Category: Projections 2

Week 3

Reference – THE NEW CONCRETE- Visual Poetry

  • Visual poetry in augmented realty/ visual songs in augmented reality
  • making people sing in augmented reality
  • Common meeting space for people interesting in susun and durang
  • Want to participate, learn, have fun, socialize
  • Place based publishing
  • A digital glossary of songs and dance

Using augmented reality – a play of what is there and what is not there.

Any place can become an akhra if you’re there.

( digital space where you learn mundari songs)

Multi platform AR experience

How to track others in AR space –

Using there devices – Tracking their movement through footsteps, moving (tracking movement of the handheld device) / grooving to the jadur beats tracked by graphics inspired by munda instruments or ornaments.

Visual Language System

Fonts:

  • Maku
  • Kalam
  • Gryphius for digital medium to give handmade bleed texture
  • Garamond for print – it will naturally bleed
  • Final six

Visual language:

  • Materiality in visuals
  • Digital vs real
  • Digital textures / material
  • What is the difference? How are they different?
  • Pixel vs particles

“It is from the space between languages that images emerge.”

‘Each sentence is a way of looking at things, crafted by its speakers in a very particular way. Each language sees the world differently, inventing its entire vocabulary from its own perspective and weaving it into the web of its grammar in its own way. Each language has different eyes sitting inside its words.”

Visual, tactile, sound, and movement

All elements intertwining with each other to create meaning. In this, the graphics act as the visual elements, the textile as the touch intertwining with prompted movement to the beats adding an extra layer of meaning to the meaning of the words. Adds the element of community storytelling/ experience

Week 2

How GCD can expand the realm of reading by embracing visual auditory and performative elements in storytelling?

OR

How can the convergence of graphic design, sound and movement (sensory) in storytelling expand our understanding of what it means to ‘read’ ?

Type of storytelling –

Susun Durang ( Dance and Songs )

SONGS ~ KNOWLEDGE ~ LANGUAGE + SOUND

DANCE ~ READING ( embodied interaction ) ~ MOVEMENT + INTERACTION WITH SOUND

Language + Sound + Movement

            SPACE

( susun + durang in akhra )

Akhra – Physical Space

Digital Spaces ?

Print Space ?

What new questions arose through Projection1 that need to be explored further?

How could this new project help triangulate your practice? Consider how it could explore and articulate a different—but related—perspective or position on the question you’ve been exploring in your work.

How might a change in context deepen your work? Can you identify a new public or network for the work to engage with? What change would this new context require of the work? Would a change in medium allow you to make a meaningful shift?

How could a change in scale advance your work? Expand or amplify your work through a change in actual size, a change in the level of focus, etc.

  • Audience? who will interact with this?
  • Intersections of digital and print publishing
  • Interaction Design
  • Activation (Interaction, participation) of a “space” ( In Dance and singing context, space is activated by the community. In the context of a book, the reader interaction activates it)
  • “Idea of an Akhra” – Space activated by interaction
  • Idea/ narrative/ observation – Migration has caused these spaces to go extinct, and individuals (specially belonging to a minority community ) fail to find social spaces like these, triggering loneliness and naturally disintegration of a culture.

DURANG ( Mundari Songs )

Characteristics :

https://www.jstor.org/stable/20019187?searchText=&searchUri=&ab_segments=&searchKey=&refreqid=fastlydefault%3A3d41b3cd6e197bc6c86a2113923f31bc&initiator=recommender&seq=8

Some of the features of Jadur song construction :

  • The four-line stanza as two parallel couplets, the second derived (sometimes mechanically and ‘illogically1 ) from the first.
  • The line repetition, and recycling of lines in successive stanzas.
  • The nearly universal subject matter of the songs: love, marriage, the passing of youth, hard times.
  • Other characteristics of the songs, e.g., the pervasive onomatopoeia, seems impossible to convey in English poems, although in one song here (maran gara . . . ) I have tried to put across some of the effect of the expressive – visual – verbs bijir-bijir here translated as ‘to glitter’, and biyal-boyon ‘to shine’.

Onomatopoeia in munda songs/ language / poetry

Concrete Poetry (Visual Poetry)

A play of visual poetry of songs + interaction of dance mimicked in a book?

Week 1

Recap:

References :

  1. Moniker’s “Dance Tonite”
  2. “Spatial Practices” by Melanie Dodd
  3. Yvonne Rainer’s work

-Carol Babiracki ( ‘Music and the History of Tribe-Caste interaction in Chotanagpur’ Ethnomusicology and Modern Music History )

–ttps://eyeondesign.aiga.org/the-inclusive-world-of-multisensory-typography/#:~:text=The origins of typography are,cold through visuals of ice.

  1. https://meaghand.com/myportfolio/shakespearesgarden
  2. https://tinanded.com/projects/kaleidoscopic-home-ar
  3. https://www.youtube.com/watch?v=-6uf1EPDAsI&t=241s
  4. Neuroaesthetics

-munari libro illeggibile

  1. Eva Weinmayr – ‘One Publishes to Find Comrades’ A Visual Event: An Education in Appearances
  2. Bell Hooks – Belonging: a Culture of Place.
  3. Sona Gahi Pinjra – Bijju Toppo
  4. vr dance dash

–https://www.tate.org.uk/research/in-focus/walls-paper/eat-live-work

methods to activate urban spaces, decay and renewal

“Taken together, the paper notices enact the idea of a wall, as described by landscape architect Thomas Oles, ‘as a place of truck – of interaction and exchange’”