Medien Wiki - User contributions [en]

GMU:Colloquium

2022-04-24T13:35:07Z

KsenijaT: /* Attendance Timetable */

Here are the thesis projects from Bachelor, Master, and PhD students in winter semester 21/22

*[[/Isabella Lee Aturo/]]
*[[/Juro Carl Anton Reinhardt/]]
*[[/Ksenia Tajsic/]]
*[[/Joel Schäfer/]]
*[[/Yasemin Yagci/]]
*[[Rico Graupner/]]
*[[/Jörg Brinkmann/]]
*[[/Daniel Wolter/]]
*[[/Gabriel Moses/]]
*[[/Christina Schinzel/]]
*[[/Sandra Anhalt/]]
*[[/Vaclav Harsa/]]
*[[/Sarah Alvim/]]
*[[/Benazir Basauri/]]
*[[/Lennart Oberlies/]]
*[[/Quan Zhou/]]
*[[Timo Bechert]]
*[[Fabian Krzich]]
*[[Clemens Hornemann]]
*[[Mudassir]]
*[[Funda Zeynep]]
*[[Zihxuan Zhou]]
*[[Kristin Jakubek]]

== Attendance Timetable ==

{| class="wikitable"
|-
| '''Week'''
| '''Date'''
| '''Presenter'''
|-
| 1
| 19. April 2022
| Yasemin Yagci, Sarah Alvim
|-
| 2
|26. April 2022
| Gabriel S. Moses
|-
| 3
| 03. May 2022
| Isabella Lee Aturo
|-
| 4
| 10. May 2022
| Quan Zhou
|-
| 5
|17. May 2022
| Kristin Jakubek
|-
|7
|24. May 2022
| Zhixuan Zhou, Sevgin Basari
|-
|8
|31. May 2022
| Clemens Hornemann, Juro Carl Anton Reinhardt
|-
| 9
|07. June 2022
| N.N.
|-
|10
| 14. June 2022
| N.N.
|-
|11
| 21 June 2022
| N.N.
|-
| 12
|28. June 2022
| N.N.
|-
| 13
|05. July 2022
| Joel Schäfer, Funda Ayguler
|-
|14
| 12. July 2022
| N.N.
|}

[[Category:WS21]]

GMU:Media Art Strategies/Ksenia Tajsic/инсталација

2022-03-27T16:46:59Z

KsenijaT:

[[File:instll.ks.1.jpg|1200px]]

''Инсталација / Installation''

t e a s e r t x t *

“ИНСТАЛАЦИЈА / INSTALLATION” is researching and interpreting terms and principles of metabolism, morphogenesis, collective behavior, responsiveness, stimuli, adaptation, superorganisms, softness, fluidity, interactions in different forms and dimensions (externally: human-object, and internally: within the object itself), therefore connections between objects and in objects.

By theoretically researching the mentioned concepts through the prisms of architecture, art, but also natural processes, principles that represent the basis of the practical or pragmatic are established.

Through semester work, the researched “theoretical” united with “practical and material”, with the final production of tactile, kinetic, responsive, architecture sculpture, created as an alternation of standardized infrastructure.

“ИНСТАЛАЦИЈА / INSTALLATION” is dematerializing and decontextualizing elements in functional spaces and giving them new purpose and meaning, reshaping their existence from architectural elements to artistic objects.
It is playing with typified and standardized, deconstructing architecture and constructing art.

p h a s e 01 *

The initial phase of the work is based on fascination and interpretation of the mentioned concepts (taken from nature). This phase was intuitive, guided by the bottom-up approach. It was important for establishing the course of further work, and setting and focusing on the further project development. The main feature of this phase is the establishment of the "stimuli" concept, and the by-product are videos that examine materiality, create shapes and forms and respond to stimuli - in this case pressure (air flow).

This phase is also important from the theoretical perspective, since during and after it I postulated and started to collect literature and theoretical references that influenced the further flow of thoughts in the work itself. Therefore, as an important part of the project development, and for the general impression in which direction the theoretical aspect of this work continues (translated into a later master thesis), you can see the bibliography here >>>>>>>>>> [https://cloud.uni-weimar.de/s/i37qWyQC5wBDRc4]

word diagram *

[[File:worddiagram.ks.jpg|1200px]]

pressure responses *

[[File:final_606bf141044fb700ccecb586_84278.mp4|300px|video1]] [[File:final_606bf141044fb700ccecb586_641922.mp4|300px|video2]] [[File:final_606bf141044fb700ccecb586_178418.mp4|300px|video3]]

p h a s e 02 *

...or formalizing the ideas I want to work on through words.
The byproduct is a draft of thoughts (which is later re-structured in Thesis Proposal). In general, this phase shaped and answered the question “what do I want”, and is directly related to the further development of the project “Инсталација / Installation”.
Here is a cut from it:

[[File:t.proposal.cut.jpg|center|1200px]]

*note: The full draft of the theoretical side of the project can be found here >>>>>>>>>> [https://cloud.uni-weimar.de/s/e5qPNMNoZex4z8b]

p h a s e 03 *

This phase of the project introduces the architectural narrative and is considering what installations in architecture are. It recreates and alternates standardized architectural elements and uses its infrastructure in different manner, retaining the context, dimensions, spatial elements. It combines those architectural elements with additional extensions that are creating new formalizations, use values and purposes of the artifacts in space.

* THE BOOKLET OF THIS PHASE YOU CAN FIND HERE >>>>>>>>> [https://cloud.uni-weimar.de/s/Y4tCTLdEwqD5moX]

[[File:instll.1.jpg|800px]]

<gallery>
File:architectural installation .1.jpg
File:sprinkler s . 2.jpg
File:ventilation s . 3.jpg
File:sprinkler & ventilation & extensions . 4.jpg
File:one side . 5.jpg
File:another side . 6.jpg
File:architectural installation .7.jpg
File:one side . 8.jpg
File:another side . 9.jpg
File:architectural installation .10.jpg
File:architectural installation .11.jpg
</gallery>

p h a s e 04 *

This phase of the project is experimental probe of practical part of “ИНСТАЛАЦИЈА / INSTALLATION”. It is using technical principles of previous (virtual) phase, and aesthetical codexes that are visible in whole process of development.

It is brought to you through pictures and 2 videos: part 1- inflating & part 2- deflating: [https://cloud.uni-weimar.de/s/nT4kcD2e5jcarFF]

[[File:drawing.instalacija.jpg|800px|center]]

photos>

[[File:инсталација1.jpg|350px]] . [[File:инсталација2.jpg|350px]]

[[File:инсталација3.jpg|350px]] . [[File:инсталација4.jpg|350px]]

[[File:инсталација5.jpg|350px]] . [[File:инсталација6.jpg|350px]]

[[File:инсталација7.jpg|350px]] . [[File:инсталација8.jpg|350px]]

[[File:инсталација10.jpg|350px]] . [[File:инсталација11.jpg|350px]]

videos>

{{#evt:service=vimeo|id=692816216|dimensions=350x350}}
 
 
{{#evt:service=vimeo|id=692817429|dimensions=350x350}}

GMU:Critical VR Lab I/Ksenija Tajsic

2022-03-27T16:27:32Z

KsenijaT:

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}}

 
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

GMU:Critical VR Lab I/Ksenija Tajsic

2022-03-27T16:25:58Z

KsenijaT:

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}}

 
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

GMU:Critical VR Lab I/Ksenija Tajsic

2022-03-27T16:24:01Z

KsenijaT:

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}}

 
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

GMU:Colloquium

2021-12-28T18:02:17Z

KsenijaT: /* Attendance Timetable */

Here are the thesis projects from Bachelor, Master, and PhD students in winter semester 21/22

*[[/Jenny Brockmann/]]
*[[/Isabella Lee Aturo/]]
*[[/Ksenia Tajsic/]]
*[[/Joel Schäfer/]]
*[[/Yasemin Yagci/]]
*[[Rico Graupner/]]
*[[/Jörg Brinkmann/]]
*[[/Daniel Wolter/]]
*[[/Gabriel Moses/]]
*[[/Christina Schinzel/]]
*[[/Sandra Anhalt/]]
*[[/Vaclav Harsa/]]
*[[/Mindaugas Gapsevicius/]]
*[[/Sarah Alvim/]]
*[[/Benazir Basauri/]]
*[[/Lennart Oberlies/]]
*[[/Beatrice Perlato/]]
*[[/Quan Zhou/]]
== Attendance Timetable ==

{| class="wikitable"
|-
| '''Week'''
| '''Date'''
| '''Presenter'''
|-
| 1
| 25. October 21
| N.N.
|-
| 2
|2. Novmber 21
| Beatrice Perlato
|-
| 3
| 08. Novmber 21
| Yasemin Yagci
|-
| 4
| 15. Novmber 21
| Christina Schinzel
|-
| 5
|22. November 21
| Isabella Lee Arturo
|-
|7
|29. November 21
| Ksenija T.
|-
|8
|6. December 21
| Yasemin Yagci, Sarah Alvim
|-
| 9
|13. December
| Joel
|-
|10
| 20. Dec
| Holiday
|-
|11
| 3. January 2022
| N.N.
|-
| 12
|10. January
| N.N.
|-
| 13
|17.January 2022
| Sarah Alvim
|-
|14
| 24. January 2022
| Quan Zhou
|-
|15
| 31. January 2022
| Joel (short), Ksenija (short)
|-
|16
| 07. February 2022
| N.N.
|}

[[Category:WS21]]

GMU:Colloquium

2021-11-29T12:21:02Z

KsenijaT: /* Attendance Timetable */

Here are the thesis projects from Bachelor, Master, and PhD students in winter semester 21/22

*[[/Jenny Brockmann/]]
*[[/Isabella Lee Aturo/]]
*[[/Ksenia Tajsic/]]
*[[/Joel Schäfer/]]
*[[/Yasemin Yagci/]]
*[[Rico Graupner/]]
*[[/Jörg Brinkmann/]]
*[[/Daniel Wolter/]]
*[[/Gabriel Moses/]]
*[[/Christina Schinzel/]]
*[[/Sandra Anhalt/]]
*[[/Vaclav Harsa/]]
*[[/Mindaugas Gapsevicius/]]
*[[/Sarah Alvim/]]
*[[/Benazir Basauri/]]
*[[/Lennart Oberlies/]]
*[[/Beatrice Perlato/]]
== Attendance Timetable ==

{| class="wikitable"
|-
| '''Week'''
| '''Date'''
| '''Presenter'''
|-
| 1
| 25. October 21
| N.N.
|-
| 2
|2. Novmber 21
| Beatrice Perlato
|
|-
| 3
| 08. Novmber 21
| Yasemin Yagci
|-
| 4
| 15. Novmber 21
| Christina Schinzel
|-
| 5
|22. November 21
| Isabella Lee Arturo
|-
| 6
|17. May
| N.N.
|-
|7
|29. November 21
| Ksenija T.
|-
|8
|6. December 21
| Sarah Alvim
|-
| 9
|13. December
| Joel
|-
|10
| 20. Dec
| N.N.
|-
|11
| 3. January 2022
| N.N.
|-
| 12
|10. January
| Ksenija T (final)
|-
| 13
|17.January 2022
| Sarah Alvim
| Joel (Short)
|}

[[Category:WS21]]

GMU:Colloquium

2021-10-22T14:15:47Z

KsenijaT:

Here are the thesis projects from Bachelor, Master, and PhD students in winter semester 21/22

*[[/Jenny Brockmann/]]
*[[/Isabella Lee Aturo/]]
*[[/Ksenia Tajsic/]]
*[[/Joel Schäfer/]]
*[[/Yasemin Yagci/]]
*[[Rico Graupner/]]
*[[/Jörg Brinkmann/]]
*[[/Daniel Wolter/]]
*[[/Gabriel Moses/]]
*[[/Christina Schinzel/]]
*[[/Sandra Anhalt/]]
*[[/Vaclav Harsa/]]
*[[/Mindaugas Gapsevicius/]]
*[[/Sarah Alvim/]]
*[[/Benazir Basauri/]]
*[[/Lennart Oberlies/]]
*[[/Beatrice Perlato/]]
== Attendance Timetable ==

{| class="wikitable"
|-
| '''Week'''
| '''Date'''
| '''Presenter'''
|-
| 1
| 25. October 21
| N.N.
|-
| 2
|2. Novmber 21
| N.N.
|-
| 3
| 08. Novmber 21
| N.N.
|-
| 4
| 15. Novmber 21
| N.N.
|-
| 5
|22. November 21
| N.N.
|-
| 6
|17. May
| N.N.
|-
|7
|29. November 21
| Ksenija T.
|-
|8
|6. December 21
| N.N.
|-
| 9
|13. Decmber
| N.N.
|-
|10
| 20. Dec
| N.N.
|-
|11
| 3. January 2022
| N.N.
|-
| 12
|10. January
| N.N:
|
|-
| 13
|17.January 2022
| N.N.
|}

[[Category:WS21]]

GMU:Media Art Strategies/Ksenia Tajsic/инсталација

2021-07-18T18:39:53Z

KsenijaT:

[[File:instll.ks.1.jpg|1200px]]

''Инсталација / Installation''

t e a s e r t x t *

“ИНСТАЛАЦИЈА / INSTALLATION” is researching and interpreting terms and principles of metabolism, morphogenesis, collective behavior, responsiveness, stimuli, adaptation, superorganisms, softness, fluidity, interactions in different forms and dimensions (externally: human-object, and internally: within the object itself), therefore connections between objects and in objects.

By theoretically researching the mentioned concepts through the prisms of architecture, art, but also natural processes, principles that represent the basis of the practical or pragmatic are established.

Through semester work, the researched “theoretical” united with “practical and material”, with the final production of tactile, kinetic, responsive, architecture sculpture, created as an alternation of standardized infrastructure.

“ИНСТАЛАЦИЈА / INSTALLATION” is dematerializing and decontextualizing elements in functional spaces and giving them new purpose and meaning, reshaping their existence from architectural elements to artistic objects.
It is playing with typified and standardized, deconstructing architecture and constructing art.

p h a s e 01 *

The initial phase of the work is based on fascination and interpretation of the mentioned concepts (taken from nature). This phase was intuitive, guided by the bottom-up approach. It was important for establishing the course of further work, and setting and focusing on the further project development. The main feature of this phase is the establishment of the "stimuli" concept, and the by-product are videos that examine materiality, create shapes and forms and respond to stimuli - in this case pressure (air flow).

This phase is also important from the theoretical perspective, since during and after it I postulated and started to collect literature and theoretical references that influenced the further flow of thoughts in the work itself. Therefore, as an important part of the project development, and for the general impression in which direction the theoretical aspect of this work continues (translated into a later master thesis), you can see the bibliography here >>>>>>>>>> [https://cloud.uni-weimar.de/s/i37qWyQC5wBDRc4]

word diagram *

[[File:worddiagram.ks.jpg|1200px]]

pressure responses *

[[File:final_606bf141044fb700ccecb586_84278.mp4|300px|video1]] [[File:final_606bf141044fb700ccecb586_641922.mp4|300px|video2]] [[File:final_606bf141044fb700ccecb586_178418.mp4|300px|video3]]

p h a s e 02 *

...or formalizing the ideas I want to work on through words.
The byproduct is a draft of thoughts (which is later re-structured in Thesis Proposal). In general, this phase shaped and answered the question “what do I want”, and is directly related to the further development of the project “Инсталација / Installation”.
Here is a cut from it:

[[File:t.proposal.cut.jpg|center|1200px]]

*note: The full draft of the theoretical side of the project can be found here >>>>>>>>>> [https://cloud.uni-weimar.de/s/e5qPNMNoZex4z8b]

p h a s e 03 *

This phase of the project introduces the architectural narrative and is considering what installations in architecture are. It recreates and alternates standardized architectural elements and uses its infrastructure in different manner, retaining the context, dimensions, spatial elements. It combines those architectural elements with additional extensions that are creating new formalizations, use values and purposes of the artifacts in space.

* THE BOOKLET OF THIS PHASE YOU CAN FIND HERE >>>>>>>>> [https://cloud.uni-weimar.de/s/Y4tCTLdEwqD5moX]

[[File:instll.1.jpg|800px]]

<gallery>
File:architectural installation .1.jpg
File:sprinkler s . 2.jpg
File:ventilation s . 3.jpg
File:sprinkler & ventilation & extensions . 4.jpg
File:one side . 5.jpg
File:another side . 6.jpg
File:architectural installation .7.jpg
File:one side . 8.jpg
File:another side . 9.jpg
File:architectural installation .10.jpg
File:architectural installation .11.jpg
</gallery>

p h a s e 04 *

This phase of the project is experimental probe of practical part of “ИНСТАЛАЦИЈА / INSTALLATION”. It is using technical principles of previous (virtual) phase, and aesthetical codexes that are visible in whole process of development.

It is brought to you through pictures and 2 videos: part 1- inflating & part 2- deflating: [https://cloud.uni-weimar.de/s/nT4kcD2e5jcarFF]

[[File:drawing.instalacija.jpg|800px|center]]

photos>

[[File:инсталација1.jpg|350px]] . [[File:инсталација2.jpg|350px]]

[[File:инсталација3.jpg|350px]] . [[File:инсталација4.jpg|350px]]

[[File:инсталација5.jpg|350px]] . [[File:инсталација6.jpg|350px]]

[[File:инсталација7.jpg|350px]] . [[File:инсталација8.jpg|350px]]

[[File:инсталација10.jpg|350px]] . [[File:инсталација11.jpg|350px]]

videos>

<videoflash type="youtube">Kysbo49frFw|350|350|center</videoflash>
 
 
<videoflash type="youtube">MAgCOAif95o|350|350</videoflash>

GMU:Critical VR Lab I/Ksenija Tajsic

2021-04-20T15:55:52Z

KsenijaT:

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"

<videoflash type="youtube">6Mv2SQ6IW8o|800|400</videoflash>

 
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

GMU:Critical VR Lab I/Ksenija Tajsic

2021-04-20T15:54:46Z

KsenijaT:

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"

<videoflash type="youtube">6Mv2SQ6IW8o|800|350</videoflash>

 
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

GMU:Critical VR Lab II - Lab Work/Ksenija Tajsić

2021-04-08T12:24:45Z

KsenijaT: Created page with " == ''i n t r o *'' == In 1998, Perry Hoberman exhibited his installation "System Maintenance" as part of the DEAF98 EXHIBITION entitled "The Art of the Accident" in Rotter..."

== ''i n t r o *'' ==

In 1998, Perry Hoberman exhibited his installation "System Maintenance" as part of the DEAF98 EXHIBITION entitled "The Art of the Accident" in Rotterdam: [https://v2.nl/events/deaf98-exhibition]

System Maintenance played with the (dis)continuities of physical and virtual space. It was about the mixture of three realities: the life-size furniture moving on wheels in the center of the installation, a virtual platform of the same furniture on a computer, and a small scale "doll's house model" of the same furniture. All three spaces are filmed from the same height, position and field of view, superimposed onto a single large-scale video projection. The images of the three rooms are then balanced and merged together. The installation invites the participant to assimilate all three spaces of furniture, like a Rubick's Cube.

{{#evt:service=vimeo|id=46696857|dimensions=500}}

Around 2:50 sec of this video, Hoberman was saying something intriguing to me:
"I designed the furniture first on a computer. I didn’t take it seriously, like making it ergonomically correct. But I thought I was making it roughly the right size. On a computer, this chair looked just fine. But when you sit now on this chair, you feel like you're six years old."

== ''t e a s e r t x t *'' ==

This semester I decided to question postulates of relation between virtual and real architectural space.
How would it look like if the architectural space I create is actually not contemplated and designed around strict architectural rules of scale and dimensions? What are my ideal dimensions of architectural elements that I can create by my own, without any prefabricated rules?

During the semester, I was working with Google's Tilt Brush, in order to accomplish my desires. I created a collection of architectural elements and furniture I use everyday in real life, but I made them suitable for my height and size, my preferences of their disposition and the quality of space, neglecting the rules I learned while studying architectural design. Therefore, the bathtub is right next to the bed, the bed and dining table, which have a great importance to me, turned out to be over over-sized without that intention, etc.

In the next step, I decided to make a research and a comparison of the furniture and space I've created, with something that is established etalon of architecture. Therefore I made a dimensional analysis and visual comparison, that was clearly implicating how my intuition on creating space from a blank canvas differs from what I am used to while I design standardized architectural spaces.

== ''n e u f e t rulez*'' ==

Before I come to you with my project, I want to make a small overture by mentioning the number one authority for architecture students - Mr. Neufert. His collection of dimension rules on few hundreds of pages is dating from last century and still is the biggest and the most detailed collection of rules about architectural space. We used it a lot and were always getting back to it while designing spaces.

[[File:neufert-arte-de-proyectar-en-arquitectura.jpg|200px]] .
[[File:neufert-arch-bath.jpg|200px]] .
[[File:neufert-arch-kitchen.jpg|200px]]

== ''p r o j e c t*'' ==

'''Hello MTV, welcome to my crib!'''

1

[[File:crib bw visal1.jpg|800px]]

----

2

[[File:crib bw visal2.jpg|800px]]

----

3

[[File:crib bw visal3.jpg|800px]]

Tiltbrush snapshots>

<gallery>
File:Untitled_16_02.png
File:Untitled_16_01.png
</gallery>

== ''d i m e n s i o n a l a n a l y s i s*'' ==

I placed a newly designed surrounding in architectural program and started to make a dimensional analysis. Thus, I created a typical drawing - floor plan and noticed: some elements vary from normalizations a lot, and some just slightly.

[[File:floorplan.ks.jpg|800px]]

'''collection of floor plan dimensional analysis'''

<gallery>
File:entrancearea.ks.jpg
File:bedroom.ks.jpg
File:bathroom.ks.jpg
File:kitchen.ks.jpg
File:diningroom.ks.jpg
</gallery>

In the next step, I added a reference of height to the narrative, as well as the standardized element next to the element I drew. This step is showing more precisely how much I've missed.

*note: standardized elements are colored in magenda

[[File:final_606e205b60fc2500b885d63e_955136.mp4|800px|center]]

'''collection of comparative analysis'''

<gallery>
File:single bed.1.jpg
File:working desk.2.jpg
File:lamps.3.jpg
File:bathtub toilt sink.4.jpg
File:cooker fridge.5.jpg
File:chairs.6.jpg
File:diningtable.7.jpg
File:coffeetable plants.8.jpg
</gallery>

''As a conclusion of my research, I decided to make two videos of Unity experience of the space I created.''

The first one is without any references for scale, such as humans. I am just walking around, with my own height. The space I am going through seems pretty normal and right-sized. It is even a bit tight to me - while I was walking I was scared that I don't run into something. Then I realized the space area is quite big- around 80sqm, and VR just tricked me a bit. But still, everything seemed quite fine.

[[File:final_606ebd800cb72b0029169cf4_407263.mp4|800px|center]]

Afterward, I placed in a scene Idle - humanoid as a reference, with average woman size and height of 163cm. Then I realized... Okay, it's true. It's really hard to understand scale in VR... Idle was fitting to the scenario as Perry Hoberman said, like a child: the bed is huge for her, the tables, sinks and kitchen elements are too high, some furniture pieces are disproportional, and while sitting on chair, her feet can't reach the ground.

[[File:final_606ec99ea5ddee008deb4b51_169903.mp4|800px|center]]

File:Final 606ec99ea5ddee008deb4b51 169903.mp4

2021-04-08T12:21:57Z

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File:Final 606ebd800cb72b0029169cf4 407263.mp4

2021-04-08T12:16:16Z

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File:Single bed.1.jpg

2021-04-08T12:07:52Z

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File:Lamps.3.jpg

2021-04-08T12:07:50Z

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File:Diningtable.7.jpg

2021-04-08T12:07:49Z

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File:Cooker fridge.5.jpg

2021-04-08T12:07:47Z

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File:Coffeetable plants.8.jpg

2021-04-08T12:07:44Z

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File:Chairs.6.jpg

2021-04-08T12:07:42Z

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File:Bathtub toilt sink.4.jpg

2021-04-08T12:07:41Z

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File:Working desk.2.jpg

2021-04-08T12:07:38Z

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File:Final 606e205b60fc2500b885d63e 955136.mp4

2021-04-08T12:04:07Z

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File:All elements.ks.jpg

2021-04-08T12:03:36Z

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File:All elements front view.ks.jpg

2021-04-08T12:03:35Z

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File:Kitchen.ks.jpg

2021-04-08T11:55:35Z

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File:Floorplan.ks.jpg

2021-04-08T11:55:35Z

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File:Entrancearea.ks.jpg

2021-04-08T11:55:34Z

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File:Diningroom.ks.jpg

2021-04-08T11:55:33Z

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File:Bathroom.ks.jpg

2021-04-08T11:55:33Z

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File:Bedroom.ks.jpg

2021-04-08T11:55:32Z

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File:Untitled 16 01.png

2021-04-08T11:39:13Z

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File:Untitled 16 02.png

2021-04-08T11:39:12Z

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File:Crib bw visal3.jpg

2021-04-08T11:35:17Z

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2021-04-08T11:35:16Z

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File:Crib bw visal1.jpg

2021-04-08T11:35:15Z

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2021-04-08T11:29:47Z

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2021-04-08T11:25:06Z

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2021-04-08T11:25:02Z

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2021-04-08T11:24:53Z

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2021-04-08T11:23:27Z

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2021-04-08T11:23:18Z

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2021-04-08T11:23:12Z

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2021-04-08T11:22:04Z

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2021-04-08T11:22:00Z

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2021-04-08T11:21:52Z

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2021-04-08T11:18:45Z

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2021-04-08T11:18:41Z

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2021-04-08T11:18:37Z

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2021-04-08T11:16:26Z

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