As the semester comes to a close and there is less than a week left to finalize my conference project, I feel confident in the work I have accomplished. I am at a really good spot with my work, and only have a few final steps to take before reaching completion. Over the past few weeks, I have been working in photoshop and ImageGlitch to create graffiti style images and glitching to contribute to my panorama photo collage of Heimbold. I have already included most of the glitches I plan to use in past conference updates, and below is a photoshop image I was playing with over Thanksgiving break. Unfortunately, I have come to the realization that this image does not coincide with the overall theme of my piece, and therefore will not be included in the photo collage. I’m choosing to share it anyway because I personally really like the work I did and I think the image would make a really cool sticker. I have also assembled my panorama images of Heimbold to complete the full panorama, and I have made progress with regards to the presentation of my piece. Originally, I was planning to mount my work on plexiglass and suspend it from the ceiling, but I ran into issues with the plexiglass due to sizing conflicts. Instead, I am now planning to purchase foam core from Staples in order to mount my piece, and I have spoken with Janine about the location of my installation (I’ll keep that a surprise for Monday). My piece will influence the space it occupies by hanging from the wall, therefore suggesting an immediate and obvious interruption to the flow of the space. Additionally, I think that the glitching effects will contribute to a new perspective on Heimbold’s exterior, therefore influencing the overall space that my piece occupies. When considering a class reading to connect my work to, the first thing that comes to mind is when Claire Bishop states that social collaboration and conceptual/ sculptural practices are all “linked by a belief in the empowering creativity of collective action and shared ideas.” This quote resonates with me and my work because I took a lot of my initial inspiration to reframe Heimbold from class discussion. Specifically, when we analyzed the visual code of Heimbold. Hearing the class voice its concerns over the building’s visual aesthetic inspired me to create a new visual aesthetic, therefore showing that my creativity was empowered by shared ideas. Overall, I am extremely pleased with the work and progress I have made on this project over the course of the semester. I have learned so much about new glitch techniques and tricks, which I am very excited about utilizing in future projects. As well, I have also stretched my creativity in order to include class motifs into my inspiration.
TEXT-AND-LINE ADVENTURE This one would be something like one of those old text adventures, except with straight lines connecting text passages, to give some actual form to the geography of whatever place you’re in. It’d be light on actual gameplay, due to the fact that there’d be no graphics, and for the sake of decluttering there couldn’t be much text either. But I think it’s an interesting concept and I find it hard to believe that it’s not been done.
CONVERGING LINES This one is a simple rhythm game. Lines will shoot across the screen, and you have to tap/click when they converge. It’s condensed Rhythm Heaven but with none of the Japanese whimsy. And instead of scoring the player’s performance, we could let the visuals just indicate all of that without explaining ‘you lost’ or ‘you win’. If your timing is off, the lines will either shoot past their intended point of convergence, or they’ll fall short. Showing the player exactly what happened (letting it linger on the screen for a while), and accompanying it with some audio cue to indicate ‘good’ or ‘bad’, would be quite an elegant way to handle that.
CRYPTOGRAPHIC WHEEL OF FORTUNE (based on Arcs and Lines) The player spins the money-wheel and then bets that money. Everything’s mechanically the same as Wheel of Fortune but instead of betting letters, words and phrases, the player’s betting on the arcs and lines that make up a string of symbols. It’s all blank squares, and each square has some combination of 2 lines/arcs. So as an example, the player might guess “arc from top right corner”, “line top to bottom,” etc. They’ve won (something) when they put together the right string of symbols.
All Combinations (36) of Six Geometric Figures: The RPG. This concept recasts geometric figures as RPG characters. There are heavy-hitting characters and mages and summoners and healers and whatever else, separated by shape. Their shapes tell you what they do. With your party of three shape-characters, you face off with other teams of three in a long series of turn-based battles. The game is over when you’ve beaten every team.
CLAUSTROPHOBIC “NOT-STRAIGHT LINES” The player draws vertical lines at the indicated spots on top and bottom of the screen. The game decides where the lines break. Breaks in the lines form the player’s path, and the lines are walls. Once the board is filled with broken columns, you drag your little character across the screen while being chased by monsters/enemies/floods/etc.
NON-COMPETITIVE ‘DRAW SOMETHING’ VARIANT Instruction ——>Unique Reinterpretation One player writes out instructions (or pieces them together from the available word bank) for some kind of shapes-and-colors picture. For example: “Red circle in top-left quadrant, Green line from top to bottom”.Player 2 interprets those instructions however Player 2 sees fit (there is no winning or losing). They have total freedom to make the instructions into whatever, and there’s no consequence for disobeying them. Maybe there should be an arbitrary rating system to identify the rule-breakers, for the sake of those curmudgeons in the community who wish to avoid them.
MOUSE NEEDS HOUSE (Based on All Three-Part Variations on Three Different Kinds of Cubes.) A mouse appears in the margins of the screen and shows you which three-cube stack he wants to live in. A bunch of cubes then fall one at a time from the top of the screen, and you must tap/click/swipe away the incorrect ones so that the correct ones fall to the ground. One correct 3-cube stack = one point. One mistake = Game Over.
CUBE CAPTURE This is one of the more video-gamey ideas. It’d play something like Geometry Wars except with no shooting, only avoiding. You move your little character/ship/whatever around a square arena filled with things charging/shooting/generally trying to kill you. If you survive the onslaught and touch all four cubes, then that’s one side done, and you’re whisked away to the more difficult next square arena. Once you’ve captured 6 squares, you’ve captured all 6 sides of the cube, which means you’ve beaten that cube (or just that level, if it’s a longer game).
COLOR RACE 4 different colored lines swim from the left side of the screen to the right. They’re racing to the edge. The player has no input except for a speed boost, on cooldown, which instantly kills the player if overused. The lines’ paths are randomized according to their unique attributes (speed, turning, boosting, heating, cooling), and they go wherever they want to go, forcing the payer to be quick/lucky/smart/strategic about when to use their limited speed boost. If one racer crashes into someone else’s line then that racer is eliminated, Tron style.
MASSIVELY COOPERATIVE CROWDSOURCED EMERGENT SCRIBBLE-DRAWING GAME (could also work in a singleplayer context but that’d be a lot less interesting). Exactly what the people in this video are doing https://www.youtube.com/watch?v=AnKgSWugUWU but divided between hundreds of people, each contributing a tiny square, scribbling on their touchscreens however they like, until the space is as dark as it needs to be according to the artist’s highly precise instructions/measurements/darkness gradient. That square is then submitted to the communal picture. The resulting image will be totally unique, every time (though it’d have to be pretty hi-res to allow us to zoom way in and see all the scribbles.
For this project, I collected the dedication pages of books in the library, wrappers of granola and nut bars, and various kinds of black markers. For the dedication pages, I noticed slight variation in the formatting of the pages but they all had a very similar look and layout – typically just a few lines (no more that five, generally), sometimes italicized, spaced out towards the top and centered. It looked like a poem set up. I think the lack of variety in terms of layout and design made this a weak candidate for the collection. Conceptually, I enjoyed reading the various dedications, some humorous, some vague, some relatable (like parents, or teachers, etc). I did find it interesting to remove them from their context. It’s kind of humanizing. (Image courtesy of Terracycle) For the wrappers, I thought about Chip Kidd’s break down of what attracts the eye. I noticed a lot of them used muted, earthy tones. I think this is to differentiate themselves from candy bars, since they are about the same size. I think it’s symbolic of their intended audience of mature, health-conscious, on-the-go individuals. For the markers, I paid particular attention to the use of font. Again, Chip Kidd comes to mind as he lays out the subconscious connotations that typography can have. For example, Krink markers have a very industrial look to them, connoting a very masculine, permanent, durable product, while Faber Castell (the brush marker) has an elegant but practical (legible) look to it. Crayola has something that looks a little comic sans-y, which is appropriate for its child-audience.