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.
As part of our dive into cell network infrastructure, we were asked to find our IMSI (International Mobile Subscriber Identity) and IMEI (International Mobile Equipment Identity) numbers from our own cell phones. On my Android phone, the IMEI was listed in the settings. The IMSI was not listed in settings, but was printed on the SIM itself.
For this week’s analog interaction exercise, Simon and I decided to replicate a common and emotionally turbulent interaction from schoolyard play: that of waiting to be picked (or not) for teams. We noticed that, at least anecdotally, childhood memories of anticipation, relief and humiliation associated with this interaction remain strong for many people. Choosing teams, creating partnerships and forming relationships remains an important and emotional interaction into adulthood. Indeed, though the process is (hopefully) handled with more civility and tact in a graduate school or professional environment, the interaction remains difficult.