Considering the “things” regarding Space, Form, Parti, Paths, Views, and Composition in Matthew Frederick’s book “101 Things I Learned in Architecture School,” this exercise requires me to design a virtual space. Simultaneously, I need to consider how the “things” are similar or different from the environment approaches often used in level design. I am prompted to think about the specific intent and potential narrative of the virtual space I will create. What am I trying to express with this space?
2. BRAINSTORMING
An idea that I have been very interested in recently is diaspora as a Chinese South African.
1. I first sketched my idea for a space that is organized around the idea of diaspora and the concepts that come with it.
Source: Own Image
2. Using only Unity’s default 3D Game Objects (primitives) and the first-person character controller, I try to recreate my sketched idea. While working, I would occasionally drop into play mode to see how it feels to move through the space.
After testing out the mechanics of Unity, I first used cubes to create the wall of the house. Due to the limited available objects we have, I modified the house form my sketch.
After completing the house, I created an empty parent called “House” to combine all the cubes.
I adjusted the positions of the house so that it would float.
Naming every object was very helpful while navigating my project.
I started making the spheres in my sketch. However, I decided to adjust the spheres into hybrid forms to contrast the house and floating elements.
A view of my project after following my sketch:
First-person starting point:
3. Lastly, I made adjustments to the sketch based on my playtesting.
For example, I noticed that some of the floating objects were too large for the player to navigate in so I minimized the scale for them.
I also noticed that I needed to place more objects to enhance the feeling of rootlessness.
Lastly, an error occurred where the camera of the player was skewed. However, I kept this to suggest an imbalance in my space.
“Things” I added:
Positive and negative space
Dwelling in a positive space
Thoughtful making of space
Contrasting elements
Denial and Reward
Underlying ideas
5. AUDIENCE RECEPTION & 6. CONCLUSIONS
Through my sharing in class, I received feedback that there is a good narrative in the juxtaposition of the floating unstable objects and the grounded player. The idea of being in the space despite a lack of roots and the feeling of hysteria is thus communicated more effectively. There is also a clear path seen in the space from the floating objects, an ascendance, which offers dynamic in my work.
7. APPENDIX
8. REFERENCES
Frederick, Matthew. 101 Things I Learned in Architecture School. MIT Press, 2007.
Fiction offers creative reconstructions of events that narrate and organize behavior through the representation and implementation of space—shaping how the audience perceives and interacts with their environment. Games, for example, deviate from reality to make an illusion playable as they channel agency into new forms on the screen. Through actualizing fiction, “Excalibur” aims to alter the conventional game approach of reality-in-illusion by bringing illusion to reality and the physical space—reversing the roles. Taking inspiration from Star Wars’ lightsaber roleplay toy, “Excalibur” embeds the concept of “illusion-in-reality” by implementing familiar game strategies such as a timer, heart count (health tracker), competition, roleplaying, and sound and visual effects that observe the user’s real-time movements. Consequentially, the project also contributes to the theory that gamification, the application of elements of game-playing to other areas of activity, can enhance engagement and satisfaction. Additionally, the project is an extension of virtual games into the real world: by using the same types of manipulation adopted by virtual games, such as employing sound effects in a certain space, “Excalibur” constructs a virtual space without the need for a VR headset—introducing the user with convenience and innovation. The project is designed in a way that makes the game playable independent of lore, age, and physical fitness to fit a wider audience consisting of not just children. To do so, the option to skip or disregard elements in the game was welcome; players were given the option to skip the introduction explaining the character’s background and game instructions if applicable. Furthermore, disregarding game constraints, such as the game rules, did not put the project at a disadvantage as players could take pleasure in the system’s fast response to their actions through sound and visual effects accompanied by whimsical medieval background music. In terms of sound, the project used serial communication between Arduino and Processing to add sound effects based on the copper attached to two swords, two shields, and armor which allows electricity to flow to create a closed circuit—creating a switch. The simple and single use of switches as the foundational framework of the project ensures fast system response and easier troubleshooting. During user testing, it was suggested to add images of the characters, King Arthur and Mordred, in their respective positions to the players on the monitor to differentiate their roles. By using media objects as a representation of them, the players can position themselves within the context of a duel, to embody openness and experimentation in roleplaying. Secondly, it was recommended to incorporate game states with an open menu, instructions, the actual gameplay, and an ending screen to create an experience where the user sees the system’s response, and takes more action in response, in a continuous loop. Furthermore, including an instruction state stimulates the player to listen, think, and respond to the system as well as gives their gameplay a meaningful aim and purpose. Both suggestions from the user testing were effective. While analyzing the user’s experience during our end-of-semester IMA show, we found that most players would look at the monitor to make sense of the situation and formulate their next plan of action which made the system itself a great communicator.
Initial sketch
Revised sketch
*Note: Small changes were made to the final sketch
User’s Interactions
C. FABRICATION AND PRODUCTION
Materials
1x Breadboard
1x Arduino Uno
1x USB Cable
1x USB Protector
4x 10 kOhm Resistors
A handful of M/M jumper cables
Jumper cables from the studio
1x Ruler
1x Hot glue gun
1x Black cloth
1x Brown cloth
1x White cloth
1x Silver cloth
1x Tablecloth
1x Strip of fake gemstones
2x Copper tape
1x Scissors
1x Wire cutters
1x Cutting board
Cardboard
1x Masking tape
1x Marker
1x Electrical tape
Soldering set
1x Wood for laser cutting
Not included anymore:
3x Accelerometers
Project Plan
During the proposal phase, I created a Gantt Chart for the “Excalibur” Project so Kiana and I would have a better plan of action.
Lookback: One of the flaws of our midterm project was our lack of planning. As a result, many of the steps in the respective areas of coding, physical computing, and building did not work together. There were moments when we had to temporarily stop on one step and go back to working on another component of the project so that we could continue our last step because there was not a clear picture of how everything worked together. This stagnation affected our productivity and morale throughout our midterm project which caused us to have last-minute obstacles that we could not address before the final critique. To fix this mistake, we utilized a Gantt Chart for the final project to plan how every step correlated with the last having specific objectives, and how every step was building us towards a final goal. I believe the reason why we were able to finish the project on time with extra time to make additional adjustments was because of proper planning and staying on track; not much time was wasted which gave us extra time to do other work in other courses. By learning and proactively addressing past mistakes, the process of creating the project was much faster, and our experience was more rewarding and fun!
We also made a flow chart to understand the essential components of our game.
Building the Circuit (Anita and Kiana)
Step 1: Testing the accelerometer
Our initial idea was to use the accelerometer to detect changes to the sword orientation to make sword sheath sound effects to immerse the players in the idea of a manipulated reality. Additionally, we wanted to add a wand for Merlin, a wizard in the Excalibur story as an additional role for the audience if they would like to add special effects on the screen without affecting the game. Firstly, with the recommendation from Professor Lee, I consulted with the tutorial on how to use an accelerometer from the IXl tutorial repository. In this step, I was able to calibrate the accelerometers with xyz.
Secondly, the professor assisted me further by giving me a code on how we can send xyz values from the Arduino to Processing with the following:
void setup() {
Serial.begin(9600);
}
void loop() {
// to send values to Processing assign the values you want to send
// this is an example:
int sensor0 = analogRead(A0);
int sensor1 = analogRead(A1);
int sensor2 = analogRead(A2);
// send the values keeping this format
Serial.print(sensor0);
Serial.print(","); // put comma between sensor values
Serial.print(sensor1);
Serial.print(","); // add linefeed after sending the last sensor value
Serial.print(sensor2);
Serial.println(); // add linefeed after sending the last sensor value
// too fast communication might cause some latency in Processing
// this delay resolves the issue
delay(100);
// end of example sending values
}
Lookback: While the code worked, we chose not to use the accelerometer because
1) its purpose was useful but not essential to the game design
2) there would be additional cautions to consider when attaching the sensor to the weapons
3) allowing single-player (one of the main reasons why we wanted to implement this sense) could be a distraction rather than a special addition to the game that would confuse the players with what the objective of the game is. When we initially wanted a single-player option, the idea of a health tracker and timer in the game rules had not been conceptualized so due to the recent changes, our old ideas were reevaluated and discarded.
4) No Merline anymore 🙁 (would be too distracting)
Lookback: Reevaluating every component in a project continuously throughout the project-making process is very valuable. Asking oneself what the significance and value of each component is a useful skill to adopt and probably the responsibility of the creator to ensure that all the elements of a project work together effectively to produce a meaningful and interactive product for the audience. Furthermore, as the making process progresses sometimes new elements can affect the old. Unnecessary or ineffective components could obscure the vision and mission of the product when the users interact with it: sometimes less is more.
Step 2: Prototype
For the prototype in user testing, I used a simple diagram from the internet to assist me in building the circuit. I consulted with an Arduino switch diagram because the mechanisms of the weapons were based on the idea of a switch creating a closed circuit when different weapons touched. For this, I used digital pins 2-4 to detect a 0 or 1 to send to Processing.
In the place of the switch would be the weapons. For the wires attached to the weapons, I used stranded wire which Kiana and I connected with solid wires for better connection with the breadboard.
Obstacle: It was difficult to differentiate the wires because the colors were the same and the wires were too long to trace back which object was which. Thus, we decided to label the wires. This step, along with Kiana’s help, was an effective step for me to quickly find wires in the case of troubleshooting.
Step 3: Final adjustments
We were also recommended to add the stone that King Arthur drew the sword from, in user-testing, because it would further illustrate the story of The Legend of Excalibur. This was a simple step in which I added one more digital pin value called “stonePin” on digital pin 5.
We laser cute new objects and for this step, I attached solid wires to the copper on the weapons.
Obstacle: During user-testing, we found that the stranded wires would be tangled together because of their flexibility and material. To fix this issue, we used solid wires instead that would be more difficult to bend as well as cloth covering over it created even more friction. We found that the wires would not tangle up anymore and the cloth also added a professional touch to it.
Writing the code (Anita and Kiana)
I used Canva to create my video with voice narration by an AI voice generator website called ElevenLabs. Royalty-free sound effects were downloaded from Pixabay.
Obstacle: ElevanLabs required a subscription to continue the use of their service. Unfortunately, this meant that we could not fulfill our initial idea of having a storyline incorporated into the installation as we only had a limited amount of uses. If we had more time, we would have tried to consider a different narrator, maybe a real-life person, to do all the necessary voiceovers to make our game more complete, customizable, and unique to the audience. Furthermore, having voiceovers for the characters themselves would also have been a good addition to the game (especially in the ending state with different endings).
Lookback: The midterm taught me a lot about the importance of synergy and teamwork. Therefore, for this project, I aimed to delegate as much of the codework as possible. Furthermore, I was more open to assistance from the learning assistants and fellow in Interaction Lab. Firstly, Kiana and I delegated the task of coding by being in charge of the coding for the different software respectively, namely Arduino and Processing. Because of clear communication and discussion, we both had a good idea of how the two codes would interact with each other; Arduino values were sent to Processing. Because Processing required more coding we compensated the difference between workload by giving Kiana more work in the building step. I felt a noticeable difference in my stress levels; I had a lot of pleasure writing the code this time.
Obstacle: I encountered a multitude of issues while coding in Processing. Firstly, I had to learn game states which were not covered in our coursework. To do so, I looked at this YouTube tutorial. Independent learning is effective when the task is small. However, I encountered more problems with bigger issues like sound. The sounds would often overlap or play more than once. I struggled with the concepts of boolean, time (millis), and sound conditionals. Learning assistant, Daniel, and IXL fellow, Kevin, helped me extensively during this time. Additionally, Kevin helped me a lot on how to add videos to the “slide1” state as we did not learn how to add videos in class. This part took a long time (2+ hours) as we found the sound of the video continued after the state ended. Furthermore, we found that having void movieEvent(Movie m) was an essential part of playing the video on the screen (it had not been playing before adding this). Through experimentation, we were able to add a video that I created beforehand to the project. I found how effective it was to work together with others which I had not done in the midterm; I had more motivation and fun working on the project with others. I also found how supportive the IMA community is at NYU Shanghai!
Lookback: I also organized, formatted, and titled sections of my code for better viewing.
Arduino Code:
const int shieldPin = 2; // Digital pin for shield 1
const int swordPin = 3; // Digital pin for sword 1
const int heartPin = 4;
const int stonePin = 5;
void setup() {
Serial.begin(9600); // Initialize serial communication
pinMode(swordPin, INPUT); // Set sword pin as input
pinMode(shieldPin, INPUT); // Set shield pin as input
pinMode(heartPin, INPUT);
pinMode(stonePin, INPUT); // Set shield pin as input
}
void loop() {
int swordValue = digitalRead(swordPin); // Read value from sword 1 pin
int shieldValue = digitalRead(shieldPin); // Read value from shield 1 pin
int heartValue = digitalRead(heartPin);
int stoneValue = digitalRead(stonePin); // Read value from shield 1 pin
// if ((swordValue == HIGH) || (shieldValue == LOW)) {
// )) Serial.println("1");
Serial.print(swordValue);
Serial.print(","); // put comma between sensor values
Serial.print(shieldValue);
Serial.print(","); // put comma between sensor values
Serial.print(heartValue); // add linefeed after sending the last sensor value
Serial.print(",");
Serial.print(stoneValue);
Serial.println();
// too fast communication might cause some latency in Processing
// this delay resolves the issue
delay(20);
}
Kiana used Cuttle to laser-cut miniature weapons for user testing.
Lookback: During the midterms, we put our attention too much on the visceral level of the project which left little time for coding and circuits. This time, we decided to leave external consideration until the end when the coding and circuit were done. We spent more time working on the functionality of the project which was a good choice because we were more confident that there were fewer obstacles during the installation stage (less time needed). We also decided to make the prototypes smaller for better transportation, but also to save resources at the IMA lab. More resources can be used for final touch-ups for both us and other students.
Initial “vest” design:
Final prototype:
Our first testers, Al and Henry:
Step 2: Final weapons
Sword
Kiana used Cuttle to create an SVG file which she then sent to the FabLab for lasercutting.
We then wrapped the top portion in copper tape.
We soldered solid wired to the base of the sword.
We wrapped the wire along with the grip of the sword in electrical tape.
We attached fake gemstones along the guard of the sword for design.
We hot glued the cloth covering the sold wire with hot glue onto the pommel of the sword.
We wanted to use silver as the color is more often associated with swords but the silver tape that the lab had was not conductive.
Shield
Kiana used Cuttle to create an SVG file of two shields and two handles which she then sent to the FabLab for laser cutting.
Professor Lee recommended making triangular supporting material along the handle to ensure it doesn’t fall off. However, due to limited time, we used hot glue instead of wood which was sturdy nonetheless.
We wrapped the entire shield in copper tape.
We soldered solid wire at the bottom of the shield.
We hot glued the cloth covering the sold wire with hot glue onto the bottom of the shield.
Armor
With cardboard from our midterm, we cut two identical pieces for the armor.
We cut two identical strips of brown cloth for the should piece.
We taped copper around the exterior parts of the armor. Electrical tape was attached on the inside for a better visual look and to prevent any possible electrocution (although highly unlikely).
We soldered solid wire at the back of the armor.
We hot glued the cloth covering the sold wire with hot glue onto the back of the armor.
Lookback: While observing the players at the IMA Show, I found that the wood material that we used could be hazardous. As a result, the users were either hurt or apprehensive during the duel. Although the wood was light, it was still hard enough to cause harm to the users if they put force in hitting their opponents. Thus, I propose changing the material of the weapons to a sturdy sponge so that it remains in shape but soft enough to avoid injury. This material would have been more child-friendly for more aggressive users. Due to the requirement of using digital fabrication, we could not follow up on this decision. Other things we noticed during the final IMA Show:
Due to the background noise, it was difficult for the users to hear the narrator. Thus, not many participants were invested in the lore/background of the game which confused them why there was an offensive and defensive role. This project is best suited in a quiet environment.
I wanted to allow players to skip slides in the introduction rather than the whole part so that they could see the instructions at the end of the game state. Because of this setback, I found that many players did not grasp the game rules because they skipped the introduction. I would like to fix this video issue if I had more time.
Lookback: Because we had more time, we once again delegated the task based on strengths and weaknesses (or more accurately familiarity with certain software). Kiana worked with Cuttle and I worked with Processing. Exposure to this step also required trust in each other because we did not work closely with each other which built a greater connection between us as teammates and I have become more open to working with others with different backgrounds and expertise.
Step 3: Stone
We used a big piece of cardboard from our midterm as the base of the stone.
Kiana created an SVG file of a box using a box generator which she then sent to the FabLab for laser cutting.
We made a smaller body with copper tape wrapped around it and solid wire soldered at the base. The solid wire was attached to pin 5.
We drilled a rectangular hole at the top of the big box and attached the smaller box to create a cave for the sword to slip in.
We hot glued bubble wrap at the top to create an organic shape for the stone.
We left one side open so we could access the inside; we plan to put the circuit in the box.
We covered the entire object in silver cloth to mimic a stone.
We hot glued some of the cloth onto the cardboard base to secure the position of the cloth.
Step 4: Instructions
Kiana engraved words on a shield that we planned to discard as additional instructions to the player. We noticed that people may not know which color, white or brown, belonged to which player. Thus we made a small riddle for the users to play before engaging with the game.
Step 5: Setup
A red tablecloth was placed on a table.
A monitor and speakers are placed on the table.
Mordred’s weapons are placed on the table.
Arthur’s rock and weapons are placed on the front left of the table.
The shield with additional instructions is placed on a chair on the right side.
When everything is ready, the USB cable is attached to the laptop with the Processing sketch. The laptop is placed under the table, which will not be seen by the audience.
IMA Show:
D. CONCLUSIONS
The video below is a demonstration of the final project:
“Excalibur” is an interactive 2-player game that incites participants to explore their own movements within the intersection of technology and human perception, encouraging them to engage with the environment in a unique and surreal manner. In doing so, the project becomes a derivative of reality by making an illusion playable as it channels agency into new forms of the conventional screen. Guided by user input and a basic set of rules, the project invites engagement and interaction, inviting people of all ages to play and create their unique patterns of sound and outcomes. Through this interactive experience, “Excalibur” successfully fosters a sense of community and shared creativity as participants collectively contribute to the game through the body as the channel for information. Furthermore, the connection is made unironically through the connection of the user’s weapons in a closed circuit that is signaled by the sounds of clash and force. This observation is evident from users’ engagement exemplified by the popularity and entertainment that brought laughter to the crowd at the IMA Show. Thus, the project resides in a new realm of creative expression, that transcends traditional boundaries between the human and technology—challenging the conventional notions of game. On the other hand, the project aligned with the dialectic definition of interaction as proposed by Chris Crawford: after receiving information from the user’s “extended organs”—their weapons—the game processes and interprets the data to produce variable results onscreen whether that is through sword slashes, character movement, or health reduction. In turn, the user sees the system’s response, and takes more action in response, in a continuous loop. Furthermore, the dialogue is multi-faceted too: there is dialogue between the players too. To reinforce this interaction, Kiana and I would have liked to add more narrative and witty remarks to increase the humor of the game. To do so, we would either buy a subscription to continue using ElevenLab’s AI voice or hire a voice actor/actress to play the narrator role. Furthermore, to make the project more authentic, we would have drawn the media objects (images and video) ourselves or hired someone to do so instead of borrowing them from online. Overall, Kiana and I are both proud of our progress and dedication to this project. During our setbacks, we changed our old approach of troubleshooting independently to one that is open-minded: we asked for assistance from whoever whenever and wherever we needed it! By doing so, we’ve also come to appreciate the big social network structure that essentially holds our project together—a social network that comprises of user-testing, office hours, one-on-one assistance, and even the support Kiana and I gave each other. I plan to carry this sentiment with me in my next steps on this IMA journey.
E. DISASSEMBLY
F. APPENDIX
G. REFERENCES
Crawford, Chris. The Art of Interactive Design. San Francisco, No Starch Press, 2002.
Norman, Don. The Design of Everyday Things. Cambridge, MA: The MIT Press, 2013.
A. Behind the Screens – Anita Luo & Kiana Ng – Inmi Lee
Front view:
Source: Own Image
Side View:
Source: Own Image
Back view:
Source: Own Image
B. CONTEXT AND SIGNIFICANCE
Behind the Screens was impacted by Kiana and my experience of making Emote Gloves in which the user uses gloves with flex sensors to control a headband that displays emotes. How each finger is bent and its combination will determine where the servo motor will rotate. Firstly, we were inspired by the narrative behind the project. Interaction, according to Chris Crawford, involves the cyclic and collaborative interplay of stimulation between two or more things. It can be illustrated as the conversation between two actors that “alternately listen, think, and speak”— the degree of their interaction is determined by the quality of each of these communication steps (Crawford 3). Through our experience, quality in this context does not only refer to the effectiveness of different senses and perceptions but also the unique lesson and takeaway that these interactions bring: an interaction that has good quality has a compelling storytelling factor. For example, the Emote Gloves illustrate the translation of hand gestures to visual data which allows the user to contemplate the significance of visual communication–especially in the context of accessibility tools. On the other hand, Behind the Screens is built on the narrative that the user is controlling a Looney Tunes scene between Wile E. Coyote and the Roadrunner. What is significant about our current project is the intentions behind the design. In this new digital age where speed is encouraged, we wanted to focus on the frame-by-frame consciousness in which the user feels the energy, effort, and collaboration needed to produce a scene on screen–by taking them behind the scenes. To improve the interaction, we added another layer in which the project also becomes the means of allowing two actors to talk, think, and speak to each other and not necessarily operate as one of the interlocutor. This is encouraged by the game-like setup and the need for the input of both users to elicit a response in the project. The target audience is niche; the project is neither a tool nor an actual game but stands alone as a conceptual art piece. The users are those who are interested in the narrative of this artwork.
C. CONCEPTION AND DESIGN
Initial Conceptual Drawing:
After reading The Design of Everyday Things (2013) by Don Norman, we understood the importance of having an appealing design on the visceral level. Thus, we ensured that the design was characterized by many organic lines (such as the curved corners of the television) and cardboard. Organic lines, we believed, were more soothing and welcoming to the viewers’ eyes. We selected cardboard as our main material because the all-cardboard visual best suited our project purpose–the project aims to offer a glimpse into the 1950s and evoke nostalgia. Cardboard was also encouraged for the project by the professors so we did not consider other options. Furthermore, other visual design decisions included the subject matter: Looney Tunes’ Wile E. Coyote and the Roadrunner are well-known icons of the 1950’s retro scene. Through the subject matter, we wanted to draw the audience’s attention. Additionally, the television would spark familiarity within the viewers which elicits curiosity. Buttons tackled the behavioral component of the design as we believed that users could subconsciously press them through common knowledge and practice. Other options were rejected as they were not suitable to be placed in the context of a television. The overall experience is curated, through an interplay between the narrative and design, for the reflexive part of the project.
*Above is the revised conception and design. Our initial idea in our Midterm Proposal adopted many adaptations which will be discussed in FABRICATION AND PRODUCTION.
D. FABRICATION AND PRODUCTION
Materials
1x Breadboard
1x Arduino Uno
1x USB Cable
2x Stepper motor (42STH33-0404AC)
2x Stepper Motor Driver Module with Barrel Jack Connector pre-connected
I first built the circuit following Race the Led. At first, the Roadrunner was set at a constant back-and-forth movement on a separate Arduino using a sketch with random(). Only the coyote determined the distance between the two characters in the main Arduino. However, during user testing, users were confused by the feedback they received. Thus, we decided to add both stepper motors in one Arduino and sketch so that both characters were responsive to the button presses.
For the new circuit, we incorporated both stepper motors and also removed the LEDs as we believed that this indication of a winner hindered the concept of the project–we did not want to suggest to the users that the project was solely a game.
New circuit:
Made with circuit-diagram.org (stepper motor symbol may not be accurate due to the limited symbol library on the website)
Lookback: I used masking tape and marker to label each wire. When the circuit became more complex, this strategy assisted me to make sense of the circuit and its components.
I also soldered wires to connect both stepper motor driver modules to one 12V power supply.
Obstacle: Later when Kiana and I started coding there were a few instances when the Arduino would abruptly disconnect. One reason was that we did not connect the circuit properly. We solved this problem by using the examples for analog and digital reading in Arduino to check each component’s connection. However, there were other reasons that we could not explain–the servo motor would not move despite being well-connected and coded. As a result, we removed the “Game Over” sign that would rotate down on the screen because it caused the Arduino to persistently disconnect.
Disconnecting problem:
Checking components using readings:
Servo motor not moving properly:
Solutions:
Building the prototype (Anita and Kiana)
Step 1: Building the Television
Following the diagram we drew in the proposal we cut out cardboard, painted a white base (for vibrant colors), painted color, and stuck the pieces together. For the antennae, we created a taco-shaped cardboard and twisted and soldered wire.
Lookback: Although we did not encounter any issues, it is recommended to indicate measurements in the sketches during the planning phase to prevent any potential miscalculations.
Step 2: Building the Stage
We were inspired by retro Hollywood sets with cardboard props. Thus, we cut and painted each layer of the background as well as the ground and sky.
Step 3: Making Wile E. Coyote and the Roadrunner
Using a frame from a Looney Tunes scene, we traced, cut, painted, and lined each character.
We stuck these on our stepper motors (explained later).
Step 4: Assemble
Obstacle: We decided not to add rotating legs (controlled by servo motors) as we were afraid that the wire attached to them would jam the track of each character.
Step 5: Button
Instead of putting the button on the television as seen in our initial sketch, we decided to extend it outwards to prevent potential damage to the circuit hidden at the base of the television as the user pushes the button.
Step 6: Adaptations after User Testing
Kiana and my initial idea was to create an interactive multiplayer game that introduces nostalgia and childhood recreation. Two users will recreate a Looney Tunes scene, in which Wile. E Coyotes chases the Road Runner, while simultaneously competing with each other to see who can press their respective buttons faster. However, after the user-testing session in class, we found many drawbacks to our design. Firstly, we followed the circuit and code of Race the Led as the basis of our game. Yet, we needed to code a game with a beginning, middle, and end, and incorporate music, a point system, and visual progress to enhance the gaming experience from feedback. Coding this was out of our scope in the course–for example, we had not learned the “for” loop yet to move characters forward in increments. Unfortunately, due to time conflicts and time constraints, we knew that asking for assistance would be problematic and time-consuming. Thus, we limited our design by transforming it into a conceptual work. However, we did incorporate sound and faster feedback as suggested in user testing.
To incorporate sound, we coded for a buzzer to play a shorter version of the Looney Tunes Main Theme Song to indicate the end of the scene. We also ensured the buzzer was protruding out of the television so that the sound could be heard clearly.
We ensured faster feedback to confirm the user’s expectations by changing the initial stepper motor mechanism to a belt mechanism. The belt mechanism ensured faster and bigger movement. Furthermore, we added hot glue grips so that the friction between the stepper motor and the cardboard belt could create precise movement. Alternatively, we could have bought a pre-made belt online. However, we rejected this decision because we wanted to maintain the cardboard style of the design. Almost all the visible components of the project are cardboard because we wanted to align the exterior design to the retro theme. The friction produced by the cardboard belt mechanism creates a non-mechanical sound which further supports this theme.
Initial stepper motor mechanism:
New cardboard belt mechanism:
Secondly, we included a sign that read ” 2 PLAYER/Recreate a Scene!” to suggest to the audience the co-op framework of the project. From the user testing, we noticed that people pressed both buttons. Although we used blue and red buttons as indications of the commonly known arcade buttons for player 1 and player 2, people may not have had this background to know this.
Thirdly, user testers recommended we add lights inside the television box to enhance the visuals. Hence, we stuck spotlights at the top of the inside as follows:
/* Behind the Screens
*/
/*************************************************
Public Constants, defining the pin numbers used in Arduino
*************************************************/
int buzzerPin = 8;
int buttonPin1 = 10;
int buttonPin2 = 9;
//int ledPin1 = 9;
//int ledPin2 = 10;
/*************************************************
Public Constants, defining the notes in Hertz
*************************************************/
#define NOTE_B0 31
#define NOTE_C1 33
#define NOTE_CS1 35
#define NOTE_D1 37
#define NOTE_DS1 39
#define NOTE_E1 41
#define NOTE_F1 44
#define NOTE_FS1 46
#define NOTE_G1 49
#define NOTE_GS1 52
#define NOTE_A1 55
#define NOTE_AS1 58
#define NOTE_B1 62
#define NOTE_C2 65
#define NOTE_CS2 69
#define NOTE_D2 73
#define NOTE_DS2 78
#define NOTE_E2 82
#define NOTE_F2 87
#define NOTE_FS2 93
#define NOTE_G2 98
#define NOTE_GS2 104
#define NOTE_A2 110
#define NOTE_AS2 117
#define NOTE_B2 123
#define NOTE_C3 131
#define NOTE_CS3 139
#define NOTE_D3 147
#define NOTE_DS3 156
#define NOTE_E3 165
#define NOTE_F3 175
#define NOTE_FS3 185
#define NOTE_G3 196
#define NOTE_GS3 208
#define NOTE_A3 220
#define NOTE_AS3 233
#define NOTE_B3 247
#define NOTE_C4 262
#define NOTE_CS4 277
#define NOTE_D4 294
#define NOTE_DS4 311
#define NOTE_E4 330
#define NOTE_F4 349
#define NOTE_FS4 370
#define NOTE_G4 392
#define NOTE_GS4 415
#define NOTE_A4 440
#define NOTE_AS4 466
#define NOTE_B4 494
#define NOTE_C5 523
#define NOTE_CS5 554
#define NOTE_D5 587
#define NOTE_DS5 622
#define NOTE_E5 659
#define NOTE_F5 698
#define NOTE_FS5 740
#define NOTE_G5 784
#define NOTE_GS5 831
#define NOTE_A5 880
#define NOTE_AS5 932
#define NOTE_B5 988
#define NOTE_C6 1047
#define NOTE_CS6 1109
#define NOTE_D6 1175
#define NOTE_DS6 1245
#define NOTE_E6 1319
#define NOTE_F6 1397
#define NOTE_FS6 1480
#define NOTE_G6 1568
#define NOTE_GS6 1661
#define NOTE_A6 1760
#define NOTE_AS6 1865
#define NOTE_B6 1976
#define NOTE_C7 2093
#define NOTE_CS7 2217
#define NOTE_D7 2349
#define NOTE_DS7 2489
#define NOTE_E7 2637
#define NOTE_F7 2794
#define NOTE_FS7 2960
#define NOTE_G7 3136
#define NOTE_GS7 3322
#define NOTE_A7 3520
#define NOTE_AS7 3729
#define NOTE_B7 3951
#define NOTE_C8 4186
#define NOTE_CS8 4435
#define NOTE_D8 4699
#define NOTE_DS8 4978
/*************************************************
Public Variables
*************************************************/
//button and count variables
int goal = 15;
int buttonState1 = LOW;
int previousState1 = LOW;
int buttonState2 = LOW;
int previousState2 = LOW;
int counter1 = 0;
int counter2 = 0;
boolean winner1 = false;
boolean winner2 = false;
long time = 0; // the last time the output pin was toggled
long debounce = 200; // the debounce time, increase if the output flickers
//stepper motor variables
#include
int randNumber1;
int randNumber2;
int CDIR_PIN = 2;
int CSTEP_PIN = 3;
int CEN_PIN = 4;
int RDIR_PIN = 5;
int RSTEP_PIN = 6;
int REN_PIN = 7;
AccelStepper stepperC(AccelStepper::DRIVER, CSTEP_PIN, CDIR_PIN);
AccelStepper stepperR(AccelStepper::DRIVER, RSTEP_PIN, RDIR_PIN);
//servo motor variables
//#include
//Servo servoL;
//Servo servoR;
// notes in the main theme melody and duration
int melody[] = {
NOTE_G4,
NOTE_A4,
NOTE_E4,
NOTE_G4,
0,
NOTE_G4,
NOTE_A4,
NOTE_E4,
NOTE_G4,
0,
NOTE_G4,
NOTE_A4,
NOTE_E4,
NOTE_G4,
NOTE_A4,
NOTE_B4,
0,
};
int noteDurations[] = {
16, 16, 8, 4, 8,
16, 16, 8, 4, 8,
16, 16, 4, 4, 4, 1
};
void setup() {
Serial.begin(9600);
pinMode(buzzerPin, OUTPUT);
pinMode(buttonPin1, INPUT);
pinMode(buttonPin2, INPUT);
randNumber1 = random(0, 100);
randNumber2 = random(100, 200);
//pinMode(ledPin1, OUTPUT);
//pinMode(ledPin2, OUTPUT);
Serial.println("******************* LOONEY TUNES *******************");
delay(1000);
Serial.println("READY");
tone(8, 440);
delay(1000);
noTone(8);
delay(50);
Serial.println("SET");
tone(8, 440);
delay(1000);
noTone(8);
delay(50);
Serial.println("GO!!!!!!!!!!!!!!!!");
tone(8, 880);
delay(1500);a
noTone(8);
// Set initial speed & acceleration for stepper motors
pinMode(CEN_PIN, OUTPUT);
digitalWrite(CEN_PIN, LOW);
stepperC.setMaxSpeed(500);
stepperC.setAcceleration(300);
pinMode(REN_PIN, OUTPUT);
digitalWrite(REN_PIN, LOW);
stepperR.setMaxSpeed(500);
stepperR.setAcceleration(300);
stepperC.setCurrentPosition(0);
stepperR.setCurrentPosition(0);
//set up servo motors
// servoL.attach(11);
// servoR.attach(12);
// servoL.write(90);
// servoR.write(0);
}
void loop() {
buttonState1 = digitalRead(buttonPin1);
buttonState2 = digitalRead(buttonPin2);
//Serial.println(buttonState1);
//this checks the times player 01 has pressed the button
if (counter1 < goal && winner2 == false) { if (buttonState1 != previousState1 && millis() - time > debounce) {
if (buttonState1 == HIGH) {
counter1++;
Serial.print("player 01: ");
Serial.println(counter1);
time = millis();
}
}
previousState1 = buttonState1;
if (counter1 == goal && winner2 == false) {
winner1 = true;
// digitalWrite(ledPin1, HIGH);
Serial.println("PLAYER 01 WINS");
// servoL.write(180);
// servoR.write(90);
delay(500);
playMelody();
endGame();
}
}
//this checks the times player 02 has pressed the button
if (counter2 < goal && winner1 == false) { if (buttonState2 != previousState2 && millis() - time > debounce) {
if (buttonState2 == HIGH) {
counter2++;
Serial.print("player 02: ");
Serial.println(counter2);
time = millis();
}
}
previousState2 = buttonState2;
if (counter2 == goal && winner2 == false) {
winner2 = true;
//digitalWrite(ledPin2, HIGH);
Serial.println("PLAYER 02 WINS");
playMelody();
endGame();
// servoL.write(180);
// servoR.write(90);
}
}
//this prompts the two characters to move based on the number of counts of each player
if (counter2 > counter1) {
stepperC.runToNewPosition(randNumber2);
stepperR.runToNewPosition(randNumber1);
} else {
stepperC.runToNewPosition(randNumber1);
stepperR.runToNewPosition(randNumber2);
}
}
void playMelody() {
for (int thisNote = 0; thisNote < 18; thisNote++) {
int noteDuration = 1000 / noteDurations[thisNote];
tone(8, melody[thisNote], noteDuration);
int pauseBetweenNotes = noteDuration * 1.30;
delay(pauseBetweenNotes);
noTone(8);
}
}
void endGame() {
stepperC.runToNewPosition(0);
stepperC.runToNewPosition(0);
int counter1 = 0;
int counter2 = 0;
boolean winner1 = false;
boolean winner2 = false;
stepperC.stop();
stepperR.stop();
// servoL.write(180);
// servoR.write(90);
}
E. CONCLUSIONS
The video below is a demonstration of the final project:
Behind the Screens is a conceptual interactive artwork aimed at inviting two players to recreate a scene from Looney Tunes. As a result, users have the cognizance of the handiwork and collaboration needed to create an animation. This narrative is noteworthy during an age of digital media in which speed is favored and appreciation of details and storytelling is lost in the process. The project aligned with the dialectic definition of interaction: after receiving information from the user’s button press, the machine processes and interprets the data to produce variable results “onscreen.” The users have the opportunity to interpret the feedback. However, due to limitations and adaptations (as discussed in FABRICATION AND PRODUCTION), the audience’s susceptibility to the narrative was restricted by the deceiving game design. If we had more time, we would a) add a start button, b) add “for” loops so that players see their progress in increments, and c) add continuous background music that increases in tempo as the players reach closer to the end. Despite the short duration of the midterm project, the experience of making Behind the Screens taught me not only the practical and theoretical aspects of physical computing but also teamwork, time management, adaptation, and ambition. Firstly, I learned the importance of combined effort and cooperation to create synergy. At first, I did both the physical computing and the coding. There was continuous troubleshooting which was unmanageable to do alone. Thus, I was honest with my partner and asked for assistance–I saw a noticeable improvement in progress. Due to time constraints, delegating tasks based on strengths and weaknesses was unrealistic. Furthermore, I realized working on projects was a great way to tackle such weaknesses. Allowing my partner to attempt at previously unexposed skills also taught me patience and I believe this value is essential for all members of a team in the long run. Secondly, the execution process was nonlinear, involving a few modifications. The end product was different from the original design to a large degree. Through this journey, I understood the unpredictable but thrilling process of creativity. Likewise, the value of the end product did not outweigh the worth of the failures and successes I had along the way.
Our final assignment aims to explore the relationship between sight and sound. Sight and sound in a film is a fundamental of storytelling. It evokes emotions, enhances the narrative, and creates a more immersive experience for the audience. The limitations of this project can fuel creativity and lead to innovative outcomes and new approaches to filmmaking. I hope to use this final assignment as well as the practice activities as catalysts for my artistic growth and exploration—like in The Five Obstructions. Furthermore, as a filmmaker during the next few projects, it is important to note the uncertainty of documentarism proposed by Hito Steyerl. One must note that documentary forms can “create false intimacy and even false presence.” Do we want this falsity? Do we value expression or representation? It is in the agency of the artist to choose whether they want to create an unfiltered truth or a synthesized fiction. Furthermore, can expression not be a form of representation? I intend to see how fiction, visual metaphors, can inform the truth through synthesized means.
3-in-1 Exercise
Introduction
I was assigned to record a continuous 30-second video with a clearly defined beginning, middle, and end. Through this exercise, I intend to explore the importance of structure in filmmaking as well as familiarize myself with filming equipment and techniques.
Concept
The following shows the structure of the video:
Beginning—A dark world that represents our dreams and subconscious mind. The mood is eerie.
Middle—The woman appears and starts singing “Nature Boy” by Nat King Cole.
End—The end is signified by the last chime of the music box in the woman’s hand.
The panning of the performance is aimed to introduce a sense of disorientation, mystery, and playfulness. Furthermore, the sudden dimming of lights at the end aimed to evoke a sense of ominousness for the viewers. Additionally, the setting is peculiar and eerie due to the spotlight that makes everything around it dark. Thus, I believe that the combination of all these factors created a compelling 30-second video that has concept, originality, composition, and aesthetic.
The woman manually winds a music box while chanting “Nature Boy” in a seductive yet ominous way. The viewers are enticed to listen to her stories and nostalgia.
Additional notes: Although the subject matter, the performer and her performance, was not originally prepared by me, I believe that through this exercise I was able to learn a lot about cinematography and film techniques and explore the relationship between sight and sound. My exercise is less about the content and more about how structure and technique can create a compelling narrative. Furthermore, our class also studied The Uncertainty of Documentarism by Hito Steyerl where we explored the intricate relationship between truth and fiction in the context of the documentary form. Through this exercise of documenting performance, I came to understand this connection more.
Process
The video was taken in the McKinnon Hotel at West Beijing Road. The setting allowed the conditions to create a more professional video: spotlight, professional performance, professional “actors” and no background noise.
Adaptation Mapping
One of the challenges was to get the equipment I needed for this assignment as a lot of classmates required the same equipment as me. Thus, I resorted to using my phone. I also used the table and my bag as a stabilizer and panner. Another challenge was ensuring the video quality. Even though I had selected the 4k resolution on my phone, there was a possibility that the dark environment lowered the video quality. However, I believe the distance helps to compensate for the compromised quality.
On the other hand, I was very happy with the final result as it had a good beginning, middle, and end as well as composition and aesthetic.
Conclusion
Filming a clearly defined beginning, middle, and end can teach us valuable skills. Firstly, it highlights the importance of structure in storytelling. Through a well-structured narrative, we can engage the audience and effectively convey our message or story. It helps us present a video logically and legibly which allows the audience to follow along easily. Secondly, it highlights the importance of planning and preparation. Before filming, we need to outline the key points and the desired outcome to create a proposal and storyboard. This process encourages us to think critically about the scope, identify the most compelling components, and ensure a legible flow from beginning to end. An interesting beginning can hook the audience and pique their curiosity. The middle can dive deeper into the subject matter, provide information, and retain the audience’s interest. A well-executed ending helps to wrap up the video, deliver a message, and leave the viewers with a sense of satisfaction or a call to action. Thus, the skills learned in this exercise can be applied to communication to enhance the impact of content.
Reverse Storyboard Exercise
Introduction
I was assigned to create a storyboard from “a section of a movie (no trailer or remixes), a TV ad, or a music video.” I intend to utilize this storyboard exercise to consider how film sequences can be broken down into panels—from an intricate and sizeable scene to smaller components—and how this can inform me about the filmmaking process.
Concept/Choice Explanation
For this exercise I chose a scene from Spider-Man: Across the Spider-Verse. The film has been widely commended for its ingenious cinematography and film techniques—creating a visually captivating and dynamic experience. The use of comic book-like visual effects, framing techniques, editing techniques, and use of split screens adds depth and excitement to the storytelling. I chose this scene to expose myself to these various aspects to learn more about different techniques and skills to ensure that I am well-equipped for the final project. Existing films such as Spider-Man can also be a source of inspiration for my final project. Learning from others is a good skill to harness.
Process
While drawing out the storyboard I considered the scene number, camera angle, movement, shot, description, and lines of dialogue. I used Clip Studio Paint to draw the storyboard.
Source: Own Image
Conclusion
By reverse storyboarding, we can gain insights into the underlying structure, pacing, and visual filming techniques employed in a scene such as the composition and framing choices made, how different shots and angles contribute to the overall storytelling, and how these overlapping elements convey the intended message and mood. On the other hand, the exercise reveals how storyboards act as a visual blueprint during the filmmaking process: they refine the creative vision of the film so that the final product is cohesive and compelling. It ensures that everyone involved in the production is on the same page during communication and collaboration and working towards a common vision. Furthermore, storyboards allow filmmakers to anticipate potential challenges or limitations in the execution of certain shots or sequences. Additionally, it’s an opportunity for problem-solving and adaptations before committing to resources. The use of storyboarding can be seen in The Five Obstructions in which we see Leth planning out his ideas. Thus, this exercise exposed me to a variety of film techniques, taught me how to refine my communication of these techniques, and appreciate the significance of the step of storyboarding.
Everyday Activity
Introduction
I was assigned to create a 30-second instructional video of an everyday activity. Through this exercise, I intend to explore different camera angles and movements that we learned in class, consider the structure of the video, and further familiarize myself with filming equipment. The assignment also encourages us to consider various audio/sound options to assist the narrative in the video.
Concept
In this video, I wanted to capture one of the more special daily activities I had in South Africa—making honey lemon ginger syrup. I wanted to illustrate the warm and innocent memories of picking lemons, washing them, and chopping them by creating a fresh, simplistic, well-lit, and sound-sensitive film. The attention to detail was intentional to produce a raw—like raw lemons—and wholesome video. I tried using different shot types, movements, and creative ways to transition such as zooming in and out, diagonal lines, and spinning through the editing phase. Furthermore, a lot of the shots are noticeably close-ups because I wanted to produce a sense of intimacy and immersion. Thus, my video lies in its ability to provide relaxation, immersion, and a sensory experience that can be both comforting and enjoyable for the viewers—this is a result of the collaboration of sight and sound.
Inspiration
My video is inspired by the multitude of cooking ASMR videos on YouTube in which they pay particular attention to sound. There are a lot of soft sounds and gentle movements—these are particularly interesting to take notice of in the final project. The sounds and visuals associated with cooking, such as the crackling of a frying pan or the aroma of freshly baked goods, can evoke memories and create a sense of comfort and familiarity. Cooking ASMR videos often feature soothing sounds, such as chopping, sizzling, and stirring, which can create a relaxing and calming effect for viewers. Furthermore, these types of videos provide a vicarious experience—the close-up shots and attention to detail in these videos can make viewers feel like they are right there in the kitchen which enhances the overall appeal.
Process
Step 1: Pre-Filming
This step involves planning and preparation before the actual filming begins. I created a brief storyboard, selected a location, and found a time suitable for lighting.
Source: Own Image
Step 2: Set-up
On the day of filming, I had set up the equipment. I shot the video using an iPhone XS Max—I ensured to select the 4k resolution on my phone—and a tripod. My choice of equipment is due to the fact that I was handling food so I wanted to prevent any damage to the equipment borrowed from the campus. I also prepared the set by placing the cutting board, lemon, ginger, honey, and jar on the counter.
Step 3: Camera and sound checks
I ensured the proper functioning and quality of the cellphone’s camera and sound by filming a video first. I also checked framing, focus, and lighting to capture the scene effectively.
Step 4: Filming
During filming, I paid particular attention to the natural lighting cast by the sun because I wanted to deliver a sense of warmth and freshness. I made a few adjustments to what was presented in the storyboard because the position of the subject matter had to be adjusted for the perfect lighting and sometimes the subject was obscured from certain positions.
Step 5: Editing on Adobe Premiere Pro
I picked 5-10 seconds of each shot taken that met the standards of good lighting, resolution, and sound. After I had done so I compiled all the shots together. I utilized “warp stabilizer” for the shots that had noticeable shaking. I also paid particular attention to the smooth transitions between shots by ensuring that movements and objects lined up by adjusting “positions”—this can be seen in the transition between the lemon and garlic.
Source: Own Image
Step 6: Editing on VideoLeap
Due to time and also the fact that I didn’t know how to add text, I decided to use an editing application that I was more familiar with for text and transitions. I decided to use white text because of its simplicity which could enhance the softness of the video. I experimented with different types of transitions in VideoLeap which also prompted me to steer away from the original storyboard. For example, the swirl transition at the end was not within my vision but it was a great addition to the video which added movements and creativity to it.
For the final project, I intend to use the text function on Adobe Premiere Pro.
Source: Own Image
Step 7: Final Adjustments
After reviewing the video I found a transition that looked out of place where it zooms in on the garlic so I removed the feature. Secondly, I added credits for the editing software that I used at the end of the video instead of the beginning.
The video above is the old version.
Adaptation Mapping and Reflection
I had to adapt to unpredictable weather conditions. Thus, I had to check for the most favorable weather conditions to film the video. Furthermore, I had to adjust a few angles and positions from the storyboard to ensure that I had the best lighting.
Due to time constraints, I resorted to using another application. Sometimes due to unforeseen circumstances, one can find alternatives. However, if I have time I would like to learn and familiarize myself with Adobe Premier Pro instead of using VideoLeap as VideoLeap is a phone application and has limited functions. Furthermore, the continuous transfer of files from one application to another has most likely reduced the resolution of the final video. Thus, for the final project, I will aim to only use one application preferably Adobe Premiere Pro.
Because I was filming myself I did not realize that I had recorded some shaky videos such as the shot of washing the lemons. Thus, through the editing phase, I fixed a lot of filming problems by stabilizing, denoising, and zooming in and out.
One downside to my video was the gentle humming from the stove which I did not notice at the time of filming. Not only is sight important but sound is too. Thus, in the final project, I will pay more attention to the sounds that I record as the relationship between sight and sound is critical in the project.
In this exercise, I had noticeably exercised agency during the filmmaking process. The advantage of creating a film without the traditional steps is mostly the flexibility and efficiency offered by modern technology. It’s important to note that while digital technology offers advantages, traditional film procedures still hold a lot of value due to their unique appeal and process.
Conclusion
This activity could be regarded as one with obstructions. The instructions were specific: the video had to be 30 seconds, it had to be an instructional video and had to contain different camera angles and movements. Through this exercise, I learned a lot about adaptation where unforeseen circumstances catalyzed my self-growth as an artist. I learned the art of trying new things such as the time I had to test different types of transitions and finding unexpected but good results from it. Furthermore, I have come to appreciate the intricate, extensive but very necessary steps of filmmaking such as planning, setting up, camera and sound checking, filming, editing, and reviewing. This activity has taught me technical skills, time management, problem-solving, attention to detail, visual communication, adaptability, and flexibility.
*Extra: AI Tools for Video Editing
Although I did not use AI in my work, it is interesting to investigate the accessibility of AI tools for video editing today, particularly VideoLeap. It is an easy-to-use video editor application that lets you transform and edit videos into professional-quality clips in only a few minutes by offering artistic effects, layer editing, premade templates, advanced features, and AI tools.
For example, VideoLeap offers AI Recolor and AI Image.
AI Recolor follows the prompt given to color the video.
AI Image is similar to the image generators found online where you put in a prompt and select a style. These images can be directly used in VideoLeap. This feature also makes me curious about whether there are AI video generators, not video editors but actually creating moving images, that exist already or not.
However, some AI tools in Videoleap require a subscription to be used in projects.
From this example, you can see how accessible and easy it is to use AI for video editing today—you only need a cellphone.
I was assigned to create a 30-second to 1-minute split-screen in 1920*1080 HD video where two scenes are in conversation/connection with each other and can be non-narrative. Through this exercise, I intend to explore the concept of a visual metaphor and focus on how the elements of film can evoke vivid emotions. I also wanted to see how sound could relate to sight.
Inspiration
I was inspired by Kontakt 2020, a film by Rosa Luckow, that uses juxtaposition to create conversation and a relationship between two moving images side by side.
Concept
In this video, I wanted to portray a sense of delicate and frantic energy that offers spikes of hysteria while also a fresh perspective on our surroundings. Thus, there is the theme of the power of nature, its fragility, and its simultaneous impending force. My choice of music was Sonata by Ryuichi Sakamoto. Sakamoto combines contemporary, percussion-heavy synth sounds that sound metallic and dreary with fast, classical runs of notes. It’s an exhilarating juxtaposition that exemplifies Sakamoto’s ability to take simple elements and turn them into something special. Even with its little orchestration, Sakamoto crafts an amazing cinematic soundscape out of it. Its tripled tempo causes the overlapping sounds to become dissonant and unstable. Similarly, the video above feels unstable and discordant while the images on the left compliment the right.
Progress
Step 1: (Pre-)Filming
Instead of following the traditional steps of filming, I followed the steps in the reverse order in that I started with filming. The inspiration for filming this video was spontaneous. I was at Yuyuan one day and noticed how unique the waters rippled in the pond. Similarly, later that week I noticed how the shadows cast by the trees had a similar “dance” to it like the water in the pond. Thus, I wanted to connect their relationship and how the components of nature have almost a shared bond and shared energy. Thus I picked out more videos from the Yuyuan trip for this exercise.
Step 2: Editing
Unfortunately, students occupied all of the computers on campus and I did not have Adobe Premiere Pro on my personal laptop. Thus, I utilized VideoLeap once again to create the juxtaposition. Fortunately, the editing was not complicated so there were no limitations or obstacles during the editing phase. Furthermore, I experimented with filters to create a more vibrant shot for the lemon part. Additionally, I experimented with speed and reverse so that I could find a way to match the sound and sight to create a rhythm-sensitive video. Instead of using this exercise to familiarize myself with Adobe Premiere Pro, I took this chance to experiment with different filters, orientations, speeds, and other features that could spark any ideas for the final project. For the final project, I intend to experiment with these features on Adobe Premiere Pro.
Step 3: Music and Vision
To solidify my concept, I chose Sonata by Ryuichi Sakamoto as my background music. As explained in the “Concept” section, Sakamoto combines contemporary, percussion-heavy synth sounds that sound metallic and dreary with fast, classical runs of notes. It supports the idea that the power of nature is through a sense of instability and frenzy.
Adaptation Mapping and Reflection
In this exercise, I had noticeably exercised agency during the filmmaking process. The advantage of creating a film without the traditional steps is mostly the flexibility and efficiency offered by modern technology. It’s important to note that while digital technology offers advantages, traditional film procedures still hold a lot of value due to their unique appeal and process. Thus, the choice between traditional and digital methods depends on the artistic vision and pragmatic considerations of the filmmaker. However, I do believe that for this particular incoming project, the traditional method would be more advantageous as it ensures quality. This exercise can be considered a fun experiment and an opportunity for me to exercise freedom.
Conclusion
Through this exercise, I found that using color, shape, size, motif, and sound, can enhance the metaphorical impact of juxtaposing images in conversation with each other. Visual metaphors can be subtle and involve using imagery to represent an abstract concept or idea. In order to create connections between the visuals and the elements of the concept, we need to consider how the visuals can symbolize or represent the abstract concept in a meaningful way, and explore different ways to arrange the images to create a compelling composition. Furthermore, experimentation is key to finding the most impactful and meaningful ways of communication.
If I have time, I would like to revisit this exercise and make improvements.
Rationale
It is true, according to Steyerl, that films can “create false intimacy and even false presence.” This is evident in the way in which I planned, prepared, and carried out my filmmaking exercises. Everything had an aim and every element had to “fit” into a certain concept which limited the scope of reality. However, one must admit that the purpose isn’t false. In other words, the efforts and thoughts put into these expressions or representations, whether synthesized or not, aim to appeal to the audience and deliver a certain message. The filmmaking process, as we have seen above, is scrutinous and extensive, and in order to create the most compelling message one needs to forge an intimacy and presence. On the other hand, the struggles and obstacles that the filmmakers face are very real and I think that this is a very meaningful experience for me. As viewers, we have the responsibility of judging a film critically and evaluating its significance whether it lies in its truths or falsity. Either way, there is always something to learn from the experience of watching listening, and even making films. I hope that the final project will allow me to embrace how fiction—visual metaphors—can inform the truth and create a compelling piece of work.
1). What is the piece (article, poem, story) for the narrative voice over? Or who are you going to interview?
The piece for the narrative voiceover could be a reflective monologue or letter written by one of the lovers, expressing their thoughts and feelings about the rekindled meeting and the memories that resurface. Alternatively, it could be a series of journal entries or inner thoughts narrated by the characters.
2). What’s the story about?
The story is about the complex emotions and nostalgia that resurface when two former lovers reunite after a breakup. It explores themes of love, regret, and the passage of time.
3). Which part of the story are you going to focus on?
The focus of the story could be on the moments of reconnection between the two lovers, particularly when their memories flashback. It could delve into the tension between their shared history and the realization that they have both changed and moved on.
4). What kind of style/aesthetics are you going to pursue?
The style/aesthetics could be characterized by a dreamy, nostalgic atmosphere with soft lighting, muted colors, and evocative music. The use of flashbacks can be visually distinct, perhaps with a slightly faded or sepia-toned look to distinguish them from the present-day scenes. The narrative voiceover can be introspective and poetic, reflecting the characters’ inner turmoil and bittersweet emotions.
IV. Execution Plan:
1). What equipment are you going to use when shooting the movie? (cell phone, DSLR camera, sound recorder, stabilizer..)
DSLR camera, stabilizer, cell phone, sound recorder, and lighting.
2). Which locations will it be shot at? When is it? Day time/night/unknown? Why?
The locations could include places that hold significance to the characters, such as their former favorite spots or places from their past relationship. Depending on the narrative, scenes can be shot during various times of the day or night to convey different emotions and atmospheres. For example, daytime scenes may symbolize hope and a fresh start, while nighttime scenes may evoke nostalgia and reflection. Seasons can also come into play—Autumn is cold whereas Summer or Spring is lively. The choice of locations and timing should align with the emotional journey of the characters and the mood of the story.
3). What are some challenges you might encounter and how will you prepare?
Potential challenges and preparations:
Weather: Unpredictable weather conditions can affect outdoor shoots. Preparations may include having backup shooting days or using weatherproof equipment.
Emotional scenes: Actors may need support and rehearsal time to convey the depth of emotions realistically.
Logistics: Coordination for props, costumes, and actors’ schedules must be well-planned to avoid delays.
Budget constraints: Ensuring that the budget covers all necessary expenses is crucial.
4). How will you collaborate? How will you divide work? (Gantt Chart below*)
Schedule: We will create a timeline with key steps and deadlines, and allocate tasks based on our strengths and availability. We will use project management tools or collaborative platforms to enable communication and task tracking such as Google Docs or WeChat. We will also utilize the Gantt Chart offered in the template.
Discussions: We will have open discussions and brainstorming sessions to generate creative ideas for the project. Consider everyone’s input and find consensus on the direction to take.
Rehearsals and practice sessions: We will schedule rehearsals to refine performances, test camera angles, and ensure smooth coordination among the two of us. Constructive feedback will also be provided to help improve the overall quality of the project.
Film and edit: We will follow our storyboard and capture the scenes as planned. Afterward, we will collaborate on the editing process, combining footage, adding effects, and refining the final product in sections/scenes so that we can delegate work.
Review and feedback: We will discuss places of improvement and make necessary revisions to enhance the overall quality of our project.
V. Storyboard Draft
VI. Schedule
Task
Owner
Start Date
Due Date
Duration
Task Complete Percentage
Proposal write-up
Calvin
11/21
11/22
1 day
Done
Proposal Storyboard
Anita
11/21
11/22
1 day
Done
Filming 2-3 scenes
Anita & Calvin
11/29
11/30
1 day
Done
Filming the rest
Anita & Calvin
12/02
12/02
1 day
Done
Editing the structure and sound
Calvin
12/02
12/05
2 days
Done
Editing filters, color correction, and subtitle
Anita
12/05
12/06
1 day
Done
Brainstorming
The ideation process for “Fate” involved brainstorming sessions where we generated ideas for the storyline, characters, and visual aesthetics. We drew inspiration from classic romance films and literature while adding our unique twist to the narrative. Our goal was to craft a compelling story that would engage viewers emotionally.
Inspiration & Conceptual Integration
Inspiration
The inspiration for this project came from our shared love for romantic dramas and the idea of exploring the themes of love, regret, and the passage of time. We wanted to create a story that would evoke strong emotions and resonate with audiences who have experienced the complexities of past relationships.
Concept
Our project, “Fate,” is a short film centered around the theme of destiny. The story follows two lovers who have separated over time. The narrative is presented from the perspective of the male character, reflecting on their shared moments and memories. He contemplates the lessons he has learned from their relationship, documenting them in his diary. The story’s conclusion can be interpreted in two ways. One interpretation suggests that despite their breakup, the man still clings to their relationship, yearning for a reunion. The alternative interpretation hints at the girl’s passing, as she often joked about going to a distant place. In the end, the man expresses his anticipation of their next meeting, signifying his hope for a reunion in the next life.
Intentions
We wanted to explore the topic of rekindled love and nostalgia because it is a universal and relatable theme. Many people have experienced the mix of emotions that come with encountering a former love, and we believed it would make for a poignant and thought-provoking story.
Process
Step 1: Pre-Filming
We created a detailed storyboard that outlined each scene, camera angles, and character interactions. The storyboard served as a visual roadmap for our project, helping us plan the composition of shots and convey the desired emotions. The storyboard can be viewed above. While confirming the location and reevaluating the resources we have, we adjusted the storyboard to adapt to our conditions.
The blue markings are post-production notes.
Step 2: Set-up
We borrowed the Canon EOS 6D EF 24-105 f/4L IS USM Camera Kit 011 (32g) for this project. On the day of filming, we set up the camera with a tripod or had one of the team members hold onto it. We also used our phones which were set to 4k and 30 frames per second. We also dressed according to the storyboard—winter clothes.
Step 3: Camera and sound checks
We ensured the proper functioning and quality of the camera and cellphone’s camera and sound by filming a video first. We also checked framing, focus, and lighting to capture the scene effectively.
Step 4: Filming
Choosing the right settings was paramount to the success of our project. We meticulously handpicked locations that bore profound significance to our characters, intensifying the emotional resonance of our film. For instance, we opted for a serene park as the backdrop for the initial meeting of the two lovers. This choice not only mirrored the tender nature of their reconnection but also provided a picturesque setting for their emotional journey.
Additionally, we ventured to a charming Christmas market to capture scenes that portrayed cherished memories from their past. Filming in this festive and nostalgic environment allowed us to infuse our project with an enchanting atmosphere that resonated with the rekindled love and longing theme.
Throughout the shooting process, we engaged in meticulous coordination with our actors, ensuring that their performances harmonized seamlessly with our creative vision. This collaborative effort contributed significantly to the authenticity and emotional depth of our film, ultimately elevating the impact of our storytelling.
Step 5: Editing on Adobe Premiere Pro
Screenshot of project
In the editing process, Calvin’s role primarily involved setting up the general framework of our video and overseeing the integration of music, sound effects, and audio creation to heighten the emotional impact of the film. He played a pivotal role in selecting the appropriate music and ensuring it complemented the tone and mood of each scene. Additionally, he handled the initial assembly of the audio elements, establishing the groundwork for the soundscapes that would enhance our storytelling. Following this, he provided the rough draft of the video, which served as the foundation upon which I performed minute editing, including color correction and fine-tuning. This collaborative effort ensured that our final product was a seamless, cohesive, and emotionally resonant narrative that engaged our audience effectively.
Calvin felt a great sense of accomplishment when working on the concluding scene, where the female character gracefully disappears, and the male character slowly turns around. Experimenting with the video’s opacity added an intriguing and captivating element to the process.
The following were my contributions during the editing phase.
Chrome aberration nest sequence
I first duplicated the scene 3 times. Each scene had the “Color Balance (RGB)” effect and I adjusted each to have only red, green, or blue. I then adjusted each scene’s scale to create a chrome aberration to enhance the nostalgic effect.
Additionally, I did some color corrections in the “Lumetri Color” panel.
Nostalgic glow
I utilized “Luma Key” and “Gaussian Blur”.
Nostalgic blur
I created the blurry effect by adding a circular mask of “Fast Blur.”
Credit roll
I created two separate text boxes which were placed on each side of the poll. I then enabled the “Roll” feature which helped me complete the final credits scene.
The following shows the copyright status for our use of the background music.
Step 7: Final Adjustments
The following video is an old draft:
When we rewatched our video we found a few places that we could fix. For example, the background music was too soft, and the background music credit was incomplete. Although we had doubts about whether the blur effect was too much or not, we decided to keep it after a consultation with our professor.
Adaptation Mapping
We initially had two ideas which included the idea of a plate metaphorically representing a person. As the person experiences hardships, challenges, and societal pressure throughout the day the plate would overflow and cause the person to have a “crash.” However, while filming these scenes, we did not think that the message was conveyed very well with the scenes we had in hand. Thus, we decided to do our other idea about a love story. Furthermore, we initially wanted to use the heart-shaped streetlights in the love story to show a metaphor for their love which eventually was not used.
Storyboard
Scenes filmed
Weather
One significant challenge we faced during our project was the unpredictable weather conditions during outdoor shoots. To address this, we established backup shooting days and invested in weatherproof equipment, ensuring that adverse weather wouldn’t disrupt our production schedule or damage our gear.
No cameraman
We encountered difficulty filming certain scenes due to the absence of a dedicated cameraman. To overcome this hurdle, we had to meticulously set up the camera in advance using a tripod, requiring precise planning and coordination. In tandem with these challenges, emotional scenes demanded extensive preparation and support for our actors, necessitating rigorous rehearsals to ensure authentic and heartfelt performances that aligned with our creative vision.
Additional notes by Calvin
Roles & Contributions:
In our collaboration, I handled the scriptwriting, directing, narration, cinematography, and initial editing aspects of the project. My teammate, Anita, contributed to character development, location selection, editing, and cinematography. We both provided feedback on each other’s work throughout the project.
Appreciation:
I would like to express my appreciation for Anita’s dedication and creative input. Her expertise in editing added depth and visual appeal to our project.
Learning from Each Other:
The collaborative process allowed us to learn from each other’s strengths. I gained a deeper understanding of editing and color corrections, while Anita learned more about cinematography and story-telling
Camera Language:
We used various camera angles and shot compositions to convey emotions. Close-ups were used to capture subtle expressions, while wide shots emphasized the characters’ isolation and longing.
Color Correction/Adjustment:
We employed color correction to create a dreamy and nostalgic atmosphere. Warm and muted colors were used to evoke a sense of nostalgia, while subtle shifts in color tone helped differentiate between flashback and present-day scenes.
Tone/Pace of Video:
The tone of our video was contemplative and paced to allow viewers to immerse themselves in the character’s emotions. Slow, deliberate pacing during emotional moments helped convey the depth of their feelings.
Overall, our project “Fate” aimed to create an emotionally resonant and visually compelling narrative. Through collaboration and careful attention to aesthetics, we sought to engage our audience and provoke thoughtful reflection on the themes of love and nostalgia.
Audience Reception
Our classmates praised Calvin’s editing of the female lead vanishing in the last half of the video. It captured the heart-wrenching situation in which the male lead loses his partner. Furthermore, the scene’s emotional respect heightens as the male lead turns around to find no one there while the line states that their story halts at 20 years of age.
The audience was able to interpret the video in the way that we envisioned. There is a duality of meaning in our video: the female lead had either passed away or broke up with him. In this way, we highlight the visual metaphor as we can compare a partner leaving your life after break up as them passing away and no longer existing. Furthermore, it captures the male leads’ hope, which is symbolized by the lamppost, that the couple will be together again in the next life.
Additionally, the motif of the handwriting scene allows the audience to follow along logically as well as offers them the sense of time and space of the narrative.
Rationale
The final project allowed me to embrace how fiction—visual metaphors—can inform the truth and create a compelling piece of work. By exploring the theme of love we also explored the theme of fate and how a concept could be 3-dimensional and multi-faceted. Thus, we can see that everything in our lives, every feeling, certain time, and space can be delved in deeper—nothing in our lives is restricted at its surface level. The way in which we capture a scene is like painting an oil painting—it still contains the wet paint within the solidified edited scenes—which enriches our view of the world and our lives.
Steyerl talks about how the “unbroken belief” of the documentary form is challenged. What does Steyerl mean by this? Certain movies and films are based on a true story. How does truth inform the fiction? How might fiction inform the truth?
The “unbroken belief” of the documentary form that Steyerl mentions is the audience’s perception that everything on screen is entirely true—a fact that cannot be questioned. However, the longstanding faith traditionally placed in the documentary form has been spoiled—there is now an “uncertainty that documentary truth provokes”. Steyerl notes that there are some images in documentaries that “bear no similarity to reality.” Thus, “we have no basis for judging whether reality is being shown … in any objective way.” The “unbroken belief” is challenged by the displacement of documentary truth to one of expression. In other words, traditional notions of documentarism as an objective representation of the real world in movies and films are being undermined by various elements such as the proliferation of digital technological tools, the manipulation of images, and the subjective viewpoints of filmmakers.
How does truth inform the fiction? How might fiction inform the truth? Hito Steyerl explores the intricate relationship between truth and fiction in the context of the documentary form. Steyerl suggests that truth can inform fiction by providing a basis for storytelling—serving as a starting point. Documentaries often draw from real events, facts, and testimonies to create narratives that reflect and remark on reality. On the other hand, fiction can inform the truth by offering alternative perspectives, interpretations, or creative reconstructions of events—it can offer new insights and perspectives so that we can “regain critical distance”. Steyerl argues that fiction allows filmmakers to challenge dominant narratives, question established truths, and explore subjective experiences that may not be easily captured through traditional documentary methods. In this way, there is a dynamic interplay between truth and fiction. It is through this interaction that documentaries can engage viewers in critical thinking and encourage them to question their assumptions about reality.
What is the significance of the authenticity and representation of the truth in the media that you consume on a daily basis? What is the role of a live broadcast?
Authenticity refers to the trustworthiness and reliability. It is the responsibility of media outlets to uphold ethics, fact-check their content, and provide transparency. Authenticity helps build credibility and fosters public trust in the media. The authenticity and representation of truth in the media we consume daily have significant importance. As consumers, we rely on the media to provide us with accurate and reliable information about affairs around us. The truth in these media plays a crucial role in shaping our understanding of current events, leaving room for public opinion, and mediating informed decision-making.
On the other hand, representation refers to how different perspectives, voices, and experiences are portrayed. It is crucial for the media to strive for diverse and inclusive representation, as this allows for a more comprehensive understanding of the world and helps prevent biases and stereotypes. Biases and stereotypes could reinforce dominant narratives and close critical distance.
Live broadcasts provide real-time coverage of events as they unfold, allowing viewers to become witnesses. Live broadcasts can offer a sense of immediate authenticity, and transparency, as they often require little editing or manipulation. They enable viewers to form their own judgments and interpretations based on unfiltered information.
Additional notes:
Even live broadcasts can be subject to biases, misinterpretations, or incomplete information. Therefore, as consumers, it is crucial to critically evaluate the sources and context of the media we consume to ensure a more accurate understanding of the truth.
As a filmmaker during the next few projects, it is important to note the uncertainty of documentarism proposed by Hito Steyerl. One must note that documentary forms can “create false intimacy and even false presence”. Do we want this falsity? Do we value expression or representation? The answers can be subjective as I believe it is in the agency of the artist to choose whether they want to create an unfiltered truth or a synthesized fiction. Furthermore, can expression not be a form of representation? As Steyerl states, fiction allows filmmakers to challenge dominant narratives, question established truths, and explore subjective experiences that may not be easily captured through traditional documentary methods. This is a method of how fiction can inform the truth through synthesized means.
Source:
Steyerl, Hito. “Hito Steyerl /// The Uncertainty of Documentarism.” Chtodelat.Org, 25 Aug. 2013, chtodelat.org/b8-newspapers/12-55/the-uncertainty-of-documentarism/.
What are the precise rules of each of the obstructions?
Obstruction #1:
No single edit can be more than 12 frames
Answers to the questions posed in the original narration
Must be filmed in Cuba
Leth cannot have a set
Obstruction #2
Must be filmed in a miserable place
Go close to harrowing things that Leth will refrain from filming/showing
Leth must play the role of the man
The meal must be there
Obstruction #3:
Make a film with no rules or go back to Bombay
Obstruction #4:
Make a cartoon
How does Jorgen cope with the obstructions?
Obstruction #1:
Jorgen takes advantage of the limited frames to create rhythm and variety. Furthermore, he creates broader movement by playing certain sequences back and forth. The rhythm of the film is also complemented by the music in the background.
Jorgen also copes with the 12 frames by adding different types of shots: long shots, medium shots, and close-up shots.
Obstruction #2:
To minimize the obstruction of distance, Leth uses a transparent screen. He copes with obstructions in the project by taking advantage of objects which expands the possibilities of filmmaking to create meaning and depth.
Leth films in Bombay which he interprets as the most miserable place on Earth.
Leth exacerbates the misery of the setting by showing a pique contrast between his luxurious meal and the people behind the transparent screen.
Leth came to the analytical thought of how going to the limits can turn fear into madness.
Obstruction #3:
Leth copes with the third obstruction pretty well by the end because of the lack of documentation—lack of adaptation mapping.
He also offers the “perfect film” for the “perfect human”. There is the use of narrative, juxtaposing images, and various shot types. Through this film, we see a lot of freedom.
Obstruction #4:
Leth stated that he did not like cartoons and had no intentions of learning the technology and process. Thus, he consulted with Bob Sabiston for suggestions. Leth reached out for additional hands for his project to cope with an unfamiliar mode of production.
Obstruction #5:
Besides showing some nervousness, Leth coped well with the last obstructions—even happy.
What is the effect on the movies he produces?
Each obstruction forced Leth to think outside the box and find innovative solutions which resulted in unique films that deviated from the original film The Perfect Human—it deviated from Leth’s clean, spare, and classical style. Furthermore, when comparing all five films, the style, mood, conditions, actors, and setting are all diverse and intriguing. Limitations can fuel creativity and lead to innovative outcomes. By imposing various obstructions on Leth, von Trier pushes him to think differently, adapt, and find new approaches to filmmaking. This highlights the importance of embracing constraints and using them as catalysts for artistic growth and exploration. The resulting films from The Five Obstructions were also able to utilize collaboration, artistic interpretation, and the subjective nature of creativity.
Additional notes:
General
The Five Obstructions is a thought-provoking collaborative exercise between Leth and von Trier because it pushes the artist to utilize improvisation, problem-solving, and artistic innovation. It is very interesting to see how Jorgen adapts to his given conditions as a filmmaker and creator.
This film is an observation and investigation of The Perfect Human in a white, empty room by asking questions such as “What does the perfect human think?”
What is interesting to note is how von Trier exercises power over Leth in this film because Leth is 19 years his senior and also once his teacher. We can see how the perimeter of artmaking has expanded where power dynamics can be challenged and how this polarity can bring about new space for artistic expression. Furthermore, it shows the idea of this constant change in the artistic realm in which Leth encompasses the classical notions of filmmaking whereas von Trier possesses the art of obstruction due to his involvement in the Dogma movement—a new form of making. Therefore, art and filmmaking create a learning space.
Obstruction #1:
The short 12-frame obstruction subverts the technique of long takes.
As Leth states, he cannot find his soft spots, “things that hurt”, to determine the next obstruction. However, this is good insight into one of the purposes of this exercise and why as an artist it can be meaningful to get out of your comfort zone to explore the world—not just to explore but also to explore with obstruction. When artists explore new horizons, they often fall into the trap of having unlimited agency to decide how and what they want to approach. Ironically, I think obstructions are a very useful tool for artists to grow and explore more freely. This contradicts the notion that limitations come with a lack of freedom. I believe that by making obstructions, an artist is less likely to be restricted by themselves which will allow them to adopt new domains.
Obstruction #2:
Leth is confronted with empathy which subverts the distanced observer.
The frame provided an image area—framing of reality— as well as distance which was “concrete and incredibly subtle and artful”. This is an example of how a filmmaker can playfully adapt to the obstructing conditions of this project. We, as students, can contemplate the incredible potential of using objects as a means.
Leth had to onscreen rather being behind the scenes which also is a very interesting challenge to face when it comes to the art of making—the aspect of collaboration and transfer of power.
Von Trier discourages Leth from pushing his boundaries when it comes to the transparent screen, and he states that “this is therapy, not film competition with yourself”. Thus, von Trier highlights a very important factor of being a filmmaking and creator which is the process. Sometimes the process of filmmaking or artmaking is more gratifying than the finished product. Furthermore, by abiding by these obstructions and disregarding the goal of a perfect film, von Trier states that through goad, new understanding can emerge. Thus, this suggests another way for creators to find enlightenment—through limitation.
Obstruction #3:
The freedom of the obstruction subverts the traditional rules.
Surprisingly, making a film with no rules from von Trier proved to be more difficult for Leth than having some. This shows the complexity of freedom and how there needs to be a balance of freedom and responsibility. Limiting free will is sometimes more liberating than having unlimited positive freedom. In the grand scheme of things, we are challenged in our understanding of free will: Is it easier to be controlled or be in control? Is freedom an obstruction to humanity? Viewers may ponder about the state of nature and the reasons why we have social contracts that assert hierarchy and rulers.
Similarly, the two friends also discussed how they enjoyed the idea of things going out of control rather than being in control or being controlled.
Although in the final work, Leth presents a flawless film von Trier notes that all three films have not left a mark on Leth. None of the films have left a huge impression on Leth which is a pivotal aspect to consider when an artist creates their piece of work. “What do you take away from this project?” is a question worth thinking of as an artist.
Obstruction #4:
Using cartoons, or an unfamiliar medium, subverts motivation.
Leth consulted with Bob Sabiston for suggestions. This also shows more of the collaborative space of cartoon making.
This obstruction ironically expands Leth’s scope because he has to encounter a medium which he has no experience with.
Obstruction #5:
Von Trier interprets The FIve Obstruction as a “Help Jorgen Leth” project. Through this project, von Trier wanted to explore the question “What is Jorgen?” By imposing restrictions, Leth could become vulnerable
The general aura of Leth, as I observe, has changed by the last obstruction. There exists a slow and beautiful transformation: Leth begins to laugh, smile, and wriggle. When one abandons, subverts, and challenges traditional notions, one can find the creative process energizing, provocative, and fun.
Leth has always regarded the rules of the game as very vital—they are “limitations or self-flagellation”. Thus, Leth wanted to apply Leth’s testimony to Leth himself. In the last obstruction, we see von Trier “break” some of the rules which hopefully gave insight to Leth about what rulebreaking can entail.
“As we all know, it’s the attacker who really exposes himself.” Von Trier wanted to see a mark being left on Leth, However, obstruction by obstruction, Leth is “happier and happier” and he continues to present his unwavering stance.
“How does the perfect human fall?”
Why does von Trier decide to credit Leth as the director? I believe that this transfer of ownership or narrative is aimed to suggest that Leth had won the battle in the end. His humanness as a perfect human had proven indestructible.
Final comment: Overall, I was extremely stunned at the attention-grabbing dialogue between Leth and von Trier. It gave a lot of insight into filmmaking and the art of making. It is a film that I wish to deeply reflect on more!
John Cage suggested that “Everything we do is music.” Even in silence, one can find music—its presence lies in the sounds that decorate time. I intend to approach this project by exploring how sound can evoke certain human emotions and by experimenting with different ways of producing sounds to broaden the horizons of timbres received by the human ear to create an interesting and emotive piece of art.
Brainstorming
Source: Own Image
Inspiration & Conceptual Integration
I was heavily inspired by the examples given in class. For example:
John Cages’ experimental music 4’33” informed me that anything, even silence, could be music. In other words, even in silence humans can find sound—vibrations—that give a moment in time life and meaning. In silence, John could feel the pulsing of his blood and the whistling of his nerves. Similarly, I’d like to create a soundscape that allows my audience to have their own unique conceptual and sound space to feel a sense of immersion and particularity.
Symphonie pour un homme seul by Pierre Schaeffer and Pierre Henry is an exceptional example of how one could combine human and non-human sounds to create a unique and eerie composition. I believe that this mixture of elements creates “dissonance” that is abstract to our human ears. It amplifies and duplicates the sounds to a level that is unfamiliar to us which creates an ominous but also vitalic piece of art. I would like to try this method in this project to evoke the emotions of fear and uneasiness.
Process
Step 1: Pick your memory
Decide on a memory that you want to pick as the subject for your Memory Soundscape project. When choosing, consider the memory’s potential to be turned into sound. Write 200 words that describe your memory and post them to your blog.
As the sun dipped below the horizon and darkness shrouded the world, my bedroom altered into a foreign space. Gloomy shadows danced on the walls, and the sounds of creaking in the corners reverberated. The familiar sounds of the house became eerie and unfamiliar. My heart started to race. I couldn’t shake off the feeling that something was watching me from the murky surroundings. The wind howled outside—I did not close my window. Vulnerable. I pulled the blanket up to my chin, seeking comfort and protection from the soft cotton. I was alone in my room—only my fear kept me company. My fear transitioned to a ring in my ears; it was scratching my ears like a violin. As I tiptoed out of my bedroom and ventured into the dark hallway, the house seemed to hold its breath. Every creak of the floorboards and flicker of light played tricks on my mind. Still light-headed from standing, I was carrying a bell that was my head. As my anxiety consumed me I felt a detachment from reality—as if I was falling into an abyss.
Step 2: Collect Sound Samples
With a Tascam audio recorder, I recorded sounds such as door creaks, wall cracks, wind, and ambiance (freezer buzz) that were the foundation of mapping out my memory. (Certain sounds were recorded with my classmates, Shahd and Cathy, such as the door creak and bells during class to save time outside of class for this project.)
Using the Tascam audio recorder was accessible and I had no obstacles in using it. I found that any errors during the recording process such as inconsistent dynamics or background noise could be easily resolved during the editing process in Adobe Audition with sound editing tools such as “DeNoise” and volume adjustor.
I recorded sounds that had different durations which ranged from 5 to 30 seconds.
Before editing my final project, it is important to grasp the technical skills to share with the audience what I intend to convey. I utilized tools such as transitions, fades, panning (spatial effect), and copy/pasting.
Through this exercise, I also found patterns, such as the violin near the end, that I could use in my final project. I also like the 2 different sections in the soundscape that introduced the concept of time and the themes of change, or heightening tension.
Source: Own Image
Step 3: Adjective Demonstration
To convey different abstract ideas, I learned how to use an array of sound effects including delay, reverb, noise reduction, and filters. One of the difficulties from this exercise was trying to find sounds that could create a cohesive composition. I found that using similar effects such as reverb throughout the soundscape could achieve this.
Due to my experimentation in Steps 2 and 3, I had a general direction of where my final project was headed. Following along with my written memory I incorporated all the elements while editing the audio. I utilized the functions of “Clip Effects” and “Track Effects” in this step and discovered the many advantages of using them concurrently which include creating contrast and variety in the soundscape.
Additionally, I made a few adjustments after the presentation in class. Firstly, the soundscape ends abruptly due to the sudden cut in the heavy breathing at the end. Secondly, there was more rustling of the bed than I would have liked. Lastly, I did feel like the ambiance and vibrations at the end were strong enough so I also increased the volume.
Violin – instinctual sounds, fear scratching in my ear
Ringing in the ear – anxiety
Anxiety causes muscle tension and changes in blood flow that can impact the structures within the ear
Bells represent my headache – after standing
Apocalyptic universe – surrealistic (childhood) in which you feel a sense of detachment
Adaptation Mapping
Initially, I wanted to end my memory on a more hopeful note in which the bells symbolized warmth and heaven. However, it was difficult for me to change the mood of the soundscape in less than one minute without having to cause any abrupt change—which could affect the audience reception negatively.
Initial ending: In an attempt to reach the end of the hallway, I imagined warm lights and bells—images and sounds that brought me comfort. As I approached the light and bells, I discovered the power of courage and the comfort of hope that broadened my surroundings and I knew that I could overcome any fear that came my way.
Thus, I utilized the bell to create a dizzy environment to convey the idea that the first person is disorientated. I like this plan more because it allowed me to delve deeper into how an artist could intensify a certain emotion or idea. In the end, I added a lot of reverb, delay, and underwater filters to create vibrations.
Audience Reception
At first, I was afraid that my composition was too simple and “clean”. However, my classmates such as Denny complimented me on the simplicity of my soundscape. The simplicity created room for better interpretation, consumption, and immersion for the audience. There was less emphasis on a storyline and more emphasis on emotions—which is probably one of the most important facets of an artwork.
A few classmates also pointed out that my composition followed the criteria of the assignment perfectly as my soundscape had an element of ambiguity or abstractness which was appealing and intriguing.
Rationale
One of my favorite forms of art is one in which the audience becomes a part of it. I believe that Memory Soundscape was a great opportunity for me to execute this form of art with a unique medium like sound. What makes sounds a work of art? Laozi states: “The reality of the building does not consist in the four walls and the roof but in the space within to be lived in.” Similarly, the reality of sound doesn’t depend on the vibrations that propagate as a wave but the context, the memories, and the emptiness of the space that it lives in. The one reason why a soundscape of memories is striking is that the space in which the memory is encapsulated has something special to tell.
After reading In Our Own Image by Fred Ritchin. I’ve come to realize the importance of using photography not to stop time but to track it; not to fragment space but to enlarge it; and not to tell an unmediated truth but to engage in a dialectic with human beings(xx, 125). We should take advantage of the “fluidity” of digital photography to challenge and explore our perceived reality and scrutinize the little details for the bigger picture.
Brainstorming
During my time at home for the National Holidays I found an overwhelming amount of products such as water bottles, beauty products, and gadgets that my sister bought. I thought to myself: do we really need these? The most absurd product to me was the water bottle. As a South African, I grew up in a drought which made water bottles very valuable. However, in Shanghai, I found it lacking its highest purpose. What is its purpose?
Inspiration & Conceptual Integration
Consumerism
In South Africa, the desire for the consumption of goods and services is not so prominent compared to China. Thus, I wanted to present my perspective on consumerism and challenge its notion. As Ritchin suggests, I do not want to offer a truth such as “consumerism is bad” but to prompt the viewers to wonder about its implications.
Water bottles
I found that water bottles have a very unique shape to them and I’d like to change it’s shape in some way in the final composition.
Mirrors generally symbolize a person’s spiritual and psychological depth. They don’t just reveal our appearance, but also who we are on a deeper level—our truth. Generally speaking, mirrors represent a person’s depth of soul and mind. I would like to use the mirror I have in my home as a means to broaden the conceptual space within my still life—to leave more room to contemplate.
In the following two images, I wanted to draw a parallel through similarity. On one hand, there is a scene of trees, and on the other, the metro train. This touches on the theme of nature versus manmade.
Source: Own ImageSource: Own ImageSource: Own ImageSource: Own Image
In the following two images, I practiced adjusting the aperture of the camera. The images were taken in an elevator. These photos are unique in that they carry an alternative space or universe.
Source: Own ImageSource: Own Image
Step 1: Setting and Objects
Using an old white cloth and the water bottles I had at home, I set up a mini-studio and still-life setup for the activity. I intentionally twisted one of the bottles to create contrast within the pool of similar-shaped bottles. I also labeled each bottle cap to draw on the idea of marketing and labeling as well as to draw attention away from the brand of the bottle.
Source: Own Image
Step 2: Shooting and Contact Sheet
While shooting I also tried different placements. I created a photo contact sheet with the 36 stills that I took and printed it out as well as 2 photos that had the best compositions.
Step 3: Adobe Photoshop
I utilized levels, curves, brightness/contrast, and unsharp masks to touch up the images.
Source: Own Image
Audience Reception
The twisted water bottle adds movement to the composition. It feels as if it is moving towards the viewers. The blue bottles can also be a great color contrast to the pink handles on the metro train. Furthermore, the two complementary images in the elevator piqued the interest of the professor.
Rationale
Using different angles and editing, I was able to practice the manipulation of digital photography to embrace its “fluidity”. Photography can become a means for us to touch on aspects of our lives and engage in theory with the viewers. I intend to use the skills that I have gained in this activity for my Photo Diptych project.
What does Ritchin mean with the “fluidity of the digital”? Give an example of digital imaging/digital photography that exemplifies this.
The “fluidity of the digital” refers to the ability of digital media to be continuously changing(xii). Digital means such as digital photography can be easily manipulated through software such as Adobe Photoshop. Images become malleable for the artist to mold (xix). Digital imaging or digital photography is a good example of the “fluidity” of digital media because some form of manipulation occurs during the processing, compression, storage, printing, and display of images. For example, Philippe Halsman’s Dali Atomicus (1948) shows the use of manipulation to a great extent. In the image, there is the Dada and Surrealist artist, Salvador Dalí, and his painting, Leda Atomica (1949), which appears on the composition’s right side—suspended above the ground like the easel, chair, stepstool, cats, water, and Dalí. This image in no way depicts reality or gravity—water cannot curve, chairs cannot float and cats cannot fly. Fluid like the water in the image, the presence of the new digital technology allows the photographer to frame and edit a moment in time that creates a conceptual space and a momentarily newly defined reality.
Fluidity does not only refer to the ability of manipulation; it can even refer to the form, specifically the mean, of the digital such as other media—text, video, virtual reality, and books. Fluidity means that the matter can take any shape or form that it is put in too.
Reflect on the extent to which photography is capable of capturing reality; and compare it to other media (technology) (e.g. text, video, virtual reality, books).
Photography’s ability to capture reality is limited due to its static nature. The extent to which the photograph can track time and enlarge space, as Ritchin puts it, solely depends on the skill of the photographer (xx). Thus, this makes photography’s ability to capture reality limited. On the other hand, virtual reality and even video can emulate a three-dimensional space, not just a conceptual space like images, because it can include mixed modes such as sound. This technology, unlike photography, can duplicate our senses which makes the experience more immersive. Texts and books can capture reality through emotive diction and imagery—word count is unlimited. Although photography can capture reality, it can only capture it to a certain extent and it requires great lengths and tools for a photographer to truly capture reality wholly without bias. Usually, more than two photographs are necessary to introduce concepts of time or storytelling into a work. Contrasting to this, other media like texts, video, virtual reality, and books have the greater and easier ability to depict limitless and unbounded reality.
Other thoughts
Ritchin concludes the importance of using photography not to stop time but to track it; not to fragment space but to enlarge it; and not to tell an unmediated truth but to engage in a dialectic with human beings(xx. 125). We should take advantage of this “fluidity” of digital photography to challenge and explore our perceived reality and scrutinize the little details for the bigger picture.
Notes
Sources
Ritchin, Fred. In Our Own Image: The Coming Revolution in Photography. Aperture.
