BACKTRACKING FROM WEEK 9

By the end of week 9, as I wrapped up my TouchDesigner experiments, it became evident that delving into audio and sound wasn't aligning with my goals for this semester. While the audio experiments were enjoyable and driven by curiosity, I realized that pursuing this avenue would require a significant overhaul of my entire concept. Shifting the focus to audio and sound would mean sacrificing the tangible elements I had been working on in the previous weeks, rendering those efforts redundant. Although the idea of making audio and sound tangible was intriguing, the restructuring needed didn't align with the bandwidth I had set for my project. Given the substantial groundwork I had laid in the preceding weeks, it felt more prudent to build upon those learnings rather than veering into a different direction.

TAKING FORMATIVE FEEDBACK INTO CONSIDERATION

To move forward, I had to carefully consider the feedback received during the formative assessment. Despite having a variety of experiments in my catalogue, the key question revolved around how I intended to leverage these experiments to enhance and build upon my progress. There was a need to establish a clear connection between my practical work and dissertation, as the elements seemed somewhat scattered. Additionally, the feedback highlighted a deficiency in visual research to substantiate my concept of non-linear narratives. To address these concerns, I aimed to consolidate my research objectives, refine the link between theory and practice, and supplement my work with more robust visual research. This approach would provide a more cohesive foundation for my project.

BUILDING ON PREVIOUS EXPERIMENTS

From all the experiments that I did, I feel like woking working with a servo motor proved to be ideal due to its independent movement capabilities. The servo motor's smooth circular motion, controllable via a secondary device, provided ample room for experimentation with different input and output mechanisms. Additionally, the ability to manipulate the servo motor's motion, adjusting both angles and speeds, offered a versatile and dynamic element to explore in my interactive projects.

MAKING A CAPACITIVE SENSOR

During weeks 6 and 7, I consulted Andreas regarding the possibility of creating something touch-sensitive without purchasing a touch board or touch sensor. He recommended working with capacitive sensors. To clarify, while I comprehend how capacitive sensors function and their process, I still don't fully understand the scientific intricacies behind them. For reference, here's a Google definition: Capacitive sensors are devices that detect and measure electrical capacitance, typically used for touch-sensitive applications.

CONNECTING THE CAPACITIVE SENSOR TO SERVO MOTOR

Now that I understand how a capacitive sensor works, my next theoretical step would involve transitioning from LEDs to a servo motor. The envisioned input would be touching the capacitive sensor, and the output would manifest in the movement of the servo motor. While this idea appeared sound in my mind, I needed to sketch it out, provide reasoning to connect it to my concept, and decide on the material for the capacitive sensor—options included foil, copper tape, conductive fabric, paint, or wire.

The concept behind this sketch aimed to craft a tangible experience where the non-linear visual narrative would serve as the capacitive sensor. The servo motor would be connected to a brush, allowing users to draw various patterns when the capacitive sensor is touched. This envisioned interaction prompted contemplation on visualizing narratives and pondering the tangibility of narratives themselves.

PROPOSING THIS SKETCH IN CONSULTATION

Approaching Andreas with this idea during the consultation, I was prepared for potential challenges or rejection, as my previous experiences with consultations had left me anxious and confused. To my surprise, Andreas was supportive of the concept and encouraged me to proceed, emphasizing the importance of maintaining an open mind during the experimentation process. He advised me to focus on the exploration itself rather than preoccupying myself with concerns about success or failure. Additionally, he stressed the necessity of backing up the experiment with research to establish a connection between my research objectives and the practical work.

DISSERTATION PRESENTATION

While I managed to make progress with my practical work, I also had to devote time to my dissertation presentation. This was a great opportunity to refine my research objectives and gain more clarity on my dissertation plans. I began by revisiting my initial research objective: to explore how theater components enhance the narrative and assess whether the intended message can be conveyed without actors, dialogue, or text. I delved deeper into this objective based on discussions with Andreas, who consistently urged me to simplify my objectives.

REFLECTION & FEEDBACK

However, reflecting on my current objectives, it's apparent that I've layered them with multiple secondary goals, such as creating a sense of agency, initiating conversations on various social, political, and cultural aspects, and breaking the fourth wall between the interaction and the viewer by challenging their perspectives. In hindsight, these are weighty subjects that demand meticulous attention to detail, and I acknowledge that managing each objective as I envision might be beyond my current capacity. This tendency to be overly ambitious with my intentions is a recurring theme in my consultations with Andreas, where he encourages me to think realistically, and I often strive to prove otherwise.