GMU:Critical VR Lab I/Ksenija Tajsic: Difference between revisions

Latest revision as of 16:27, 27 March 2022

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I tabula rasa

During crazy quarantine times I decided to visualize one of my drawings into a different context and medium, and therefore to create a virtual scenography. The main intention of mine during this faze was to focus on architectural representation and question the boundaries of its implementation in Unity.

Exploring materiality, textures, reflectivity, shaders and lighting, were the major factors of this stage of the project.

II next level

The static, previously established interior design was representing the virtual scenography without a soul. It needed a new layer. The dynamic companion. At that quarantine times I was listening radio dramas - from the radio on the table, delusional thoughts of a man who is facing his new life were being streamed. Somehow, the connection between radio-drama lines “escaping your destiny” and virtual scenographies I was thinking about, started to interpolate in my head. I decided to explore the possibility of creation of an atmospherical experience in Unity that is visualizing my favorite paragraph of the radio-drama.

III transcript of the drama

"He finally managed to breathe in all the hidden beauty of the world he had always longed for, and was even tempted to lick everything he saw, heard, felt and sensed with his tongue or at least touch it with his hand, but he was afraid to do so, because he knew that framed image in which the nightmarish scene of all that existed pulsed with incomprehensible harmony would crumble as if from dust if he did not keep it in a state of some miraculous cohesion with his hypnotic gaze, and therefore did not dare to take his eyes off it any more, or make any movement, even though at that moment, because of everything that was already happening to him and because of everything that was just waiting for him, he felt an irresistible need to sing and thus announce to the whole world how happy he is that he finally escaped his destiny!"

- Branimir Scepanovic "The Mouth Full of Earth"

IV escaped his destiny

Focusing the most on those three words, I created a spatial system of a loop. You cannot escape. He cannot escape.

The whole experience is based on 5 principles of structuring the drama:

Exposition: Where the atmosphere and scenography are presented

Rising action: Where he is walking through long, narrow hall and gets delusional

Climax: Where he is questioning his existence and possibilities of “escaping” while looking at his inner self

Falling action: Where he follows the direction of others, aiming to the salvation

Catastrophe: Where he is back at the beginning

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V see it here

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+x xxx x xx x x ra di o   d ra ma x x xxx x x x xxx x xx x  x  x x x xx x  x  x xx xx x xx x  x  x x x xx x  x  x xx xx x x
+I''   tabula rasa''
+During crazy quarantine times I decided to visualize one of my drawings into a different context and medium, and therefore to create a virtual scenography. The main intention of mine during this faze was to focus on architectural representation and question the boundaries of its implementation in Unity.
+[[File:5_ktc.jpg|800px]]
+[[File:1_kstc.jpg|800px]]
+Exploring materiality, textures, reflectivity, shaders and lighting, were the major factors of this stage of the project.
+[[File:6_KScc.jpg|800px]]
+II''   next level''
+The static, previously established interior design was representing the virtual scenography without a soul. It needed a new layer. The dynamic companion.
+At that quarantine times I was listening radio dramas - from the radio on the table, delusional thoughts of a man who is facing his new life were being streamed. Somehow, the connection between radio-drama lines “escaping your destiny” and virtual scenographies I was thinking about, started to interpolate in my head. I decided to explore the possibility of creation of an atmospherical experience in Unity that is visualizing my favorite paragraph of the radio-drama.
+III''   transcript of the drama''
+"He finally managed to breathe in all the hidden beauty of the world he had always longed for, and was even tempted to lick everything he saw, heard, felt and sensed with his tongue or at least touch it with his hand, but he was afraid to do so, because he knew that framed image in which the nightmarish scene of all that existed pulsed with incomprehensible harmony would crumble as if from dust if he did not keep it in a state of some miraculous cohesion with his hypnotic gaze, and therefore did not dare to take his eyes off it any more, or make any movement, even though at that moment, because of everything that was already happening to him and because of everything that was just waiting for him, he felt an irresistible need to sing and thus announce to the whole world how happy he is that he finally escaped his destiny!"
+- Branimir Scepanovic "The Mouth Full of Earth"
+IV''   escaped his destiny''
+Focusing the most on those three words, I created a spatial system of a loop. You cannot escape. He cannot escape.
+The whole experience is based on 5 principles of structuring the drama:
+''Exposition'': Where the atmosphere and scenography are presented
+''Rising action'': Where he is walking through long, narrow hall and gets delusional
+''Climax'': Where he is questioning his existence and possibilities of “escaping” while looking at his inner self
+''Falling action'': Where he follows the direction of others, aiming to the salvation
+''Catastrophe'': Where he is back at the beginning
+[[File:2_kt.jpg|800px]]
+x  x xx x x x x x x  x xxxx x x x xxx x x x xxxx  x x xx x  x  x x x xx x  x  x xx xxx x x  x   x x x x  xxxxx x x x  xxx x x  x
+V''   see it here''
+{{#evt:service=vimeo|id=692809774|dimensions=800x300}}
+<br>
+x  x xx x x x x x x  x xxxx x x x xxx x x x xxxx  x x xx x  x  x x x xx x  x  x xx xxx x x  x   x x x x  xxxxx x x x  xxx x x  x