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Melting and Drowning

This is a storyboard for the video project with Simon Jensen and Nathier Fernandez. The surrounding background starts from mundane indoor environment and zooms in to two different objects. Object 1, is something that melts inside a microwave or an oven; Object 2 is a land with mini figures inside a water container. As the Object 1 starts melting, Object 2 is drowned by falling water. After both of the objects are destroyed, the invented product comes out and ends the video.

References

Chocolate Bunny by Lernert & Sander

Ice Cream Melting by Macro Room

Observation about Gmail

Recently, despite of having four different accounts – all of my Gmail inboxes are about to explode by high number of incoming emails! Therefore, I’ve decided to make some observation about Gmail.

“Reply” or “Reply to all”

I’ve been using Gmail to communicate with my team members for a recent assignment. Apparently, there’re three options to choose for a group email: Reply, Reply to all, or Forward. However, due to its dim color and unnoticeable typography, it’s easy to just ignore those three choices and click the blank box. Then what happens is,

It only shoots email to a person who wrote the last reply. However, what most people expect from this situation is shooting email to all the members. I’ve made the same mistake several times and could hear similar experience from other users as well.

“I attached”

Due to the continuous group project, I was keep exchanging massive amount of messages and files via Gmail – and as usual, I forgot to attach my file for one of the emails I was sending and clicked Send button. Then this pop-up message came up asking if I forgot to attach anything – because Gmail detected “I attached” from my sentences. I thought it was kind of creepy and sweet at the same time. Thanks Gmail.

 

Analog and Digital

Analog Input

Analog input using two different potentiometer but same code.

Digital Input

Digital input using three different codes but same circuit structure.

 

UTC Timezone_1

  1. One element controlled by the mouse is the value of blue – where the mouse locates has the highest value of blue.
  2. An element that changes over time is the value of red – it increases.
  3. One element that is different every time you run the sketch is the value of red and blue in stroke – their values are random.

2 and 3 are more visible if the page gets refreshed:
http://alpha.editor.p5js.org/full/S1e0TTBib

The visual decisions were made based on one of my old projects.

In next assignment I would like to figure out how can I organize my work with less hard-coded numbers. I’ve done some trials, but it wasn’t enough (at all) to shorten or simplify this long code.

 

Process:

Step 1 – https://alpha.editor.p5js.org/full/H1KXOJ7iW

Step 2 – http://alpha.editor.p5js.org/full/r1F-yO4oZ

Step 3 – http://alpha.editor.p5js.org/full/HJ8zIuVsW


Step 4 – http://alpha.editor.p5js.org/full/Bk8X_uVs-

Step 5 – http://alpha.editor.p5js.org/full/Skvjr9EsW

Step 6 – http://alpha.editor.p5js.org/full/rkqWkhHi-

 

Soundwalk: Our Commute

https://soundcloud.com/alicehgsun/sets/soundwalk-our-commute

This is a soundwalk project done with Elizabeth Ferguson and Amena Hayat. It interprets commuting process as a journey towards home. After bringing different stories from each hometown, the sound ends with NYC as its background – which is our current home.

Idea sketch and storyline:

Responsibilities:

Amena
–  Sound edition for Lahore, Pakistan
–  Sound edition from Track 2 to Track 3
–  Story narration for Lahore, Pakistan

Elizabeth
–  Sound edition for Bay Area, US
–  Story narration for Bay Area, US
–  Production of the map inside 721 Broadway

Alice
–  Sound edition for Busan, South Korea
–  Sound edition for Intro
–  Story narration for Busan, South Korea
–  Story narration for Intro and Ending 
–  Collecting directional narrations
–  Remapping and combining of entire tracks

 

Audition Workstation:

Track 1 Audition file:Track 2 Audition file:Track 3 Audition file:

 

Don’t be rude

A simple application for switches and LED circuits.
If the user pulls the hair (switch), the eyes (LED) light on.

 

Process:

 

Self-Portrait, Alien, or Monster

The biggest mistake I made for this project is not saving adequate amount of sketches. I’ve learned that in this kind of web editor environment, it’s convenient and quick to make changes but also easy to lose older versions and documentation.
The upper image is the same drawing with black stroke and noFill, which is intentionally created to show the structure. While I was building it I actually worked in this appearance because the overlapping part and location seem clear in this setting. The difficult part was making the arm, because neither using primary shape function nor beginShape function was suitable for creating one piece of rounded arm. If I documented the previous code, it will be apparent that I tried beginShape function to draw simpler arm and giving it up by combining two rectangles in order to have rounded corner.

My undergraduate years majoring in Graphic Design allowed me to encounter some works by great producers as Ben Fry, Muriel Cooper (attending classes while John Maeda was still leading the school influenced me to have more interest in those types of work and artist as well) Joshua Davis, and Nicholas Feltron. Their aesthetic and medium choices don’t always align together and rather vary, but I’ve realized that the common point that made me attracted to their works is the visualization created by data mapping. Few of my favorite projects (link 1, link 2) I’ve done during college years also correlates to mapping, and I would love to make more works like this involving new lessons and skills from different classes in ITP.

Plagiarism and Remix

Jonathan Lethem’s The Ecstasy of Influence: A Plagiarism

Nowadays people live in an environment that overflows with information. When Jonathan Lethem mentions an example of John Donne’s quotation that even himself confused what line to search in web and typed “all mankind is of one volume” instead of “all mankind is of one author, and is one volume” I found many similar examples in my life and agreed how internet is often a gigantic swamp of unorganized information. Nevertheless, I still believe that web searching environment will someday overcome these problems and evolve to a better kind of source. The history of web searching is enormously short compared to the one of physical library and printed materials. Great thing about internet is that anyone can be “one author” and put his or her ideas. He mentions about how the phrase “every chapter must be so translated” was on internet simply because someone who loves Donne had posted it on his homepage. In contrast, it means that anyone can post anything and those uploads will be open to the public – even one’s personal love towards a poet.

A term “open source” has strong connection with programming to me, and I was amazed a similar culture started back from blues and jazz musicians. As he proceeds his conversation about copyright, it eventually led me to think about patent law and intellectual property right. It’s especially an important topic as brands and identity systems gain more and more significant value to major corporations than the past. However, a producer in any kind of creative area should always give credit when using others’ work, not only because of profit and fame but because it’s the expression of respect towards the original author’s labor and creativity. A plagiarism is an act that discourages both the producer’s creativity and the whole creative production society.

Kirby Ferguson’s Embrace the Remix

Kirby Ferguson’s presentation also includes the reference of Bob Dylan. Especially the example of how Bob Dylan’s lyric for Don’t Think Twice, It’s Aright with a traditional song Who’s Gonna Buy You Ribbons performed by Paul Clayton reminded me how Jonathan Lethem was unconsciously typing a wrong line of quote of John Donne. A plagiarism, or a “remix” rather happens unconsciously than intentionally. One of the famous S.Korean singers said, only the producer himself or herself truly knows it was an intentional plagiarism. On the other hand, it’s also a reason why I believe any process of creative producing should involve some background research about its concept – to find out what are the similar examples and to bring back a possible “unconscious” plagiarism to a proper remix.

Kirby Ferguson says that creative works are “a property that we’re all building on…creations can only take root and grow when’s that ground is prepared” and it again leads back to the conclusion I made in the previous reading. Act of plagiarism is toxic because it kills “the ground” for creative works to grow and undermines morale of producers – which ultimately makes “a property that we’re all building on” to collapse. Using others’ work as reference and “remix” accelerate the process of creating, but there is a difference between referencing and simply killing “the ground.” In another word, the title of this lecture “Embrace the Remix” doesn’t literally mean to tolerate plagiarism, but is interpreted as honestly embracing the fact that you’re influenced by others.

Sound Collection

To 721 Broadway

From 721 Broadway

Through the audio journey Her long black Hair in Central Park, I’ve realized that sound can displace and bring me into different places and time. In a group of Elizabeth, Amena, and I, we start thinking about various possibilities for creating a new audio journey and decided to map our commutes to 721 Broadway and transform it to a sound walk inside the building. The first step was to collect sounds while each of us commutes – focusing on the variety created by NYC’s different locations, people, and transit.

 

What is interaction?

Chris Crawford’s two chapters generally discuss about interactivity in two ways: speaking how it’s been horribly misused and throwing questions about if it’s whether subjective to put labels of “high” or “low” interactivity. According to his words, the refrigerator interacts with the user at a “low level.” Overall, he says that interactivity is like a good conversation and must have three elements of listening, thinking and speaking. His diverse views and opinions are interesting, yet the overuse of metaphors and monologues rather makes an already unclear topic to be more confusing until the forth section of Chapter 1. Especially, he often mentions about how interactivity can’t be subjective. However, his reference about “the greatest movie in the world can lose our attention to the sound of munching popcorn” or “our involvement with a great book will surrender itself to a buzzing fly” isn’t completely convincing to me in a sense that depends on the type of audience or circumstances, “a buzzing fly” can demolish one’s concentration towards a great book.

On another hand, Bret Victor’s “little rant” is simple and straight to the point. It also has more legibility for readers than the previous reading – due to its minimal page structure that excludes any other information and well accompanying images and videos. Also, the fact that the second reading doesn’t requires the access of complicated and slow NYU library system, made me think about how design and technology act like life vessels to interactivity, although they might not be the interactivity itself. Bret Victor’s main focus is on the relationship of human capabilities and a tool. When he was comparing “pictures under glass” with technology, it reminded me of Material Design and what it aims to be: creating a visual language that synthesizes “classic” principles of good design with the innovation and possibility of technology and science.

What people is seeking for is not always new, high-tech and trendy interactivity but their interest rather lies on instincts and trained psychology. My generation’s and the prior ones’ long history of reading on paper surface and drawing with pencils – those are the examples that current digital products try to mimic “under glass.” It suggests another answer why definition of interactivity has been changing, and has to be continuously changing, because people’s lifestyle and habits are altering as well.

Assuming that this whole question is based on the “automated interactivity – interactivity effected by means of computing machinery”, I will define physical interaction as the communication and core connection between human and machine – and a good physical interaction is generated by wise choices of design and technology that understand the audience. Based on Chris Crawford’s view that interactivity is a conversation, I would say some examples of digital technology that are not interactive are 3D movie and VR ride because although they drag users’ reaction, they don’t necessarily listen to them or speak back; while VR game, which sounds similar with VR ride, can be interactive because it results clear transaction of input and output.