SESSION 5: SCOTT FISHER and KATHERINE HAYLES ?New Ways of Knowing?: A Conversation with Google Jockeying from Anne Balsamo. Lots of visuals on storytelling---make sure to view the webcast!
Scott S. Fisher is a media artist and interaction designer whose work focuses primarily on interactive environments and technologies of presence. Known for his pioneering work in the field of Virtual Reality at NASA, Fisher's media industry experience also includes Atari, Paramount, and his own companies Telepresence Research and Telepresence Media. A graduate of MIT's Architecture Machine Group (now Media Lab), he has taught at MIT, UCLA, UCSD, and is a Project Professor at Keio University in Japan and Chair of the Interactive Media Division in the School of Cinema-Television at the University of Southern California. His work has been internationally recognized through numerous invited presentations, professional publications and in the popular media. In addition, he has been an Artist in Residence at MIT's Center for Advanced Visual Studies and his stereoscopic imagery and artwork has been exhibited in the US, Japan and Europe.
F begins with ealy 1990s schemas for virtuality continuum and mixed reality environments. Goes back to Paris Expo of 1900 and model of boat that seats abut 100 people, has a motion platform, and a cylinder projecting images to convey idea of motion. Then simulators for NASA and entertainment, personal simulators for exploring virtual environments. Currently, medical applications for retinal surgery. Disneyland?s Haunted Mansion. Robert Sutherland and others poject graphics into physical space.
Big question: even most complex VR spaces, don?t convey sense of presence, rich experience. So he goes back and looks at other fields that approach this idea, including Environmental Art like R. Smithson, A. Goldsworthy, or J. Turrell, who go out of the gallery spaces and into landscapes.
Robert Irwin. http://www.usu.edu/laep/asla/laepweek/irwinbio.html
Also, Scott talks about his time in Japan and concept of MITATE---in Japanese traditional garden design: to rediscover, seeing anew. Including repurposing past objects to recall past experiences.
Scott might also want to think about concept of SHAKKEI, borrowed garden, where the constructed garden frames and is framed by a larger landscape, such as a mountain view in the distance. The ?natural? and the ?landscaped? are each contested and challenged and amplified by the presence of the other. http://www.doaks.org/Environmentalism/env9.pdf
Chusaku-za (annotation theater). Guy with thirtypound backpack walks through landscape and gathers data for recreation.
Goopas System (2002): Phone gets emails a bout particular locations you are in, usually marketing of events, sales, promotions, advertisements.
R-Click: Phone can also give location based services.
This is like the ISIS project at Duke where students in ISIS created a system that pushes out info in pre-selected categories for student-rn events to your cell phone. Also kiosks at bookstops.
Janet Cardiff---Missing voice, 29999, and Video Walk, 20001. http://www.the-artists.org/ArtistView.cfm?id=8A01F1ED-BBCF-11D4-A93500D0...
You might also be interested to know that Cardiff works on embedded narrative, walks around, etc. AND she?s from and works in Lethbridge, Alberta. How great is that? (Lethbridge is a great town on a series of coulees where the prairies extend out flat and then, driving West, you come to the amazing rockies, and Waterton Park, the Canadian side of Glacier Park in Montana). The Blood/ and Blackfoot nations are in this area and also engage in many environmental art installations, inc in the First Peoples program at U of Lethbridge.
Networked Collaborfation Environments at Keio University. DDR at Keio and USC can compete.
Ultimate Reality Gaming: Take a look at Michael Douglas in ?The Game? where you give all your information to someone and then you are immersed in a game based on release and manipulation of that information.
There are several other Alternate Reality Games. ?Majestic,? and ?Yellow Arrow? and ?I Love Bees.?
Scott?s group created ?Tracking Agama,? where mobile phones are used to create non-linear narrative and a technical system that allows the player to us a mobile phone t access game elements. www.trackingagama.net
Life Logging: Personal archives, subjective cinema. Both Microsoft and HP have picked up similar projects where you can build a huge personal archive to data base everything he has ever written or received, with several thousand pictures a day and SenseCams for sound as well.
So is the surveilled life worth living? What is its relationship to unsurveilled life? So what happens if all life is a performance, if only for a different and olde version of yourself, but potentially for anyone who may be able to capture these materials and watch them. Then we are back to the Ultimate Reality Gaming without personal agency and volition. So what is the relationship between sub jectivity and surveillance in these recorded evniroments? Tuna fish or chicken anyone? What is this about? Anyone can be Jessica Simson?
Life Game Scenario: tracking kids from Day 1. In world advertising included. A provocative scenario that we can do now. But the big question is why?
Ubiquitous storytelling issues: embedded narratives, collaborative authorship, You Play You (Mitsui Future Cast system). Public Private Boundaries blur.
Scott believes context is about linkages and how associations are woven together.
NAGARAZOKU. . . negative turn that means scattered.
Continuous partial attention.
Japanese movies where your head is scanned and you watch movie and there you are in the movie. Looker films.
Also sensors in movies and can modulate story content based on visceral response to movies.
All attempts at technologizing sensory responses.
N. Katherine Hayles is Professor of English at UCLA and a major figure in the study of literature and science in the 20th and 21st centuries. She is the author of How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (1999) and The Cosmic Web: Scientific Field Models and Literary Strategies in the Twentieth Century (1984).