The deeper one continues to prod at a tear in space, that tear will continue to grow. The same can be said about documenting and constructing the Subzone. What initially started as a way to glitch the virtual environment by playing with viewer perceptions turned into something huge on it’s own. The Subzone now stands as a virtual landfill, which projects samples of the huge influx of content being pushed out by people for people.
The most tedious and challenging part of the project was getting the technical aspects sorted out. This involved finding ways to circumvent problems if users are unable to access the Subzone due to a missing plugin for example, where they would then be able to choose to download the content to their local desktop and access it from there. Another conundrum was that of a moral one, as using Facebook wall images as the textures meant I might have to mask the images of faces. This also brings up issues of privacy intrusion, as I was essentially making their private Facebook walls public by using screenshots. I decided to target just the public pages on Facebook instead to get around this touchy issue, as the intentional idea to make something public would at times mean that the owners have no problems with other people knowing what they were up to.
Inclusion of the darker sides of Facebook meant having to trawl through comment threads and Facebook pages where the “keyboard warriors” will often come to gather to leave hateful comments. As for pornography and adult content, Facebook already has a stringent policing rule in place to detect and take down such content. Even so, that doesn’t stop many Facebook pages from getting around this by posting extreme risque photos of models (and this applies especially for Facebook pages maintained by adult entertainment companies).
All of this sourcing for what material to include and how to present them led me to think of it all as one big black hole of virtual nothingness. Even though each of these various “material” are something in essence, in the bigger scheme of things, these trails run cold and leave the user spent. It is much like how most of social media is today: they tempt, they instigate, they provoke a reaction. In this respect, the Subzone could be regarded as an ever-growing amalgamation of this cycle which becomes outdated in content the moment it stops being updated.
Another problem I was facing was trying to integrate all of the elements (Unity player, Tumblr gallery for user submissions) into one Tumblr page. Sometimes the theme for the Tumblr site would cause problems with integration, and I would have to search for another compatible one to see if it would work. In the end, I settled for the option to separate the user submission gallery and the Unity webplayer into their own separate Tumblr blog sites.
Here is an updated flowchart to better illustrate my current setup.
I have spruced up the main landing page of the first Tumblr blog, thanks to some helpful html coding tips from hostingkingdom. I tried to get rid of unnecessary clutter on the site so that users can easily get to the instructions and follow them without much trouble.
Here are the current versions of the landing pages for the two Tumblr blog sites.
After users click on “Participate!” and click on the link at the bottom of the new page, they will be directed to the second Tumblr blog to submit their material. Once users fill in the details and hit “Submit”, they will then land on the main homepage where they will be greeted by all the user submissions to the site so far arranged in a grid layout for easy reference.
I will continue working with this setup and will stick to it, unless I find a better solution.
I have also added in a separate webpage tab on this OSS site called “Welcome to the Subzone” which should be appearing near the top left of this page. Project details and links have been added in the tab to direct viewers to the site in the event that they land here first.
Hopefully Tumblr doesn’t fall apart till then.
I also discovered later on in the process (when creating executable files of the Subzone for users to download) that the Windows executable file gets wrongly flagged by Chrome as being malware when someone downloads it. Also, those running OS X Mavericks will need to adjust their security settings to “anywhere” in order to run the downloaded app. I decided to include these important information right at the bottom of the main Tumblr site near the download links so that they will be seen and read by users.
Here is an update of how The Subzone looks like. After clicking on the Mac app I created and choosing the settings (screen resolution and graphics quality), the Unity splash screen loads before the user is transported to The Subzone.
I took some time to see how else I could fiddle around with Unity. Eugene Soh’s GALLERY.SG initiative was looking for beta-testers, and since it also ran on the Unity engine but had simple characters and textures loaded for an alpha level, I joined the server and started to play around. I discovered an interesting phenomenon, whereby logging in two machines to connect to the same server leaves a shell of the first user stuck in the skybox area of the map. What I realised only later after conversing with Eugene was that he couldn’t see the first avatar at all, and all he saw was me in my second avatar standing on nothing. I found this interesting and also a little funny, so I recorded myself in Eugene’s gallery.
I then decided to document unintended glitches happening while I went about my daily routine. While the main idea is to only limit my “glitching of textures” to only Facebook screenshots, documenting these glitches which occured naturally outside of where I was looking seemed to be more attractive. In any case, these would help me to be more picky about the kinds of glitch aesthetics to employ in the Unity space.
The following video below documents a glitch on Facebook, after scrolling to the bottom refused to load more posts for reasons unknown.
A glitch on YouTube which occured while uploading a gameplay video I recorded. The progress bar kept fluctuating with it’s numbers, which only served to frustrate me further as the upload seemed like it would never finish (but it did finish, eventually…)
A glitch from something I broke while using Quartz Composer. I think I plugged in something that I shouldn’t be plugging in. The weird effect continued to play in fullscreen, but the weird thing was it only showed up as a static image in the recording below.
A quick check on my Tumblr site hosting the Unity webplayer showed that everything is still in working order. As of right now, I can begin the process of updating the assets and the environments textures.
Here are some shots from the Tumblr site with added navigation text at the top.
At the moment, I am still trying to figure out if it is possible to add a page on the Tumblr site and use it to host the incoming submissions. If that doesn’t work out, I might have to link the submission to another site and link it via a hyperlink. Also, Tumblr seems to act a little funky sometimes, which explains why the “Click here to submit” hyperlink on my site is not…hyperlinked…at the moment.
I found myself growing interested in creating an ecosystem of sorts in the Subzone. The errors, glitches and maybe even the textures could have a life of their own. I came across the following video where apparently the movements of “creatures” were not predetermined (i.e. they moved based on algorithms). The way they kept bumping into each other and the little accidents happening among them was something that fascinated me a lot. Once I have locked down the rest of the environment in place in the virtual space, I could probably attempt to create looped animations of blocks of error codes which literally move through space and interact with the viewer.
I have started creating a YouTube playlist dedicated to Unity and started collecting tutorials and workarounds. Having a playlist curated will come in handy when I need to refer back to a particular video or process for reference.
The following below are some examples of animation work done in Maya, which will be exported to Unity as .fbx files. One thing I discovered a bit later on was that Unity does not support vertice animation, and I will be keeping this in mind while continuing the work on the project.
I have been trawling through online forums to find a working embed code which will allow me to put up a test demo Unity scene within a blogpost on Tumblr. I had considered perhaps shortening the Dropbox url using goo.gl or bit.ly and putting that link out as a main landing page. But the downside is, that it would just land the user on a blank white page with the scene loading in the middle. It would be a waste of screen space as only the Unity scene would be there and nothing else. By having it on a site like Tumblr, I could place hyperlinks and buttons at the side to draw the viewer in to check out more details about what they were interacting with.
The two lines of code highlighted in blue were the ones I had to change to redirect to my files on Dropbox. At first, I made the mistake of not uploading the game files to the “Public” folder on Dropbox which caused the Unity scene to not load. I had mistakenly assumed that having the url would be enough. After correcting this and putting them in the proper folder and trying again, I was able to load up the scene on Tumblr.
I already had the Unity webplayer plugin installed on my computer, so I did not experience any problems so far. I will need to include some form of auto-prompt or a link for users who do not have the plugin so that they can just download it from the site without leaving it. Also, I will need to include some pages on the Tumblr site to separate all the different sections (e.g. What? Why? etc). I could perhaps also include a link back to my project links and hyperessay work done here as an extension for viewers to find out more.
I plan to include a section on the tumblr site dedicated to video documentations and maybe even simple GIF animations to record all my experiments in Unity.
It is interesting to note how in the above image, Hasan Elahi identifies himself and his presence with a downturned arrow pointer. It is as though through this simple icon, Elahi seems to rebel against conforming to convention. The same can be said of his works which go against the grain, in terms of how he ends up being both Hasan Elahi the Artist, and Hasan Elahi the Curator. His constant stream of meticulous documentation of his own private life becomes overwhelming, to the point where this stream becomes littered with both something and yet nothing at the same time. It is interesting to note how this notion of duality seems to be present.
Elahi’s efforts to track his own self border on the line of extreme and yet, they also poke fun at the idea of surveillance. His name being accidentally added to the FBI watch list as a suspected terrorist was the catalyst to his delving deeper into the whole process of self-surveillance and making the gathered data public. By making so much of this information public, he intentionally creates a glut of data which keeps surfacing and burying itself in a constant state of flux.
It was terribly dangerous to let your thoughts wander when you were in any public place or within range of a telescreen. The smallest thing could give you away. A nervous tic, an unconscious look of anxiety, a habit of muttering to yourself—anything that carried with it the suggestion of abnormality, of having something to hide. In any case, to wear an improper expression on your face … was itself a punishable offense. There was even a word for it in Newspeak: facecrime …
– George Orwell
Perhaps it is no surprise that Elahi also refers to his Tracking Transience project as “The Orwell Project”. Tracking Transience embraces surveillance and the loss of privacy. Elahi’s whereabouts and images from the places where he has been to are readily broadcasted and archived on the website.
The artist becomes a hyperactive medium, who is continually active in interacting with his own body of work. In Elahi’s case, his penchant for tedious documentation, geo-tagging and archiving becomes a never ending process. Perhaps it is best to call Tracking Transience a continual work in progress where the documentation and it’s arrangement echoes the concerns of the artist. Organizing and curating these material become a form of controlled chaos for the artist, as one can only imagine just how much data one has to pour through in order to arrange them by date, location and so on just to make them presentable. The end result becomes a neatly archived record of everything and also nothing.
The average individual on the Internet would tend to provide details and descriptions of photos or videos he might have taken along with with tagging details of who he was with and where he was going. However, in Tracking Transience, these vital extraneous details are cut off. The occasional photo might pop up with a some letters and numbers placed in the centre of the image, which could possibly be some form of coordinates pointing to where Elahi was at the time the photo was taken. But other than that, the only thing a user ends up tracking on Tracking Transience is but a sparse detailing of the life of the artist and what he gets up to. This brings to mind the idea of inducing information paralysis by overwhelming one with information, similar to FriendsterFriday created by Ian Aleksander Adams.
The masterstroke in Elahi’s Tracking Transience is how he creates this illusion of giving you every single information about himself and also nothing at all. Fragmentation and unification of disjointed information seem to provide the perfect online camouflage for Elahi. His careful attention to detail in presenting this information to the public eye seems to mock “Big Brother”, effectively thumbing the eye of surveillance with gusto and showmanship. The artist therefore ends up donning two feathers in his hat, that of producer and curator of his own body of work. This can be seen in how Elahi uses his own documented material in his installation works , which extensively utilize monitors and cameras.
It is as though the artist is using the act of surveillance against itself, thereby effectively negating any palpable form of usable information which could be deciphered at the end. Elahi becomes almost like an icon of defiance in the face of government surveillance, which is something that has become an increasingly pressing issue as of late in the United States.
In an age where the boundaries of privacy become ever so faint, Elahi’s work raises concerns over just how aware are we of our own information trails we leave behind. Personal data and the person behind that data can effectively become distorted by technology and the mass media. To me, I find that Elahi’s Tracking Transience evokes this idea that people should take ownership of their own data and that a lack of privacy is still pretty much a problem in society today. At the same time, what about the possibility of being intentional in trying to break down the wall of privacy? What about those who willingly upload photos of what they eat and who they meet on Instagram and Facebook? Perhaps there are also those who relish in the lack of privacy, where entering their space in the digital sphere is very much the same as entering their home unannounced. Should this group of individuals be worried with what Big Brother does with their very public data? Or does it not matter in the end since they voluntarily put up their most private information on very public online portals? Elahi’s work thus continues to stimulate debate and raises more burning questions which are a pertinent critique of the superficiality of society. In the mean time, Hasan Elahi continues to hide in plain sight.
The above diagram illustrates the proposed workflow I have in mind for this project (that is, assuming everything in the pipeline actually works according to plan). I will continue to take screenshots of my Facebook feed and use these as my “textures” in the virtual space being created in Unity. As of now, I am only considering making the most of just one social media platform like Facebook as it is very popular and easily recognisable by many.
Having already looked through some of the basic tutorials for simple level creation and how to export a game from Unity, the next part of getting the game and it’s assets out of Unity should be a fairly simple process. In order for other users to access the game, it needs to be stored online, and Dropbox would be a very good fit for this purpose. After doing some research, I found that the Unity files will need to be placed in the “Public” folder in order to ensure that the game can be embedded and played without problems.
The last step would be getting the Unity game to run embedded in a blogpost. I decided to make use of Tumblr as the platform where I will publish the Unity project, as Tumblr has a reblog and like function for individual blog posts which would help greatly in making something go viral. It also ensures easy sharing of blogposts and content among Tumblr users which is yet another plus.
Should a problem arise with Dropbox, I will revert to Google Drive as my failsafe storage solution. If this was to occur, I will need to remember to change the embed code for the files to point them to their new location. Otherwise, users will no longer be able to access the content and they would only be greeted with a dead page.
Allowing multiple users to connect to the server (in this case, Dropbox) is another possible issue which may need to be considered. As of this time of writing, I do not know if Dropbox imposes any form of limit as to the maximum number of people allowed to access a file at any given time. If I am unable to overcome this problem, I will consider the possiblitiy of bringing the game to the user (i.e. asking friends to play it on my laptop, record their reactions, document them)
Animating the textures and moving them like GIFs would be another problem. If GIFs fail to work, I would probably have to import individual frames into Unity and see how it goes from there. This also brings me to the point on integrating triggered animations which start off after a user does something in this virtual space. This requires a fair bit of tweaking and also exploring additional input from a 3d program like Maya. Checking out some forums online gave me the impression that bringing something in from Maya to Unity has a lot of things which could go terribly wrong, and this calls for some testing.
What if the Unity game becomes unplayable? (i.e. Murphy’s Law). In any case, should the exported files from Unity become damaged or corrupted, I will fall back on documenting all the steps I have taken till the point of corruption. Should attempting to open the corrupted files provide interesting results, I will attempt to record them as well as making the files public on my Tumblr site.
I have been busy exploring Unity 3D over the past week. Coming from a background in being more well-versed in Maya, the user interface and the controls in Unity were quite easy to get used to. The clean user layout allowed me to clearly navigate my way through getting used to working in Unity. I was also pleasantly surprised to know that Unity handles imported animations and models from Maya via the .fbx format. This got me thinking about possibly creating small animation tests and using them in Unity later on to test out animation triggers when users interact in this virtual space.
I had always wanted to tinker around with making games, and learning how to use Unity and it’s tools has been a pretty enjoyable experience so far. The wealth of tutorials and training archives on the Unity website proved to be immensely helpful as I found myself going through each of them to get a better understanding of the program I was working with. If there was one thing I wished I knew how to do, it’d be coding. I hung out around one of the livestreams on Twitch to catch Mike Geig conducting his free live training classes.
Another plus I discovered was that I could essentially export a test scene from Unity and use an online file storage site like Dropbox to host the game files. This means that I could just embed the url link in a blogpost or anywhere on the Internet, and users will be taken directly to the game when they click on it. With Unity, one thing that needs to be noted in that users will need to download and install the Unity webplayer plugin in order to use the interactive space.
To test this out, I created a simple setup scene in Unity where the textures of the virtual objects are screenshots of websites. In this example, I used a screenshot of my Facebook news feed as a shared texture, so all of the objects in the scene are covered by the same texture to give a sense of disorientation in this subspace. The user can navigate around the space with the WASD keys, spacebar to jump and move the mouse to look around.
The viewer is expected to be an active agent, to interact with and to navigate around the virtual subspace. Instead of being led on to do something, the viewer would have full freedom to explore the area of the subspace. The viewer will not be held back from leaving the “gamearea” so to speak, and he or she will be allowed to freeroam to any part of the world map within the virtual environment.
The viewer would be able to intereact with objects and artifacts in this subspace, which may trigger reactions to occur in other parts of the space. The viewer would then become a catalyst for visual changes to occur within the subspace.
Kit Galloway and Sherrie Rabinowitz created a “portal” in the real world through which people could see and interact with one another even if they were miles apart. It was a 3 day event which attracted many active participants and provided for an entertaining archive footage of the whole affair. For my work, I wish to consider if it is possible to tear open a portal or hole in the third space, to reveal the underbelly of the hidden structures in the virtual game world. If this first stage is possible, I would consider about the possibility of inhabiting this said space.
Jon Cates creates and also archives his various experiments with glitches. It is interesting to note how he views gifs as “cultural artifacts” and that they are a form of cultural cinema for the next generation. Taking a leaf from his practice, I intend to capture my experiences traversing and discovering hidden subspaces within the third space via gifs. Screenshots would also be a backup.
This Dutch photographer archives his explorations in the virtual realm, and I found his particular series of what looks to be building parts floating in space pretty interesting. The series, entitled “Flying and Floating”, consists of screenshots of buildings and architecture within a virtual environment which are cut off in various parts. To get such an effect, the photographer (i.e. Robert) would have to move himself into a position within the virtual landscape where he straddles between the subspace (i.e. between the normal virtual world and the unknown worldspace hidden beyond). By putting himself into such a position, the game becomes “corrupt”, where renderings of the virtual surroundings start cutting off at unpredictable angles and planes start disappearing. Just a simple shift in a physical location is enough to dynamically alter the actual perception of the virtual environment. The fact that this altered perception would be unique only to the photographer (Robert in this case) and that this perception would be dynamically different for other users, is something I wish to explore in my work.