Occasion in the Snowstorm
What can you see in the boundless white? Can you be sure of what you hear in the whirring noise? Experimental sonic game attempt to break down the barriers of analytical, linear information systems with diegetic simulated environments full of uncertainty and chance sound played by the player. And it employs gaming as a method of sound production, with virtual spatial vectors transformed into chance sounds. Walking without fatigue triggers continuous sound that never stops. The noise created by pseudo-randomness of computer simulation and uncertainty of game operation traps the player in the occasion of snowstorm.
Screen recording from"Occasion In The Snowstorm"
The project as an experimental practice stems from my research in contemporary information system, and the associated infrastructure issue as well as technical image production. Contemporary information systems is developing based on information theory and cybernetics in the twentieth century, with Shannon's information theory as the foundation for a communication system oriented towards accurate and deterministic message delivery. Noise reduction is an essential part in transmission process especially when artificial intelligence has taken noise reduction to a new technological level. Ai denoise is based on algorithmic thought that is separation, of what is to be preserved and what is to be discarded as noise, as Hito Steyerl argues in Proxy Politics: Signal and Noise, is social formula of division. This denoise is not only about the image or the sound itself, but also about the content of information in society and culture. Separation technique in information noise reduction can be traced back to the joint development of colonialism, capitalism, probability theory and statistics centuries ago. Rough and standardized denoise makes images sharp at the edges and smooth on the surface without losing resolution, as virtual engines bake low-poly models to the perfect images; as perfect smooth curves after noise reducer.
What behind slick surface is the noise that outside the purpose, dose it also intersperse with those neglected emotion and self that come from perception and transcend expression. Precise transmission and binary denoise are not only making the system less noisy, but also encompass us as part of system. The linear relationship between input and output, sending and receiving, encoding and decoding, is fostering us to a logical, analytical ‘reading' Habit - reading information with overload comprehension extremely. We need determinacy, reliable information, or effective analysis to possibilities of happenings. Any uncertainty and unpreodicty leads to the collapse, anxiety. Is it possible to stay with indeterminacy, to construct a situation where the the analysis is disable, an experience that is sensory and fluid, and return in the lost.
Research structure for gaming method
'Gaming as method to play sound'
'Gaming as method to play sound' is an experimental approach to play the chance sound via diegetic game. Action-based media translates vectors in virtual space into sound. Purpose of sound is broken by unpredictable and occasional player action. The movement at present produces the sound at present while the sound feedback to the affection. A dynamic shift between sensori - motorschema constructs an unstable flow of sound.
The diegesis of game is set in blizzard, with white snow covering everything, connected to milky sky. Poor weather and unknown wilderness environment always implies people to escape, from experience of wild survival. How do you find your way out? In a blizzard with low visibility, the amount of visual information is minimal. The only thing that remains is the continuous whistling in your ears. What can you hear in the noise? Can you be sure of what you hear? Attention is diverted between different bands. Keep walking, in indeterminacy and aimlessness.
"Sound Terrain"in game engine
Time is repeat in the game, time settings keep the game in the loop outside of reality time - a time with no concept of time. You can't know time by the light and environment while skybox envelops everything with a still image, or a constantly cycling weather system.
Body and Image skin
Body, unaware of its fatigue, follows the instructions of controller, It’s like a skin left in coordinate system, continuing the dream of realistic body. Walking on a diffuse horizon, penetrated by noise. If the body in the game is embodied skin, distorting the cognitive-action curve under jumping, combined instructions. The world it belong to is a visual second skin, containing all the game elements of body, terrain, particles, which is smooth and subtle, close to reality without disguising the purpose of the simulation.
Space is flooded with pseudo-randomness of computer simulation. Staring at the terrain, repetitive mapping makes space unmemorable and infinitely expandable. Features of nature will appear more than once. Because all disorder is controlled by the random function behind the program. If you wait long enough, a speck of dust will pass before your eyes along the same path.
Lost in the snow scene, lost in the perfect image. Snowstorm made viewing difficult, but still tried to see. And even harder to see all things behind it, as a digital image of the landscape. When the perfect image is punctured by grotesque pierced moulds and broken mesh, vision we rely on is no longer trusted, visual here is gradually collapsed, discharged. Like snow with fantastic sharp is essentially fluffy and variable structure, which can be compressed with force, and be transformed into other states of matter.
Can you hear that? The sound at present.
The player's position, direction, altitude and action in the game are triggering chance sound tracks. The behind mechanism is triggers buried in the random noise terrain. The uncertainty of player operation conspires with function-based pseudo-randomness to complete the sound occasion. Based on game mechanics, the authority of sound production back to the audience. Gamepad in player's hand becomes the sound mixer, completing the spectator's own sound in a participatory manner.
In the process, sound tracks are mixed at different points in timeline triggered by unpredictable action, which conditions is the action and movement. Space and time are reorganized in simulator where the traditional time and space is deconstructed. Disorientation in the occasion and random become the path of penetrating the smooth surface and returning to the reshaped Baudrillard’s reality. Follow and be aware of what you hear at present, then create what you hear.
Stay with Lost, you will find a way.