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groworld_directions [2008-10-14 16:10] – 81.188.78.24 | groworld_directions [2008-10-14 16:13] – 81.188.78.24 |
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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 |
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| 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 |
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==== Hybrid Reality Gardens / Gaps between buildings ==== | ==== Hybrid Reality Gardens / Gaps between buildings ==== |
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| 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' |
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| 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 |
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| 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; |
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to do (nik, maja, lina, theun): | to do (nik, maja, lina, theun): |