Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revision Previous revision
Next revision
Previous revision
Next revisionBoth sides next revision
groworld_directions [2008-10-14 16:10] 81.188.78.24groworld_directions [2008-10-14 16:13] 81.188.78.24
Line 11: Line 11:
 improvisation (notes from Bronwynn on Narrative Strategies workshop: http://timesup.org/laboratory/NarrativeStrategies/) - what is the story that's in the room - being spontaneous together; 'word at a time story; building a house together, everyone brings one brick; always furthering ideas, not bringing them down; audiences will create narrative bridges; work with myths and archetypes - true across cultures; monomyth (http://en.wikipedia.org/wiki/Monomyth) vs. science fiction (http://en.wikipedia.org/wiki/Science_fiction); think about the dramatic arc - it depends on the energy level in the room; audience constructs a story, actors play it out; characters - have to be people we care about - stereotyping, with depth; played out honestly (think about which aspect of yourself relates to the character); people always have an anticipation & expectation - reaction is either satisfaction or surprise; characters and people are always developed in relationship to someone / something; what's fun in a game - taking risks that we wouldn't in real life; "there are no mistakes"; cross-cultural improv - more physical, almost dance-like, using visual forms; it's much more exciting to make a claim than to ask a question in improv improvisation (notes from Bronwynn on Narrative Strategies workshop: http://timesup.org/laboratory/NarrativeStrategies/) - what is the story that's in the room - being spontaneous together; 'word at a time story; building a house together, everyone brings one brick; always furthering ideas, not bringing them down; audiences will create narrative bridges; work with myths and archetypes - true across cultures; monomyth (http://en.wikipedia.org/wiki/Monomyth) vs. science fiction (http://en.wikipedia.org/wiki/Science_fiction); think about the dramatic arc - it depends on the energy level in the room; audience constructs a story, actors play it out; characters - have to be people we care about - stereotyping, with depth; played out honestly (think about which aspect of yourself relates to the character); people always have an anticipation & expectation - reaction is either satisfaction or surprise; characters and people are always developed in relationship to someone / something; what's fun in a game - taking risks that we wouldn't in real life; "there are no mistakes"; cross-cultural improv - more physical, almost dance-like, using visual forms; it's much more exciting to make a claim than to ask a question in improv
  
 +Patabotany - Starting from real plants, growing increasingly more fictional; the healthier your physical garden, the more fantastic your virtual plant; patabotany is an exercise in reality integration. Living & non-living -> plants and minerals (ornaments); plants & maths (simulation - internet = human mycellium); plants & stories (stories, characters, myths); plants & plants (guild gardening); plants & animals (lifecycles & food-webs); plants & machines (bionic organisms & biomimicry); growing ship sin a forest...; pataphorise 7 layers and 5 functions of a permaculture guild - pataphorising = assuming a metaphor is true & make a metaphor on top; the voice of hildegard; plant signalling - more pata aspects - the language of plants
  
  
Line 21: Line 22:
  
 ==== Hybrid Reality Gardens / Gaps between buildings ==== ==== Hybrid Reality Gardens / Gaps between buildings ====
 +
 +Hybrid reality gardens, for a closer interaction between plants and humans. Connecting existing initiatives together - how do we learn from each other?; games and connections - can we take care of a physical garden?; games - cultivation, growing, meditative place, community in game design.; a science fiction story to teach life cycles, where characters are based on facts; Different axis of hybridisation - physical & digital, game & life, fact & fiction; self-assembly (from biomimicry, cellular automata); using movement of wood for small robots; plant-insect hybrids; tension - what is real and what isn't; augmentation – technological, cultural?; cultivation of humans and plants; what can we do? mapping, bundling, integrating hr gardens around the world, providing systems, kits and techniques for augmented gardening; why? coming in contact with others interested in hr gardening, building up the competence, learning things from each other; using the network to get access to technologies and people; simulated gardens facilitate connections, they can be used for speculations on HCH ideas, as fictional, more 'futuristic' extensions of the garden; playing music to plants to enhance proteins (joel sternheimer) - can we design a game melody that can be transmitted to plants from servers - 'plant radio'?; enhancing the 'gardening experience'
 +
 +Sensing (in-plant, in plant's environment) - in plant - moisture - activation potential, soil Ph, pickup mikes (for in-game ambience), cameras  - expensive; for growth - best with rulers and cameras, for chemicals - look at DIY chemistry (both could be a part of the ARG); plant communication - sophisticated biochemistry; calibration of sensors is a problem - what do we do with uncalibrated ones?; observation - activity & using imagination - no need for sensor-kit? see plant sensing in wageningen
 +
 +MR elements:  additional layer of textual information for people who prefer experience to reading
 +overlays for physical gardens; interesting MR connections (appearance and disappearance of physical gardens depending on their network & sensor availability); solar projection; cell phone overlays; 
 +
  
 to do (nik, maja, lina, theun):  to do (nik, maja, lina, theun): 
  • groworld_directions.txt
  • Last modified: 2013-12-18 13:23
  • by alkan