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From Transient Realities Or Verges Of Con-fusion:

The spaces that we want to develop are situations that are both strange and comforting; in which you can easily get lost, or can be very purposeful; where you can choose to be alone or explore with others… It is a place where you don't 'have to' do anything, but where your attention and motion entices the environment to unfold.

A world that is aware of itself, and aware of you within it (either as a disturbance, a replenishment or a mating partner).

Responsive environments are works that have to be conceived from outside the self. Their realities are shaped through constant negotiation between artistic intention of the makers, and the expectation of the public. They feed on the tension between the dynamics of the physical world and that of a simulated, fictional one. They give voice to gestures, colour to motion, rhythm to invisible vibration. As such, responsive environments have a great expressive potential, where the line between the author and the consumer of the work becomes distorted and torn to pieces. But how does one design for such expression. What concepts and designs can bring forth these 'universes of the irreal', in which reality and fiction become con-fused and actuated?

Slowly, the fog in our heads began dissolving, allowing brief glimpses into an irreal and imaginary universe that could provide a temporary dwelling for anyone with a wish to experience a strangely familiar, but slightly alien world.

The universe that we attempted to shape within TRG in order to make the leap into the 5th reality was designed around 5 main traits; compact, alive, entangled, charged and infinite. By being compact, we implied magnifying a minuscule universe that can be found in a grain of sand, in which every point in one dimension can contain a world so rich, yet so invisible to a casual passer-by.

The things that are touched, tasted, seen and heard in our environments are of both physical and digital nature, both actual architectures and virtual spaces. These zones may appear vague or indeterminate horizons to a casual visitor, but if you pay them enough attention and commit to a certain amount of time within them, they can become rich and articulate.

The glue that made it possible to stick the separate components into a consistent reality-field was the sense of touch. The physical elements (such as costumes, stretchable and inflatable architecture, varied tactile forms and textures) were shaped to amplify their tactile qualities, e.g. smooth, wet, pocky, solid, unbalanced. The soundscape echoed as a multitude of atmospheric vibrations propagating through different volumes and surfaces (as a wind passing through tensed silk, as a swarm of sonic grains bouncing within the vacuous chambers of the rubber blob…). The graphics changed lightness and density of the space, making the air appear thicker or sparser…