For my assignment this week, I made a voice controlled map! This week, I tried both two voice-controlled games – Chicken Scream and YASUHATI – on my Android phone. Both games are simple side scrollers with voice-activated character movements. The basic controls for both games are identical: - both games are volume-controlled, without regard for pitch or semantics (more on this later) - a low-volume input causes the character to walk forward - a medium-volume input causes the character to jump - a high-volume input causes the character to jump higher I found both games extremely difficult to control.
As part of our response to Carson Kreitzer’s “Lasso of Truth” we made Cornell Boxes (Joseph Cornell, not the CGI render tests…) encapsulating and expressing our feelings about the play. As an actor, the process of understanding a play often begins and ends with text. Through scene work, movement exercises and various other rehearsal techniques, we attempt to internalize the text: turn words on a page into words which ring true when we speak.
The World of the Play The world of Carson Kreitzer’s “Lasso of Truth” is comprised of several distinct spaces in place and time, each with its own action and characters. The main spaces are: a. the workshop and home of the INVENTOR, WIFE and later AMAZON, which spans from the 1930s onward, b. a comic book store in the 90s, then restaurant, then apartment in which GIRL tries to purchase the first Wonder Woman comic from GUY, c.
How does it feel when you arrive. What’s your first emotional response? Please note that monumental sculpture at the Central Park West entrance. Write down what you see. Right there…don’t think about it, don’t put it off The walk down Central Park WEST from 81st street smelled sickly-sweet from the nuts-for-nuts and hotdog stands, and now that I’m in front of AMNH in a sweater on a 80 degree day, I would very much like to be inside.
In Peter Brooks’ “The Empty Space” and Elinor Fuchs’ “Visit to a Small Planet,” we hear an approach to theater which respects process above all else. For Brooks, this process happens in rehearsal through collaboration between director, actor, design. For Fuchs, this process happens through a careful approach of an unknown text – assuming nothing but what can be read on the page, we build a picture of a world in collaboration with the text.
Collective Play explored “how do the rules of interaction shape non-competitive play?” and “code and test design strategies for playful group interactions.” For our final project, Simon and I decided to create a game which forces the user to actively engage with common uncomfortable situations. The situations we were most interested in exploring are those we commonly experience when group-forming in professional, educational, and romantic settings: rejection and rejecting others. We were particularly interested in this when we realized that, for many people, even long-removed memories of rejection from our schoolyard days (not being chosen for sports teams, etc.
This project is my goattempt to explore virtual reality as a medium for comedic performance. The player is thrust into a situation in which they are utterly unprepared and asked to make do as best as possible. Made in Unity3D using the HTC Vive headset:
This week, we began reading Jim Collins’ Built to Last, a business management classic that attempts to identify why certain ‘visionary’ companies have become both synonymous with technological progress and essential to our daily lives. In it, he unpacks the various myths around success in business (genius idea and genius leader being the most common) and presents an alternative model for success focussed less on individual ideas or genius and more on organizational structure and institutional longevity.