The Starkey Hearing Foundation travels the globe, delivering the transformative gift of hearing to people in need. They’ve been documenting their humanitarian efforts and creating an inspiring and informative TV show called Operation Change, and in parallel to the release of its’ trailer they wanted to create and share an interactive experience that gathered the positive intent of the masses into one space. Their question was “How will you create change?.”
Wildlife.la and OA teamed up to implement an experience to visualize all the responses to this question. Our biggest concern was to ensure that the experience maintained a liveliness and humanity, so we opted to represent these intentions as drops of color which painted images of the people the Starkey Hearing Foundation had photographed in their efforts. By exploring the image made up of the dots you can browse individual responses for how change can be implemented on a human scale. We encourage you to check out the site and create a response yourself:
Mid summer of 2013, with support from Northside Festival, we created an immersive interactive sound-sculpture on Bedford Ave for the public. We chose to attempt the impossible, and bring the heavens down to earth. What does a cloud sound like? Watch the documentation video below to get an idea of our response:
On June 8-9 2013 we teamed up with our Partner Diagonalist to implement a 35×35′ architectural installation on Governor’s Island for the Figment Festival. Phantom Lung was an air-supported structure built entirely out of materials chosen to evoke childhood memories, to literally suspend a moment of childhood joy.
In extension of the values of the Superorganism project, we attempted to represent the unconscious of the participatory group by having all who entered the tent decorate a white balloon and release it into the space. In essence, their emotions, ideas, and imprints of self, supported the structure. Their movement and play pushed around the balloons inside causing the structure to suck and swell in collective breath.
Since 2011 we’ve been creating an interactive theatre experience called the Superorganism. The early designs for the Superorganism drew heavily on ritual as a reference for how people might enter the interactive performance, become a participant, and eventually push the performance in a new direction. This video is our attempt at capturing some of the emotive qualities of the ritualistic super.
In late 2012 OA had the opportunity to create a realtime 3D visualization of the fourth largest oilfield in the world for a major energy client via Hush as a showroom and conference piece. It was an interesting design challenge, because we had a linear story to tell through a nonlinear explorative experience.
We opted to use 5 transparent lenses as windows to which you explore the Zakum map. With them you can manipulate the timeline, see the corresponding data, and discover the unfolding story which relates to the geographic space.
See the video below to see Hush’s Documentation of the project:
We placed fifty ten inch Samsung Galaxy Note Tablets in a grid on a wall. Each tablet displayed a solid color. The image from its’ camera gently pressed through. As you move closer to the colored mirror to see yourself more clearly, a tone plays and the the camera’s image fades away. The pieces of a greater picture, laid out upon the whole grid of tablets fade in.
The technical design for this project was a fun challenge. There are a number of different ways a system like this can be designed and controlled, but for simplicity we opted to write one piece of software which we installed on all the tablets. By telling the tablet where it lived in relation to the grid, the software could know what part of the distributed image to display and what sound to play back corresponding to its’ flip.
Any unfolding experience can be quantified and re-experienced in a new aesthetic way.
We got the opportunity to spend the Summer of 2012 working with Wildlife to take the Google Fiber Campaign and re-imagine it in a new visual, sonic, and tactile manner in Google’s Fiberspace in Kansas City. Click the image below to see the whole story..
In Spring of 2012 OA had the opportunity to work with Hush and Skylab concepting a largescale interactive installation for Nike at the Eugene Olympic Trials. The ultimate goal was to convey to the public attending the event exactly how fast these nike athletes are, and to immerse viewers in a new perspective of speed. Here’s Hush’s doc:
The mechanism for imparting this feeling was a 100m perspective adjusted tunnel lined with a massive LED wall depicting the fastest runs from the Olympic Trials. A giant, 1:1 representation of just how fast the world’s fastest are. To concept this OA developed an application modeling a long 3D tunnel. You could travel down the tunnel and shoot pulses of light of different sizes, shapes, speeds, and directions. It helped us learn how to design content that both shows you what speed looks like, and impart upon you what speed feels like.
Our initial plan was to make the tunnel’s display experience a realtime abstraction of the action on the field. In an exploration of the best ways of abstracting motion in this way we did some quick experiments using the laptop’s webcam. Here’s one:
Another idea was to create a display experience using data from the Nike+ API. We wrote a sketch to process data from the Nike+ database, order it, and sonify the data:
Summer of 2011 Brian had the privilege of serving as production designer for Eugene Loannou’s Off Season, a character based drama about a bodybuilder coping with his unique passion and struggling with relationships in face of it. Besides being an accurate look into an interesting and often overlooked subculture, it brings to surface questions concerning aspiration and connection which we think a lot of people can resonate with, and so it’s been doing quite well as it rides the festival circuit.
Here’s an Underarmour commercial Brian did some sound design and music for through Hush.
The video was edited to another song but because of rights issues we had to compose audio to fit the edited video. It was an interesting challenge trying to keep a consistant rhythm for the audio but also match the changes in the video frame. Hope it amps you.