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[[File:CVR1_jca_00.jpg|none|1000px]] | [[File:CVR1_jca_00.jpg|none|1000px]] | ||
==Context:== | ==Context:== | ||
In our times art became something that in order to be valued has be filled with a ‘meaningful’ message, a political proposition. Personally it feels like decontextualising art from any environmental influence through white cube galleries in an elitist culture while demanding a re-contextualisation through ‘exterior’ information makes modern art rather inaccessible. Additionally though, it feels like that artworks are often blatant and 1-dimensional, only asking rather ‘simple’ questions or being a mere latching comment to a controversial thematic. While it is hard to pinpoint, what I don’t appreciate about many modern artworks, I dislike content being reducible to an explicit message. | In our times art became something that in order to be valued has be filled with a ‘meaningful’ message, a political proposition. Personally it feels like decontextualising art from any environmental influence through white cube galleries in an elitist culture while demanding a re-contextualisation through ‘exterior’ information makes modern art rather inaccessible. Additionally though, it feels like that artworks are often blatant and 1-dimensional, only asking rather ‘simple’ questions or being a mere latching comment to a controversial thematic. This is a completely personal opinion and based on personal encounters. In this whole thematic one should bear in mind that art-journalism and art-critism is focused on verbalising artistic positions, and these very people have the most impact on art-evaluation and thus art-reception, sometimes even leaving the creator surprised. While it is hard to pinpoint, what I don’t appreciate about many modern artworks, I dislike the trend in arts of content being reducible to an explicit message, knowingly that this is half the story. | ||
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==Concept/Description:== | ==Concept/Description:== | ||
The player is in on a hilly plain above an ocean of clouds. The wind slowly sweeps through the grass. The player is able to slightly interact with undefined firefly-like beings, which emerge out of the grass and cluster on different spots. A large white structure consisting of arches stands off-centre on a grassy circle. | The player is in on a hilly plain above an ocean of clouds. The wind slowly sweeps through the grass. The player is able to slightly interact with undefined firefly-like beings, ignes fatui, which emerge out of the grass and cluster on different spots. A large white structure consisting of arches stands off-centre on a grassy circle. | ||
On this quiet and serene place, the player is neither harshly confronted nor avoided. To put it simple. The player is -there-, in this moment, no specific questions are asked, no questions have to be answered. It is no counter concept to ‘screaming’, ‘straining’ political art. It is no escapist alternative. | On this quiet and serene place, the player is neither harshly confronted nor avoided. To put it simple. The player is -there-, in this moment, no specific questions are asked, no questions have to be answered. It is no counter concept to ‘screaming’, ‘straining’ political art. It is no escapist alternative. | ||
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Deeply inspired by Corberó’s house complex I already was working with these clean, white, half-circle arches. They gave me a feeling of being an abstraction of a concept rather than a common practice or comment on an architectural epoch. While consisting of symmetrical idealistic beauty proportions it also consists of rather natural organic attributes. With the absence of harsh mirror axes, ornaments and practical use it vanishes the lines of architecture, sculpture or even manmade object. While probably playing with associations of ancient classical buildings and labyrinths for me the final structure evokes a feeling of simple existence as life itself. (final structure in Phase IV) | Deeply inspired by Corberó’s house complex I already was working with these clean, white, half-circle arches. They gave me a feeling of being an abstraction of a concept rather than a common practice or comment on an architectural epoch. While consisting of symmetrical idealistic beauty proportions it also consists of rather natural organic attributes. With the absence of harsh mirror axes, ornaments and practical use it vanishes the lines of architecture, sculpture or even manmade object. While probably playing with associations of ancient classical buildings and labyrinths for me the final structure evokes a feeling of simple existence as life itself. (final structure in Phase IV) | ||
I wanted the environment to be rather un-distracting and endless, open, light, bright and slighlty warm. | I wanted the environment to be rather un-distracting and endless, open, light, bright and slighlty warm. Yet it should still be a balance between natural and dreamlike. | ||
I played with the idea of making a 3d-sound-scape, a musical piece, voice over or implement text. | I played with the idea of making a 3d-sound-scape, a musical piece, voice over or implement text. | ||
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I decided I don’t want the structures to reemerge in different forms. Although I liked the visual appearance of such the structures would create too much dialogue revolving around each other. I had to simplify. | I decided I don’t want the structures to reemerge in different forms. Although I liked the visual appearance of such the structures would create too much dialogue revolving around each other. I had to simplify. | ||
At first I created reusable segments for the arches, to have a more modular and rather intuitive ability to rearrange. While for this task it worked great, the edges of the stacked objects would create undesired double edges, marks, flickering, wrong shadows etc. I had to take the model from | At first I created reusable segments for the arches, to have a more modular and rather intuitive ability to rearrange. While for this task it worked great, the edges of the stacked objects would create undesired double edges, marks, flickering, wrong shadows etc. I had to take the model from Unity and retouch it in Blender. | ||
I created a cloud-like plain bending towards the horizon to fake additional distance. The shader was created in the node based HDRP-ShaderGraph. | I created a cloud-like plain bending towards the horizon to fake additional distance. The shader was created in the node based HDRP-ShaderGraph. | ||
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'''Phase V - Sound and Interactivity''' | '''Phase V - Sound and Interactivity''' | ||
I created and tried out different musical themes, some more melodic and harmonic others less western influenced. I had to leave it out since the chord or pentatonic | I created and tried out different musical themes, some more melodic and harmonic others less western influenced. I had to leave it out since the chord or pentatonic scale would interpret and ‘stain’ the atmosphere, affecting and biasing the viewer too much emotionally. | ||
I questioned myself if I should implement a second layer. Either through text or a voice over. Both are too dogmatic and specifically thought-provoking. While the latter being even more intrusive. | I questioned myself if I should implement a second layer. Either through text or a voice over. Both are too dogmatic and specifically thought-provoking. While the latter being even more intrusive. | ||
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Even if the soundscape is very natural it is quite personal. My brother and I took field recordings of our childhood-region and I layered them with field-recordings we took on different holidays. Personally, these are very familiar, intimate and soothing sounds. | Even if the soundscape is very natural it is quite personal. My brother and I took field recordings of our childhood-region and I layered them with field-recordings we took on different holidays. Personally, these are very familiar, intimate and soothing sounds. | ||
My first idea of being able to auditorily explore a 3D-soundscape was also dropped but recycled into little clusters of firefly-like-beings emitting some sound and providing a micro-interactive experience. This gives one the feeling of existence whilst not giving the player a task. | My first idea of being able to auditorily explore a 3D-soundscape was also dropped but recycled into little clusters of ignes fatui or firefly-like-beings emitting some sound and providing a micro-interactive experience. This gives one the feeling of existence whilst not giving the player a task. | ||
[[File:CVR1_jca_07.jpg|none|1000px]] | [[File:CVR1_jca_07.jpg|none|1000px]] | ||
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==Reflection:== | ==Reflection:== | ||
On a technical standpoint I could rewrite the grass-shader to enable the volumetric fog possibility. I grew quite fond of the island in the sky / eternal platform / plain above the clouds look, but it might still be worthwhile | On a technical standpoint I could rewrite the grass-shader to enable the volumetric fog possibility. I grew quite fond of the island in the sky / eternal platform / plain above the clouds look, but it might still be worthwhile revisiting the idea of an endless plain. | ||
On a conceptual standpoint I ask myself if the player feels (completely unintentionally) isolated or trapped. On the other hand, I question myself (contrary to my statement in the beginning) if distancing myself from graspable political propositions or of other kind renders my work meaningless. | On a conceptual standpoint I ask myself if the player feels (completely unintentionally) isolated or trapped. On the other hand, I question myself (contrary to my statement in the beginning) if distancing myself from graspable political propositions or of other kind renders my work meaningless. | ||
Personally, I am I happy I was able to simplify and simplify and don’t fall into | Personally, I am I happy I was able to simplify and simplify and don’t fall into a habit of adding, adding and adding. | ||