Ambiotic Synesthelligence

My final project started with the goal of creating an interactive display that was designed to be shown at live music events such as electronic music shows. I struggled with many different ways to go with this project, but in the end I decided to go with colors and abstract silhouette and auras that changes. Using the Kinect motion sensor to sense its environment, the surface stays blank if no one is there to look at it. Laying there sleeping till someone comes to by to give it purpose and bring it to life simply for the entertainment of the user. This ambient intelligence was is also sound reactive, changing color and morphing the music and any sounds the viewer makes. While very benign on a plain screen I tried to come up with something different. After playing around with various materials, I found the one I wanted to use. Numerous panels of plastic canvas used for yarn and cross-stitching proved to be quit interesting if you layer them correctly. The layering made interesting fractal and various other patterns in the mesh that is not quick to catch the eye. However, once you notice them they are by far one of the most interesting aspects of the piece. So with this in mind I got 40 panels and started sowing them together with fishing line. I made 2 large sheets of 5 by 4 panels and hung them right against each other so the patterns were visible. Projecting from behind allowed the patterns to become more visible, and prevented anyone form blocking the projector.

            This fully embraces the values and ideals of the electronic music culture. One that is commonly misunderstood. Aside from just being a place to listen to DJs, dance and basically party it up, it is a group dedicated to the free play and the synesthetic arts. The culture believes heavily in finding the beauty in places others seem to miss. This is where the patterns on the plastic canvas comes in. while the untrained eye might not be quick to notice it and simply pay attention to what is being projected, a true member of the culture would probably notice it first. Continuing on which the cultural implications of the project we must view the interactive nature of it. As I said before the belief in free play is definitely held close to the core of the culture if not being the very basis of it. A group that is happy, silly and almost child like in its pursuits. They do not like structure and rules with goals and time limits. While a game may be fun, a true member of the electronic culture would not like something so restricting. Rather a simple toy or mechanism that can be played with and used without specific directions or scores is much more preferred. They like to design their own play and make it their own as opposed to doing it someone else’s way. This is why I chose to keep it more of a digitalization of dance physics as opposed to a motion sensored video game. Instead of using a certain medium to make a game or specific experience, I made a medium that individuals can use to invent their own games and experience in whichever way they prefer. Finally synesthetic experiences are fundamental to the electronic music scene. It is not enough to simply listen to music; you can do that at home on a computer. Instead the crowed seeks to experience music through as many senses and in as many ways as possible. The music must be seen or it looses one of the key ingredients in its beauty. This is why I chose to make it sound reactive. As the music plays the colors changes and patterns move with it in a way that makes neurons fire in every direction throughout the brain. But yet on top of that it plays into the interactivity. Not only does the display move with the music on its own, it provides a means for the viewer to connect with it as well. This links auditory fluctuations, visual stimulation and fine motor skills all together in an immersive and captivating dance.