EPHEMERA

EPHEMERA
Ephemera re-imagines the landscape of the
human brain, immersing the participant in
the fleeting membranes of our imagination
and notions of play. Facilitated by first
person fly-through mode, the project
encourages participants to fluidly explore
this landscape through a series of neuro-
passages and curio-chambers that aim to
evoke rather than illustrate. Culminating
notions of neurology and
technology, Ephemera celebrates
imagination and exploration within the
cartesian space of the digital sphere.

EPHEMERA
RMIT Centre for Animation & Interactive Media
EPHEMERA
EPHEMERA
RMIT Centre for Animation & Interactive Media
EPHEMERA
An interactive journey through the mind.

Field 36 Gallery * Melbourne * 2011

INTRODUCTION
Dr. Chris Barker, Lecturer, RMIT University

“When I think in language, there aren’t ‘meanings’ going through my mind in addition to the verbal expressions: the language is
itself the vehicle of thought.”
Ludwig Wittgenstein, Philosophical Investigations

The brain as a seat of intelligence, sentience and individuality is a relatively recent phenomenon. The ancient Egyptians
considered the brain to be ultimately useless, a kind of “stuffing” for the head, to be removed through the nose with hooks prior
to mummification. The Greek philosopher Aristotle saw the brain as a cooling system for the blood. In the modern era, the
question of the brain is largely a question of cognitive science; it has been dually treated as either a machine for being
(methodological individualism) or a computational object (computationalism, A.I.).

We come to these ideas in a one-sided manner – that events in the world are given meaning by the perceiving agent. But are we
reflecting closely enough on our experience of thinking? What is happening in our embodied interaction with these “external”
objects? Is that thinking? Famously, Wilson-Crick only encountered the structure of DNA through the physical manipulation of
cardboard models. We must at least consider the possibility that the cognitive agent may also be an active creator of meaning.

Recent developments in cognitive science have placed doubts on the locus of the very human activity of thinking (and therefore,
being). Enactive cognition holds that external agents (tools, language, models, simulations) might be so closely entwined with the
process of thinking that they might as well be understood as fundamental and essential to our idea of what thought is. This is
radical in its re-embodiment of the idea of thought.
Thought becomes not just an abstraction occurring “in the brain;” thought becomes a process indistinguishable from those
objects symbolically assimilated to “think with” (such as diagrams, sketches, models, simulations and physical metaphors). This
has significant impact on the idea of human-computer interaction, as simulations and games then become not merely external
objects, but prosthetic objects, essential and indistinguishable from thinking.

The present exhibition then, invites us to think about the radical re-figuring possible with new tools of simulation, interaction and
play. Ephemera allows us to re-imagine the very landscape of the brain, and invites us to make meaning through a playful
remapping of all those mushy neurons, dendrites and nerve endings. But more, Ephemera is a new and playful presentation of
knowledge, a machine for thinking, a new cognitive formulation, simulation or construction.

In the current exhibition, we are invited to play, and to interact. Unlike a painting, a movie or a sculpture, Ephemera is not a
contemplative object; it is plastic, malleable, temporal and procedural. As an object, it does not “stand for” already acquired and
codified symbolic or propositional knowledge; nor does it present a frame within which to understand some concept or other.
Ephemera is playful - valuable precisely because it is not a problem requiring a solution, or visa versa. It seeks to break this
pattern of certainty, and draws us into a more embodied relationship with the objective world. Our play becomes an active
construction of meaningful action where no such sense making is directly demanded from the environment or from our internal
needs. As such, play creates a site for innovation, Ephemeral, but nonetheless tangible.
DIRECTOR’S NOTE
Sophia Hanover, Director, Ephemera

"By changing space, by leaving the space of one's usual sensibilities, one enters into
communication with a space that is psychically innovating. … For we do not change
place, we change our nature.”

-Gaston Bachelard, The Poetics of Space

French philosopher Gaston Bachelard studied the ways in which the human experience
of architecture and space affects and shapes its development. He was particularly
occupied with the notion of ‘Desire Paths’, a term in landscape architecture used to
describe a path that isn’t designed, but rather is worn casually away by people finding
the shortest distance between two points. “Just like nature and evolution itself, life will
always find the most expedient route to what it wants.” It demonstrates how human use
of an architectural space or pre-determined flow through space will sometimes over-
ride the intentions of its creator. Herein lies the creative intent at the heart of Ephemera:
to create a space in which users determine the experience and path; where an
immersive environment takes on qualities of meaningful play because of the participant.

It is not always an easy task to develop an independent and original visual language
while working within the theoretical space of the computer, albeit to maintain a cohesive
vision while collaborating with a large and diverse group of skilled artists. Ephemera is
in many ways, a solution to the question of how to approach spatiality and
conceptualise space in a way that is sincere and speaks to the original intent.
Game Designer Chris Crawford identifies interactivity as the outward expression of play,
the mechanism by which play is executed. The current exhibition seeks to foster an
interactive, exploratory space set within the loops of grey matter that make the human
brain.

This re-imagining provides an immersive play space via surreal and abstract simulations
of the brain, and mimics functional and dysfunctional states. Meaningful play defines
what occurs when the relationship between actions and outcomes in a game are both
discernible and integrated into the larger context of the game.

Interactive Media are forms of systems, and the exhibition itself is a set of parts and
variables which interact and invite the user to derive meaning from the experience.
Klass Kuitenbrouwer pertinently noted that “being interactive itself doesn’t make a
project more interesting,” but that the trick is to “offer an interesting form of freedom.”
This notion of mindful user limitation is something that pre-occupied the artists engaged
in the project, and great consideration was given to the form of structure and boundary
within the piece.

Collaboration on this project has provided the opportunity for a large group of digital
artists to present a holistic framework for meaningful play, and contribute in ways that
harness the talents of individual members. Whether it is for one minute or fifteen, we
encourage users to actively look, explore and dictate their own frameworks for play
within the piece.
 LEFT TEMPORAL LOBE

The left temporal lobe in particular plays a major role

in speech, verbal memory, and other language
functions. Represented by a large chamber, the left
temporal lobe’s internal walls and surfaces give the
impression of a maze mapped with text, in particular
clippings from lists, dictionaries, manuals,
instructions, newspapers, essays, and other non-
fiction, objective, or scientific sources. The maze will
be formed by a series of straight-angled internal
walls. When the avatar encounters the trigger item in
this region it will become disorientated and the
environment will turn temporarily upside down.

Original Moodboard for the left temporal lobe.

 RIGHT TEMPORAL LOBE
The right temporal lobe in particular plays an
important role in non-verbal memory and thought
processes.

The surfaces of the right temporal lobe will be

mapped with graffiti-like images, drawings, and other
strange subjective, personal, non-rational, surreal or
inexplicable images. The passages in this maze-like
chamber will have the appearance of graffiti filled
laneways; the walls will be textured with peeling white
paint and occasional glimpses of brickwork, and
covered in graffiti images and childish hand-painted
drawings.

The sounds in this area will feature snatches of

forgotten songs, snippets of music and television
themes. There will be the distant sound of children
laughing, and vaguely nostalgic music. There will be
no obstacles in this region other than the teleports
and trigger items.

When encountering this zone’s dysfunctional state,

the region will descend into darkness, except for a
few dim lights which will illuminate specific parts of
the drawings on the wall.

Original Moodboard for right temporal lobe.

Right Temporal Lobe. Right Temporal Lobe.

Right Temporal Lobe, dysfunctional state. Right Temporal Lobe, dysfunctional state.
Original Moodboard, inspiration and reference for left frontal lobe.
LEFT FRONTAL LOBE
The left frontal lobe is the region of the brain responsible for
control, language related movement, analytical and numerical skills,
posture and reasoning. The left frontal lobe will be represented by
an ordered, logical space. It will be a space predominantly
represented in black and white, mirroring pure logic. The space will
be textured in black and white geometric patterns that blend into
one another. The sound will be a low hum almost like air
conditioning. This sound may crescendo and get louder in the
dysfunctional state. The lighting will be bright and evenly lit with no
identifiable light source.
Original Moodboard and concept art for the right frontal lobe.
RIGHT FRONTAL LOBE
The right frontal lobe is the part of the brain that controls
imagination, our understanding of 3D forms, artistic, spacial and
musical patterns, creativity, spatial rotations, intuition, and
inhibition.

The tunnel will be textured with warm-bright lights. The colours will
light up, change colour and pulsate; the space will also contain a
range of 3D sphere type shapes that float along near the sides of
the walls.

The sound will be very melodic, tinkling music. A crashing sound

will be heard to match the explosion of colour when the
dysfunctional state is triggered. In this region’s dysfunctional state,
the spheres faces will break apart and burst into shards of colour.
Original Moodboard, concept art for the occipital lobe.
OCCIPITAL LOBE

The Occipital Lobe is responsible for processing all visual information

received by the eyes. It perceives visual information such as colour, shape
and faces. It is also the part of the brain where dreams come from. This
region of the brain will be represented by a large, spherical chamber,
resembling the inside of a theatre or TV station. Objects related to visual
stimulus will be arranged around the inside of the space.
he screens will line the walls of the chamber or even float in midair.

The overall soundscape will be a montage of television sounds (news

reports, daytime talk shows, cartoons, advertisements, music).

When the Dysfunction Trigger is activated, all the images on the screen
will turn to static. Dream-like, nonsensical silhouettes with no particular
relation will grow out from the screens and surrounding area and become
obstacles that the Player has to maneuver around.

Sounds of static, a low droning sound, or eerie circus music could be

used to give the place a more sinister, nightmarish atmosphere.
Original concept art for the parietal lobe.
PARIETAL LOBE

The Parietal Lobe maintains the visual and physical image that an
individual has of themselves. Parietal lobes receive sensory impressions
from the body and are connected with the processing of nerve impulses
related to the senses, such as touch, taste, pressure, pain and
temperature as well as language functions. The parietal lobe guides the
motion of the body in space as well as coordinating its movement in gross
motor skills such as walking or climbing over objects. Damage to the left
lobe may disrupt a person’s ability to understand spoken or written
language.

The space which represents the parietal lobe consists of three regions.
These are ice, forest and desert. They represent the idea of navigation
through environments and changes in temperature (functions of the
parietal lobe).
 OLFACTORY BULBS

In the human brain, the olfactory bulbs are

responsible for the perception of odours, i.e. our
sense of smell.

The two olfactory bulbs will be represented by small,

long thin chambers that may be entered from either of
the temporal lobes. These chambers will be made to
resemble small scientific laboratories or perfumeries.
Each will be a long narrow space, with benches along
either side, on which a variety of scientific and
measuring equipment is on display, such as test
tubes, filters, distilling equipment, drip bottles,
bunsen burners, small medicinal bottles.

The style of these small laboratories will be quite old

fashioned, with most objects made from wood and
glass. The lighting scheme will reflect this old-
fashioned feeling, with warm soft yellow lighting and
deep shadows. Imagine a mad-scientist’s basement
laboratory a hundred years ago. The ceiling will be
low and sloped, disappearing into the shadows.

Original Moodboard for the olfactory bulbs.

Original Moodboard, concept art for the cerebellum.
CEREBELLUM

The Cerebellum is the part of the brain responsible for the co-ordination of
movement, balance, and muscle control.

This region will be represented by a dark brown space wallpapered with

faded wallpaper. Light bulbs will dangle slightly from the top of the space.
There will also be old picture frames that hang limply in the middle of
space. The user will need to navigate through these frames. Light will
come from the light bulbs dangling from the top of the tunnel. They will
have a yellowish, sepia tint to give the space a warm and antiquated feel.

In the dysfunctional state, the light bulbs sway unpredictably back and
forth as the frames drop quickly to the ground. The tunnel becomes an
obstacle course. The sound in this region will consist of eerie sounds, and
the sound of wind.
EXECUTIVE PRODUCERS ENGINEERING
Ole Alfheim Engine Lead: Simon Braunstein
Sarah Phillips Xingling (Isis) Chen
Pascal Hsiao Chih-Hsiang
Jin Yin Chong
DIRECTOR Max Sharam
Xiao Xue (Snow) Zheng
Sophia Hanover

PRODUCERS PRODUCTION
Alexandra Johanna Bazurto Production Lead: Pablo Muñoz Gomez
Lahta Stephens Sebastian Fowler
Danielle Kerr
Jinhong (Kelly) Li
CONCEPT DEVELOPMENT Alesh Macak
Ariel Magnes
Fatihanum Johar Salim
Concept Lead: Meredith Uborka Han Jing Zeng
Terry Formosa Xin Zhao
Lindy Lou
Laura Cashman Pickles
Karis Sim