#esemplasy

[esemplasy-gd4]

Final Outcomes All Together

2D

The book which contains the exquisite interview in the first half paired with still images of the 4D/experimental piece, alongside the actual full transcripts of the interviews I conducted in the second half of the book. Each real individual is represented by a glyph to act as a marker above the responses of the exquisite interview and lead the audience to realize that each question is tied to an individual's transcript by the time they reach the end of the book.

This tied back to the word esemplasy as I shaped each individual interview into one seamless imaginary interview that never really happened.

4D

The CD that contains the audio recordings of the exquisite interview and experimental video pieces. For this piece I took the audio from each interview and spliced them together to make the tracks play in a seamless sequence - I tried voice matching as best as I could to make the interviewees anonymous and sound like one voice.

Tying back to esemplasy - I once again shaped the responses into a unified interview but within a different medium.

3D

The case shares the same visual language as the other artifacts, with the title The Exquisite Interview being a reference to the exquisite corpse. The back of both the slip case and the interior case have the split frames of the AI fake interview filled with the glyphs to hint again that there were multiple interviews conducted. The text blurb on the back and the subtitle on the front lie to the audience to try and sell the idea that it was just a single interview.

The case houses all of my other projects acting as the container that unifies each project in one place.

4D Experimental

The experimental acted as a way to reveal the truth about the exquisite interview but also acted as a way to generate frames to be used in the 2D, translating the video format into form that could be used across the rest of my mediums/projects.

Reflective

My reflective piece was my way to unify all of the process, failures and end products into one video, following the same interview style format with me answering the final question to Erikson's existential questions.

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Interview Questions

After the critique where Paul suggested I lean more into the idea of Eriksons stages of development to ground my project, and talking with Aiyana and Alex about possible directions I could take this project to tie back to my word, I set up these interview questions to ask to 7 people to set up the basis for the exquisite corpse interview

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4D Anchor (March 4th)

Talking with Aiyana yesterday after I missed class (sorry Paul) really helped and reminded me to go back to my word once again - thank u Aiyana I am eternally grateful - and we discussed possible things to anchor the 4D project in, the etymology of the word, (to shape) moulding into unity. Focusing on the moulding of things she helped me realize another topic I've been working on in Craigs Type 3 class was the theme of coming of age, growing up too fast etc and anchoring my 4D in similar themes would help overcome the Ouroboros infinite feedback loop I was stuck in. I started researching into the formation and stages of human development and came across Erikson's stages of psychosocial development. "The growth of human strength takes place in a sequence of stages, representing the patterned development of the various parts of a whole psychosocial personality." (Erikson, P.108, Eight stages of Development) "Erikson's stage theory characterizes an individual advancing throughh the eight life stages as a function of negotiating their biological and sociocultural forces. The two conflicting forces each have a psychosocial crisis which characterizes the eight stages. If an individual does indeed successfully reconcile these forces (favouring the first mentioned attribute in the crisis), they emerge from the stage with the corresponding virtue." (https://en.wikipedia.org/wiki/Erikson%27s_stages_of_psychosocial_development) Anchor in Formation/Development - in relation to a design process

- The formative years shaping an identity

Imagery for 4D - interject and abstract imagery from childhood, other things being moulded, shaped, blooming, being constructed, Timelapse's etc. Manifesto for Textual Narrative to anchor 4D By tying the design process into the shaping of a multitude of artifacts, anchored in Erikson's stages of development writing the "thoughts" and reflections of the designed artifact through its own self aware perspective. Writing the narrative from the perspective of the artifact as it moves through its own life cycle (the design process and ideation, iteration, final product.

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Notes and Plan for Projects 4D, 2D, 3D (Feb 23rd)

4D Project - Video format of documentation of parts of the "design process" - Ties in with the design process being the over-arching power of imagination 2D Project - Physical manifestation of the 4D, (la jetee reference) - Designed to match the pacing and emotional affect of the 4D rather than being a glorified process book 3D Project - Burned CD of 4D project + 2D booklet packaged in a 3D printed faux book casing - Cardboard packaging or sleeve that is screen printed on with elements of the design process on it (fold guides, labels of sides, instructions) - Have audience fold the box themselves as the last participatory act of moulding all the projects into unity Reflective - Large scale blueprint outlining process, transcriptions of notes, imagery, steps taken, screenshots - blueprint of my ideation, imagination during the making of all of these projects

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Project Direction + Research

Bear with me as I transcribe all of my notes from reading week to include my updated direction + research Before reading week I had the idea to make my project more meta - an analysis of the design process translated across different mediums. After watching the film La Jetee and Roderick lending me his book version of it, I realized translating a 4D project into a 2D project would work well if designed properly - the book layout accounts for the pacing of the film, sequencing stills in a way that makes sense as a physical/tangible manifestation of the film that still carries the emotional weight of the film (an element to keep in mind when designing the layout of my 2D artifact) Images in the book can have multiple frames on a spread - indicating a faster pace, being set in a sort of cup/container/border that gives the viewer more breathing room, or a dramatized full-bleed that begs the viewer to pause and take in the scale and emotional weight of the imagery. Intentional design elements in the layout of the book itself that still somehow manipulate time and how the reader consumes the book is something I want to attempt to replicate in the translation of my 4D to a 2D project. A challenge that's been keeping me stuck the past week since my last talk with Paul was finding something to anchor the 4D project that could unite all of the other projects. I initially had the idea of the design process being meta and the project itself being documentation of itself being made... but I quickly realized that I was putting myself in a complete loop of trying to document some sort of process with nothing grounding it other than "process". - insert image of ouroboros here - I found myself as a designer eating his own tail - which kind of fit the direction I thought I wanted to go but kept me stuck in place - constantly juggling trying to design something, document it, and put it back into the designed thing would just result in an infinite feedback loop that would eventually fall flat without some sort of anchor.

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Earlier Experimental Research on Hands

Our hands contain our humanness. Sometimes they give us away. They clasp a chair while we pretend not to be scared. They sweat from the palms while we beg our foreheads to stay dry. They also hold. They pray. They dance along the keys of a piano. They tickle. They dust themselves in flour. They shape bread. They scratch the back of a lover. We hide so much in this life, but I don’t know if it is possible to hide the way a hand can open and close itself out of care or loss or love.

∆ Devin Kelly, from Ordinary Plots: "J. Estanislao Lopez's 'What the Fingers Do'"

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GD4 - Experimental Particle Test

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Esemplasy - Esemplastic

Esemplastic is a qualitative adjective which the English romantic poet Samuel Taylor Coleridge claimed to have invented. Despite its etymology from the Greek word πλάττω for "to shape", the term was modelled on Schelling's philosophical term Ineinsbildung – the interweaving of opposites – and implies the process of an object being moulded into unity. The first recorded use of the word is in 1817 by Coleridge in his work, Biographia Literaria, in describing the esemplastic – the unifying – power of the imagination.