# Social VR Week 5 + 6: Final Project Proposal

This week, my project partner Terrick & I worked on our final project proposal for a social VR game – Muse.

Muse is a cooperative adventure of enigmatic labyrinths and connection.

In this game, Lia, the protector of Joy & Mel, the protector of sadness must work together to save a broken world.

Geometric Illusion, made with C4D + Unity

# Drawing It Together: Week 2

For Day 2, we presented our game: Pollock versus Monet!

This piece was based off two famous abstract painters who both had very distinct respective styles. Pollock was known for his paint splatters, while Monet was known for his brush strokes.

Pollock: Convergence

Monet: Lillies

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Game Instructions:

1. Pick a color and broom.
2. The diagonal players are teams.
1. Team Pollock splatters.
2. Team Monet sweeps.
3. Every 15 seconds, switch teams! This happens for 4 cycles.
4. Using splatters & sweeps, express the following concept: Taste of Apple pie.
5. At the end of 4 cycles, the audience decides what the group painting looks like more: Pollock or Monet!

It’s a tie! Final piece, Taste of Apple Pie.

# Drawing it together: Day 1

For our first class, we participated in a lot of group drawing exercises!

Exercise 1: Drawing multiples.

Exercise 2: Combining Shapes

We were then invited to draw self portraits.

After trying to guess the identity of each classmate’s self portrait, we then proceeded to pair off. Each pair of partners drew a portrait of each other. This was a very enjoyable, & surprisingly intimate experience.

After this, we started to work on creating our own multi-user drawing game! In this, we questioned how can multiple people with different but equal drawing skills could participate together.  Here are some pictures of our paper playtests.

# FOS Week 7: Problem with Scale

This week, we read “Blow Up: The Problem of Scale in Sculpture” by Barbara Rose. It states:

Modern civilization [has] produced virtually no monumental sculpture to rank with the great sculptural creations of the other high civilization.

It then goes on to ask “Why?” Is it the lack of modern monuments due to the decline of systems of belief? Is it because the materials & techniques used are unsuited to monumentality?

Earlier sculpture was always primarily a public art, an art of celebration or commemoration. Usually these monuments were tied to religion, history, & architecture.

Duchamp-Villon, one of the revolutionaries of modern sculpture also pondered on this

“We suffer, or rather sculpture suffers,from museum sickness…” He was prophetic in his recognition that sculp­ture had to come out of the museums and become part of the land­scape once again.

How is it that we adjust sculptures meant for the interior to the exterior while prevent them from being merely  avoid merely being an enlargement of table-top replica?

The next article “Scale at any Size” by Rachel Moore tries to address this. It states

Scale is always in relation to the human body.

Size is literal, scale is metaphorical. For Morris, the perception of scale is fundamentally physical, and is arrived at through an understanding of three key elements: the viewer’s body, the object, and the ‘space’ or distance between the two.

It then posits that what we see today is the replacement of content with scale. Many, including schools corporations & cultural centers cannot make the distinction between scale from quality.

Ultimately, it seems that scale should not be used to impress. Viewer should not be dominated by large sculptures, but be allowed to move around & possibly even through them.

# FOS Week 6: Identity & Body

This week, we read “The Fable of the Slave & the Sphinx” by Malik Gaines. In this, he states:

Power lies not in individual objects, but in the discourse that engulfs them.

This seems to be true of the case example E Pluribus Unum by Fred Wilson. In this work, Wilson proposed a sculpture to be placed in downtown Indianapolis. The sculpture was to be that of a freed slave from the city’s Soldiers and Sailors Civil War Memorial, made in 1902.

At the time, Indianapolis only had one public monument that represented an African American. Wilson’s piece was to be the second.

His proposed piece spurred much debate about what embodiment means, as well as how to portray this culturally sensitive issue. While intended to correct stereotypes, some claimed that his piece perpetuated them.

Ultimately, this piece was rejected from being placed.

# CATN Week 6: Twine as a VR Storyboarding Tool

This week, I used twine to test out a sparse storyline focusing primarily on physical interactions & available view range.

Focus on Viewport:

Hero’s Journey:

Strange Horizon – “Stories we see too often”

Here’s a diagram:

# Social VR Week 4: Drawing in VR

This week, we made a VR drawing app from the ground up using Unity. Here’s a video:

# FOS Week 5: Words as Power using US Tariffs

This week, we were inspired by the work of Lawrence Weiner & the way his art sculpturally uses text.

Based on his style, my partner Harry & I used data from the United States International Trade Commission to create the following:

# BIM Week 5: Perception Neuron + Unreal Mocap

This week in Lab, we learned how to use a new Motion Capture System: Perception Neuron.

The benefits of this is that it is much cheaper, faster, & uses less nodes with no fear occlusion! However, the main drawback is that the motion fidelity captured is much lower.

Also, we added some new materials & to our scene from last week! I had some trouble baking my old animation, so I edited the skeleton with some primitives to create the following:

# Future of Sculpture Week 5: Sculpture

This week, we read Sculpture in the Expanding Field by Rosalind Krauss. This work had several ideas on what sculpture has been developing into.

In the early sixties….sculpture had entered a categorical no-man’s-land: it was what was on or in front of the building that was not the building, or what was in the landscape that was not the landscape…. Sculpture, it could be said, had ceased being a positivity, and was now the category that resulted from the addition of the not-landscape to the not-architecture.

Then Sculpture changed further with the works of Robert Smithson, Robert Morris,  Robert Irwin, Alice Aycock, John Mason, Michael Heizer, Mary Miss &  Charles Simonds.

In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: the combination of exclusions

In this re-evaluative context of “What Is Sculpture?,” how can we create pieces that occupy this complex axis?