – and so interfere with – any visible light that is already being received.

Predator Vision in the home

For example, let’s task The Predator with a household chore. He must wash the dishes. The predator doesn’t have a dishwasher. There are two perceivable hazards: the first is scolding oneself with hot water, which Predator Vision can detect; the second is cutting oneself on a submerged kitchen knife, which only visible light can identify (assuming the washing up liquid isn’t too bubbly). Infra-red radiation cannot permeate the water’s surface. What is The Predator to do?

He would probably have to toggle between the two – viewing in IR first to get the correct water temperature, then visible light afterwards. But a user-experience specialist will tell you this is not ideal – switching between modes is jarring and inconvenient, and it also means the secondary sense can’t be used in anticipation. A careless Predator in the kitchen might still accidentally burn himself on a forgotten electric cooker ring. The two ideally want to be used in tandem.

What’s the solution?

It’s a tricky one. How can we augment our perception if any attempt to do so is going to compromise what we already have? Trying to relay too much information optically is going to cause too much noise to be decipherable (remember our ultimate goal is to have as much of the EM spectrum perceptible as possible, not just IR). This old TNG clip illustrates the point quite nicely:

Here Geordi claims that he has learned how to “select what I want and disregard the rest”. Given the masking effect of layering information, the ability to “learn” such a skill seems improbable. It seems as likely as, say, someone learning to read all the values from dozens of spreadsheets, overprinted onto one page. However, the idea of ‘selectivity’ is otherwise believable – we already have such a capacity of sorts. Our eyes are not like scanners, nor cameras. We don’t give equal worth to everything we see at once, but rather the brain focuses on what is likely to be salient. This is demonstrable with the following test:

It’s also worth noting the unconscious efforts our optical system makes to enhance visibility. Our irides contract or expand to control the amount of light entering our eyes, and the rod-cells in the retina adjust in low-light conditions to give us that certain degree of night-vision we notice after several minutes in the dark. The lenses of our eyes can be compressed to change their focal length. In other words the eye can calibrate itself autonomously, to an extent, and this should be remembered from a biomimetric perspective.

Option one:

The most immediate answer to para-light vision is a wearable, relatively non-invasive piece of headgear that works through the eye. In order to compensate for an all visible-light output, the headgear would need to work intelligently, with a sympathetic on-board computer. The full scope of this might be difficult to foresee here. Different frequencies of EM radiation might need to be weighted for likely importance – perhaps by default visible light would occupy 60% of total sight, 10% each for IR and UV, and 20% for the remaining wavelengths. A smart system could help make pre-emptive decisions for the viewer on what they might want to know, e.g. maybe only objects radiating heat above 55ºC would be shown to give off infra-red light (our temperature pain threshold). Or maybe different frequencies take over if primary sight is failing. Eye tracking could be used to help the intelligent system make sense of what the viewer is trying to see and respond accordingly. This might fix the toggling-between-modes issue raised earlier.

It’s interesting to wonder what it would mean to perceive radio-bands such as for wi-fi or RFID – obviously, it would be fascinating to observe them in effect, but might their pervasion be over-bearing? Perhaps the data could be presented non-literally, but processed and shown graphically/diagrammatically?

Option Two:

The second, more outlandish option is a cybernetic one. Imagine if new perceptions could be ported directly to the brain, without relying on pre-formed synaptic systems. Completely new senses. Perhaps existing parts of the brain could accept these ported senses. The phenomenon of synesthesia comes to mind, where stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. Is it possible that in a similar vein the visual cortex could read non-optic information, and would that help us to see several types of information simultaneously but allow us to selectively choose which parts to focus on? If such a segue weren’t possible, would a neural implant bridge the gap?

In Summary

I’ve intentionally only discussed the EM scale here, but of course there are many other forms of data that can be visualised. There might be potential for augmenting vision with sonar, for example, or miscroscopy. Human-centric metadata deserves a whole post in it’s own right.

It’s difficult to predict how the potential for sensory augmentation will change, but whatever opportunities pioneering science unlocks can be followed up with tactical design consideration to make sure applications are appropriately effective and adoptable. It’s an exciting prospect to think that we may be on the threshold of viewing the world in new, never-before seen ways – and with this new vision there will be, inevitably, new points of inspiration and new ways of thinking.

Apocalust

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Apocalust

Sam Hill

14th August 2011

During the start of Riot Week 2011, when many of us were darting wide-eyed between Twitter and rolling news coverage, there was a undeniable feeling of uncertainty. Obviously order was tenuously regained within a matter of days, but because it was difficult to rationalise a reason for the riots starting in the first place, it was even harder to understand when they would stop. Looting and arson seemed to be breaking out in locations arbitrarily. Why exactly were people raiding high streets in Birmingham, Liverpool or Bristol because of the activity going on in Tottenham?

A few people on Facebook and Twitter were quick to make wry allusions toward classic apocalyptic tropes. A comment like “It starts with isolated events…” might earn itself a dozen or so likes and replies within minutes. The implication was, invariably, that these riots were the media misinterpreting the dawn of a zombie/ ‘crazie’ uprising. It was an excuse for some people – the ones with Walking Dead collections and healthy Gamerscores – to fall, misty eyed, into a state of mental preparedness.

It’s hard to calculate precisely what proportion of people have had, at one time, an “undead survival strategy” (how can the property be secured; what immediately available object could be re-appropriated as a weapon; food and water supplies; who needs ‘saving’; routes out of the city etc. etc.) but it must be enough to have warranted the success of Max Brook’s The Zombie Survival Guide, Pegg and Wright’s Shaun of the Dead and Valve’s Left 4 Dead series.

It’s tempting to predict the future of digital culture has only two certainties: zombies and kittens. It’s difficult to imagine what sort of backlash would be significant enough to counter the cultural inertia that both memes possess. Though the undead seem to have been a perennial example since even before Romero, there are other du jour harbingers of the apocalypse too: aliens, viruses, the weather, the environment, meteorites, magnetism, plants, robots, nuclear war etc.

But where is the appeal? How can the apocalyptic fiction industry be so successful? Why indulge in a mind game in which most of your friends, family and colleagues die a painful, traumatic death? Gross schadenfreude? A fetish for unrestrained commercial consumption? The idea of rebuilding society according to one’s own ideals? Subconscious manifestation of genetic competitiveness?

Perhaps it’s nothing more than a lust for adventure and exploration coupled with a resentment for restrictive aspects of western twentieth century living. We have an enormous legacy of exploration, but no frontiers left to investigate*. To quote The Truman Show: “you’re too late, there’s really nothing left to explore”. Global disaster wipes that slate clean – the familiar becomes unknown; the rules are broken; the old order is gone.

How can apocalust be sated? Well, games, films, literature and television drama seem to be doing a good job already – the demand is satisfactorily met.  It might be argued that they’re fuelling the desire too, but in general there are more than enough fantasy frontiers out there to explore in fiction, doomsday related or not. But if the illusion no longer works, then there’s always the potential to go travelling. After all, just because everywhere on earth is known by it’s people, it’s not to say the individuals cannot discover new things for themselves.

* – of course, there are tonnes of frontiers left to explore, scientifically: medicine, astronomy, marine ecology etc.  But not a lot is open for the every man, and not in a way so literal as, say, the colonisation of the Americas.

Playmakers

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Playmakers

Sam Hill

8th August 2011

Playmakers is a film on immersive gaming – a collaborative project between Hide & Seek, NESTA and ThinkPublic.

It features a good range of speakers from the sector and contains some interesting insights. It also demonstrates (in a surprisingly frank way) the ad hoc and experimental nature of immersive game development, illustrating why it’s important to remember the KISS principle when orchestrating events that are designed to be engaging and fun.

Some of the other difficulties and objectives of experiential events are outlined – the need to avoid esoterism, the importance of having objectives and narrative seamlessly work together and the psychology of keeping players immersed. Interesting parallels are drawn throughout to other social activities that “share DNA” – protests, carnivals, parkour and theatre. Obviously, theatre is a biggy. Computer games are slightly conspicuous in their exclusion.

An interesting idea is presented near the beginning of the film [01:50] by Hide & Seek’s Alex Fleetwood. He appears to be describing the four quadrants of their interest. Here it is visualised:

It’s a really nice territory for enquiry. What’s more, Alex’s criteria reveal a robust set of parameters when extrapolated:

Immersive gaming incorporates a dedicated core of researchers and creative thinkers. The industry seems to be gaining plenty of momentum and makes an excellent case study for the development of a broader experience culture. A lot can be learned from a decade of keenly analysed experiential events and the potential within the sector remains huge and continuously changing.