October 05, 2010, 5:12am
ambientAlternity
⎨Through the Projected Perception of Spatial Harmonics⎬
About :
F. Myles Sciotto
Masters Thesis
SCI-Arc // M.Arch 2 // Xprogram
Southern California Institute of Architecture
Los Angeles Ca // 2009
More:
soCinematic | soCinematic(blog)
Affiliates:
Advisors:
jeanMichelCrettaz | marcosNovak
Contact :
f.myles (at) gmail (dot) com
ambientAlternity by fmyles is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.
Alternity in “Bodies in Space”
“When I first entered into the shadowy room, I found my senses assaulted and then seduced, compelled to want more, see more, feel more. I wedged myself between the shafts of nearly imperceptible webbing that formed arcs, shards and meshes of light, hoping to track something unusual, possibly a moment of haunting, indescribable beauty to turn ripe!” (Notes to Self) Dr. M. A. Greenstein
In this first of what will be a monthly blog column dedicated to probing the insights of artists and scientists studying “the body in space,” I am pleased to feature the research and the researcher who produced “Ambient Alternity,” a new mediascape installation installed at SCI-Arc in Los Angeles. As a project conceived and developed by the up and coming architect/mediascape designer, f|Myles (aka F. Myles Sciotto), the work not only caught my attention but that of the SCI-ARC graduate committee which awarded the young designer with the “best thesis” award for Summer 2009. Given my interest in all things neuro and new, I was particularly moved to find the designer had used neurotech/biofeedback equipment to data collect!
Statement:
Ambient Alternity:
Through the Projected Perception of Spatial Harmonics
“I am not
interested in
the stable core
of the known,
but in the
turbulent edge
of the barely
conceivable ”
…Marcos Novak
Blurring the threshold of both spatial and temporal constructions, Ambient Alternity is an
experiment in architecture’s capacity to produce alternative forms of experience. It asks how our current understanding of how we experience our surroundings is going to be affected by the digital networks and persuasive computing beginning to be embedded within the physical
environment.
All around us we have created stuff. Stimuli, candy for the modern imagination, stimulation for the conglomeration. We are amidst a trans-connected threshold, whereby everything is networked, plugged in, online, and in real time. Computer chips now outnumber humans and questions of embodiment through architecture need to be questioned. These emerging new paradigms require new developments in the formation of our future.
Alternity employs informed dimensions of space and time. Superseding virtuality by attempting to avoid symbolism, existing between the physical and metaphysical, material and immaterial, real and unreal, it exists within this current blurred threshold. Society is beginning to get comfortable with this threshold and Architecture needs to become involved.
These images explore the concept and practice of world making by designing an environment that allows for the experimentation of spatial and temporal harmonic possibilities using information asmaterial. Geometry (numbers in space), sound (numbers in time), and sense (coherence of numbers) are constructs containing forces and velocities which are translated by their inherent relationship to frequency, and periodicity, thus creating potential harmonies. This feedback loop through projection, both spatial (geometric) and temporal (sonic) are informed by mapping perception (EEG data).
This allows a unique relationship to be reprogrammed, and is experienced through the
TranSection; an evolved threshold paradigm, projecting space by perceiving our sense of it. It
becomes an experiment in the evolution and transformation of the visceral, infinite space of
possibilities.
In the installation (pictured herein), a feedback loop containing two programmatic models,
perception and projection, are established. Upon entering the environment, the user is connected to a wireless EEG transmitter which senses the neural activity of the brain and sends it to a computer. A program then translates this data and maps it through different parameters,
scanning and sending the coherent patterns found in real-time. These coherencies are then
rendered in a virtual environment and sent to the projection paradigm.
What I Am For
New ideas and discoveries
Architects designing trans-active spaces programmed and able to be adaptive by a system of
parameters. There is no beginning and end to anything, the world is continually evolving and so the methodology is not where one thing ends and another starts, but rather transition between what has been, is, and will be. This threshold is not a defining moment, but when broken down only consists of a system of tolerances and capacities at which everything exists. This ideology of spatial and temporal thresholds needs to be acknowledged and examined, the designing of dynamic potentialities.
What I Am Challenging
Narrow views and outlooks
I am theoretically challenging the notion of an “architect” deciphering space as static forms to be occupied and experienced by others, based with the notion that we live in an active world where things grow, adapt and evolve to their surroundings. The idiosyncratic dilemmas, historical events and personal preferences of the users offer the program to develop systems of dynamic spaces creating new paradigms of environment and embodied experience. I believe this will become more relevant and prevalent as the technological & information revolution continues and ultimately leads to a new understanding of space, environment and realization of the singularity.
Why Is It Important
This is the future, our future
As the understanding of spatial and temporal constructs begins to evolve, architects should be
the vanguard of conceptualization, experimentation, and generation. These new realms and
dimensions of spaces require new tools, techniques and theories in the construction of our
future.
To learn more about the research of F. Myles Sciotto, go to his website:
www.soCinematic.com
October 05, 2010, 5:11am
// video: ambientAlterntiy video
November 10, 2009, 3:55pm
thesis Brief
ambientAlternity
⎨Through the Projected Perception of the inter-Alien⎬
f|Myles Sciotto
“I am not interested in the stable core of the known, but in the turbulent edge of the barely conceivable”
-Novak
Sense and the Sensor;
The world around us: the world we design and build to experience. All around us we have created stuff. Stimuli, candy for the modern imagination, stimulation for the conglomeration. We are amidst a trans-connected threshold, whereby everything is networked, plugged in, online, and in real-time. Computer chips now out number humans and questions of embodiment through architecture are not being questioned, ‘Digital networks are no longer separate from architecture and pervasive computing is being inscribed into the everyday social, political and environmental complexity of the existing physical environment’ (McCullough, 2005). Everyday the world is becoming increasingly clearer that it is one of individual interconnected self-expression.
Who is to be responsible for these new endeavors, designs and spaces? McCullough States, “Human life is interactive life, in which architecture has long set the stage,”(McCullough, 2005) It is architecture’s responsibility to illuminate the way. But if architecture is at all interested in creating experience in this information age then it must be rigorously responsible at incorporating this realm, its constructs, and infrastructure. In this new space ‘The Architecture becomes the information editor’ (Plottegg & Trapp).
‘The real is already virtual’ (Novak, 2001), and “The virtual connects body and perspective in new ways” (Queau, 1995). But the last thing we need is more meaningless connectivity in the vein of virtual reality. Attempting to simulate reality by symbolizing it. Rather a new capacity needs to be investigated, alternative to that which is known. “Existing notions of body and space need to be re‐programmed to stay meaningful” (Hoog, 2005). So it is through our architecture that “Alternity” originates. Alternity employs informed dimensions of space and time. Superseding virtuality by attempting to avoid symbolism, existing between the physical & metaphysical, material & immaterial, real & unreal, it exists within this current blurred threshold. The threshold, which society is beginning to get comfortable in and the threshold which architecture, is in need of a defense. Defending its necessity and responsibility in these new realms of world making for new
The goal of this thesis is to explore the concept and practice of world making by designing an environment that allows for the experimentation of spatial and temporal harmonic possibilities using information as material. Geometry (numbers in space), sound (numbers in time), and sense (numbers in mindscape) are constructs containing forces and velocities which are translated by their inherent relationship to frequency, and periodicity, thus creating potential harmonies. This feedback loop through projection, both spatial (geometric) and temporal (sonic) are informed by mapping perception (EEG data). This allows a unique relationship to be reprogrammed, and is experienced through the TranSection; an evolved threshold paradigm, projecting space by perceiving our sense of it. An experiment in the evolution and transformation of the visceral infinite spaceScape of possibilities.∞
Welcome to Alternity.
August 21, 2009, 6:48pm
.00 | introductory thoughts
“I am not interested in the stable core of the known, but in the turbulent edge of the barely conceivable”
-Novak
“We must rip and tear at reality”
-Picasso
“Its very liberating to see reality as a construction”
-Eliasson
“In the next century, planet earth will don an electronic skin. It will use the Internet as a scaffold to support and transmit its sensations. This skin is already being stitched together. It consists of millions of embedded electronic measuring devices: thermostats, pressure gauges, pollution detectors, cameras, microphones, glucose sensors, EKGs, electroencephalographs. These will probe and monitor cities and endangered species, the atmosphere, our ships, highways and fleets of trucks, our conversations, our bodies—even our dreams….What will the earth’s new skin permit us to feel? How will we use its surges of sensation? For several years—maybe for a decade—there will be no central nervous system to manage this vast signaling network. Certainly there will be no central intelligence. But many scientists believe that some qualities of self-awareness will emerge once the Net is sensually enhanced and emulates the complexity of the human brain”.
-Neil Gross, Business Week
August 20, 2009, 6:23pm
.01 | abstract
Sense and the Sensor;
The world around us: the world we design and build to experience. All around us we have created stuff, stimuli, candy for the modern imagination, stimulation for the conglomeration. Taste, touch, smell, sight, & hearing; Our senses are our tools in creating experience, continually being deciphered, illustrated, manipulated, morphed, and manifested.
We are amidst a trans-connected threshold, whereby everything is networked, plugged in, online, and in real-time. High definition, remastered, active, reactive, interactive, Wi-Fi, Hi-Fi, and accompanied by your favorite iPhrase to make it clever.
Computer chips now out number humans 100 to 1, and the question of embodiment is not being questioned. ‘Digital networks are no longer separate from architecture and pervasive computing is being inscribed into the everyday social, political and environmental complexity of the existing physical environment’ (McCullough, 2005). Everyday the world is becoming increasingly clearer that it is one of individual interconnected self expression.
Who is to be responsible for these new endeavors, designs and spaces? McCullough States, “Human life is interactive life, in which architecture has long set the stage,”(McCullough, 2005) It is architecture’s responsibility to illuminate the way. And if architecture is at all interested in creating experience in this information age then it must be rigorously responsible at incorporating this realm, its constructs, and infrastructure. In this new space ‘The Architecture becomes the information editor’ (Plottegg & Trapp).
‘The real is already virtual’ (Novak, 2001), and “The virtual connects body and perspective in new ways” (Queau, 1995). But the last thing we need is more meaningless connectivity in the vein of virtual reality. Attempting to simulate reality by symbolizing it. Rather a new capacity needs to be investigated, alternative to that which is known.“Existing notions of body and space have to be re‐programmed to stay meaningful” (Hoog, 2005), and so “Alternity” originates.
Alternity supersedes virtuality by attempting to avoid symbolism. Alternity exists between the physical & metaPhysical, material & immaterial, real & unreal, it breathes within this blurred threshold. The threshold which architecture is in need of a defense. Defending its necessity and responsibility in these new realms of world making, this need is paramount. The stage is changing, This is our world, and the world is our stage. Architectures’ stage.
This thesis is an exploration in alternity. An experiment which spacial (geometric projection) and temporal (sonic projection) harmonics are generated through he mapping of perception (EEG data). This feedback loop of projected perception allows for a unique possibility of sensory experience. Opening the doors of perception can harmonize experience, projecting space by perceiving our sense of it.
August 20, 2009, 6:22pm
