Filet is a virtual reality experience that tells the story of my dog and best friend while I served in the Peace Corps in Togo.
Filet is a virtual reality experience that tells a story in three parts, featuring the beginning, middle, and end of my time with my best friend during one of the most challenging and rewarding experiences of my life. The experience is told through low poly graphics made for distribution on mobile phones as users visit the countryside where I biked to get my dog, the compound in which we lived, and the field where he ultimately passed away.
Thesis, Worlds on a Wire: Narrative Storytelling in VR
In this VR experience, you are Pinocchio, trapped in a whale, determined to escape through the blowhole to safety. In order to get there, Pinocchio needs to discover that truth is the key to freedom, and deceit, though fun, can only take you so far. If Pinocchio can understand this concept in time, he will escape and transform into a boy. If not, he will be trapped with his lies forever.
An interactive installation that shares the stories of the immigrants behind NYC street food carts.
The piece composed of interactive three 3D printed replicas of food carts and the individuals behind them. Video and audio tell the stories of the people, in their own words. As the narrative unfolds, minimalistic visuals that relate to the story are mapped on top of the carts.
Wonder Corner is a participatory installation that invites adults into a private and safe space to wonder about the world. It is a place where no one can see or hear them and they can ask anything they want.
Seymour Papert said, “Learning, especially today … is about putting one’s own words to the world, or finding one’s own voice, and exchanging our ideas with others.”
Research shows that compared to children adults are less likely to seek out help, share and ask questions about things they don’t know. Somewhere along the way of growing up, we lose the openness of our former curiosity. We think we’re supposed to have all the answers and we become embarrassed about what we don’t know.
Wonder Corner is an invitation to leave that shame behind.
I am presenting a Vending Machine in which women can select through different body types and get their output.
For this project, I wanted to make a clear statement of what it is like to be a woman, and wanting to look a certain way, but also wanting to eat whatever you want. Instagram is a platform in which women are bombarded with non-stop photos of models and clothes, but also with food that is popular. Women scroll through instagram feeling like they want to look like the models online but also wanting to eat the food online. Therefore, my vending machine represents that emotion for women everywhere. The vending machine has 3 screens in it – one screen has a selection of breasts, the second screen has a selection of torsos, and the third screen has a selection of butts. Women can choose what body type they want, and then get an output. The output is a printed receipt of a comment and captions, which is taken from the pictures that are on the screens. It is a mix between what fitness models, blogger models, and those who have eating disorders say. The vending machine is trying to convey the message that women are constantly putting themselves on the internet in many forms, and is trying to show how women cope with body image.
Our AR/VR room escaping experience will be setup in a corner of a classroom with a basic desk and few lockers. The background story bases on a creepy mental hospital which has ulterior secret that no one knows. The experience will be solo- one audience at a time. The audience will play a role of someone being framed as a psychopath and brought here, they need to find clues with AR(we’ll provide google cardboard) in the physical space to escape in a short time(approximately 5 mins). The clues are gonna be target pictures hided in ordinary objects for our APP to trigger images/animations/videos. The experience will also include few performance to bring audience into context.
Michael Jackson’s iconic song “Thriller” and associated dance moves provide a familiar and entertaining prompt to explore how technology extends the body into disparate spaces, through different representations, for unknowing audiences.
'How Thrilling' uses the familiar song and dance of Michael Jackson's “Thriller” to explore how technology can extend the body into many disparate spaces, through many representations, and for many audiences. Through this lens, the project examines how technology standardizes the body. The project is composed of 4 feeds.
The performing body is presented through two primary representations in feed 1 and 2 respectively: an abstracted stick-figure-like skeleton and an unmodified in-situ RGB image feed. The abstraction encourages an unselfconciousness of the performer while also highlighting its irregularity of motion in contrast to the precise repetition of Michael Jackson's looping skeleton. In juxtaposition, the RGB feed–seen only by an audience in an entirely separate space without the accompanying music–highlights the nonconformity of bodies to any form of standardization.
If the performing body closely matches Michael Jackson's moves or a set time period expires (whichever happens first), the front projection for the performer switches to reveal a live RGB image feed of the audience watching their RGB image feed. For a brief moment, they can communicate across these displays (basically just like Skype, Facetime, etc.) and the audience realizes they are not watching a recording by a live performance. Then, without warning, the projection for the performer reverts back to the abstracted skeletons.
Two additional feeds provide context within the project. Firstly, a constant silent loop of the original Thriller video excerpt gives visual context to the audience watching the RGB image of the performer. They might recognize the actions of the performer in the Michael Jackson video and vice versa. The last feed visualizes the motion trails of the performing body. Without the skeleton, it draws attention to the impercision of our actions despite attempting repetation.
The immersive mixed reality experience WAVR, in which neuro-controlled VR technology uses biosensors to monitor increases in alpha waves (brain waves that increase as a person enters a meditative state). The brainwave data triggers commands on the VR application, allowing the user to control virtual objects with their mind. In addition to virtual reality, WAVR engages other physical senses through a vibrating chair, a fan blowing cool air, and wafts of perfume.
Neuromachina, Worlds on a Wire: Narrative Storytelling in VR, Project Development Studio
Orbit Training is an interactive project creating fake shadow of the audience according to their positions in the space.
In outer space, to stay in the orbit from another star, the aster has to speed up when it gets closer to it and slow down when it’s flying farther. But actually, everything with mass has “gravity”, we also have orbit from different people. So I captured people’s shadow and make them moving all the time and the speed is based on the distance. I call it The Orbit Training, envisioning it a necessary training of future life, but actually telling the story of people’s relationships.
The Museum of Funny Ladies, A Museumette is an immersive exhibit that tells a piece of the history of women in comedy, showing that yes, ladies are hilarious. This experience transports visitors to the 1970s and into the writers room of pioneer comedy writer Sybil Adelman, where they can interact with the objects in the space to experience her story as a groundbreaking female comedy writer navigating the male-dominated writers world of that era.
The Museum of Funny Ladies, A Museumette brings to life a moment from history of women in comedy, the 1970s, when pioneer lady comedy writers broke into an industry primarily dominated by men. This exhibit transports visitors back to the 1970s, and places them in the writer’s seat of pioneer TV comedy writer, Sybil Adelman. From a typewriter to scripts, telephones to a television, visitors can interact with objects in the space that were part of a writer’s daily routine, and experience what it was like to be the only woman in the room, through Sybil’s eyes. The Museumette is an excerpt from my design plan for the Museum of Funny Ladies and acts as a proof-of-concept for this larger museum design. You’ll laugh, you’ll sigh. And you will leave knowing that with chutzpah and humor, women were able to navigate their way to success in this male-dominated world.