13. Exploration 2
Situationism At Home town
Dérive
a technique of rapid passage through varied ambiances, where participants drop their
everyday relations and let themselves be drawn by the attractions of the terrain and
the encounters they find there.
(Debord, 1956).
18. Listen carefully and record everything
Challenge yourself to record
sounds from different worlds. Observe the interactions among people
If you hold too many preconceptions about things,
it is easy to miss out important things.
19.
20. Alternative explorative form opens up curiosity
Ambiguity of the guidance helps create a wider interpretative space
Different familiarity to a place could have great impact toward exploration
23. 3 Types of microphone
Omnidirectional mic
Hypercardioid mic Contact mic
24.
25. The tool to reshape the familiar form into an
estranged form
用指向性的話,我基本上也是很常用二 ...
... 你是有意識的去選擇,你要把哪幾段聲音保留起來疊合成一段 ...
像是一個飲品,抽取這個地方很多元素,去重新混合代表這個地方 ...
26. The tool to reshape the familiar form into an
estranged form
[接觸式]他就不是以一個風景去探索,我覺得它是以一個物件[去探索] ...
... 基本上是沒有聽過的聲音,或甚至是非常電子,很像是平行時空的電
子空間...我覺得他基本上是地圖醫生,像是拿著一個聽診器,然後就是這
個城市有一些其實是你從來不會知道的聲音
27. The tool to follow the space and crowd with viscosity spontaneously
那個定向麥克風,它可以幫我屏蔽很多聲音,然後聚焦於一點,突然世界
安靜下來,人也靜下來,注意力開始安靜但又集中 ...
... 可是你的眼睛還能看到一個雜亂的日常,那感覺就好像,很多很多世界
的細節在你眼前閃爍,卻只與你擦肩而過,你的注意力始終只集中在一點
上,在日常的亂流中是穩定的,但那一點也不是死的,畢竟聲音來源和內
容也一直在變,可是一樣有穩定的感覺 ...
... 而且這個集中毫不費力,安靜得毫不費力,在亂中求安定本不是件容易
的事,可用那個裝置可以輕易的做到。
然而要如何設計漫遊者經驗依舊是相當模糊的一件事。本研究採用Research through Design作為建構漫遊者經驗的方法。
RtD 作為一種學術理論在今天依然有許多的派別與些微的差異,它的歷史可以追至Frayling 1993年提出的Research through Art & Design. 在英國、北歐主要是藝術與設計社群在使用,荷蘭則是科技大學與設計學界,美國則大部分是HCI領域。
雖然如此,還是有觀察到遊戲以外的正向經驗。
其中一位參與者表示非常喜歡其中一段連結兩道關卡的小路。那是一段一般觀光客不太會走的路,但當時的夕陽、溫暖的陽光讓他覺得自己好像是生活在那邊一樣。
總結以上,遊戲化的手法似乎無法促進漫遊者狀態,機會似乎是在自由探索這邊。
We find that with the progression of the game, players’ attention gradually shifted towards solving and completing each tasks, and interactions with the physical environment were as well leaned toward finding clues in order to complete the missions. We also notice this pattern on players’ map, most of the markings on the map are related to the game, such as game clues and sites where they were solving the riddles.
Although we did not see clear advantage from the game, we did see some positive experiences which were unrelated to the game.
One player noted that he really liked one particular small path they took when walking from one site to the next one. He was overwhelmed by the warm sunset and feel like himself a local person walking on a small route that few tourists would take. It seems that gamification might not be necessary for achieving the state of flâneur, and the opportunities seems toward FREE Exploration.
第一次的探索是以觀光客的角度出發,並且發現機會似乎存在於自由探索之中。
第二次探索則想要改以頻譜另一端的在地居民角度出發。
提到將居民的注意力從平凡的日常生活中轉移出來,就不得不提到與漫遊者這個概念相關的“情境主義國際”。情境主義國際算是很早開始提倡將人從城市街道的權力關係中解放出來的團體。其中一項他們常用的手法 - Derive飄移
So for the 2nd exploration, we took inspiration from one of the situationism’s technique, Derive. a technique of rapid passage through varied ambiances, where participants drop their everyday relations and let themselves be drawn by the attractions of the terrain and the encounters they find there
其中一項他們常用的手法 - Derive飄移,是讓參與者拋下每日日常的關係,讓自己沈浸在周圍環境、地貌,以及他們所遭遇的事物。
So for the 2nd exploration, we took inspiration from one of the situationism’s technique, Derive. a technique of rapid passage through varied ambiances, where participants drop their everyday relations and let themselves be drawn by the attractions of the terrain and the encounters they find there
Derive app 是當代進行飄移非常好的範例。幾年前它還是以web app的方式呈現,現在已經是一款手機app。它提供使用者一張接著一張的指令,使用者透過放棄部分自身的選擇,把選擇權交給這些指令,達到從街道權力關係中解放出來的目的,讓使用者去體驗平常不會體驗到的經驗。
This the the screenshot of Derive app, a modern tool for doing derive. Referencing the Derive app, we create a card deck with 18 instruction cards,
由於視覺常常主宰了我們的城市經驗,其他感官經驗往往被我們的下意識給過濾掉。 本研究認為讓參與者優先以相對容易被忽略的聽覺感官進行探索,可以為城市探索帶來新的體驗。
另外從前一次的探索發現,為了不要打斷探索時的flow,應該要提供更為模糊的引導,而不是提供可能無法產生連結或無法理解的指令。
當我們在嘗試不同的方法時,我們聯想到了 Churchill 所提到的 20 世紀版本的漫遊者 - 街拍攝影師。
As vision dominates the experience of urban exploration, other senses often lie behind the filtration of our selective consciousness. We believe that having participants explore with auditory sense in the first place could lead to new experiences toward urban exploration. And from previous exploration, we found that in order not to break the flow of exploration, we need more ambiguous guidance for participants, rather than providing instructions that participants might not be able to relate or make sense of.
As we were exploring possible methods, the image of street photographers came into our mind for their representation of the 20th-century version of flâneur.
A 對於 mode 2 能夠將熟悉的場景汲取並重組有極大的興趣,尤其是搭配指向性與接觸式麥克風。
他形容指向性麥克風會指引他去聆聽、選擇、重組,去探索不同的角落
Participant A shows great interests exploring with Mode 2 to dismantling and reassembling the place from a familiar form into an estranged form. Especially when exploring with contact mic and hypercardioid mic. These 2 mics provided him with privilege vision, seeing the normal into fascination.
He described that, the contact mic shaped a heterogeneous soundscape of ‘things’ mumblings’, and he feels like himself a doctor listening to the place; whereas the hypercardioid mic only capture sounds from a specific direction, which shaped a ‘cue from the place’ to explore the unnoticeable corners.
Before ending the presentation, I would like to highlight
1. the characteristics of our phonograph
2. Some possible approach toward Flaneur,
3. and our reflection on designing stimuli for Flaneur.
通過 Research through Design 的設計探索與實地研究,我們重新定義了漫遊者作為觀光客與在地居民之外的另一種角度。
在第一輪的探索,我們理解任務導向的遊戲化體驗可能非建構地方連結所需,
接著我們在第二輪探索中理解到過於開放性的探索讓與地方相關的回憶湧現,而非從周圍環境中探索和創造新的意義,
第三階段,我們認識到與地方的熟悉程度會對探索產生不小的影響,我們也成功以聽覺探索為任務,輔以語意的暗示,讓部分參與者建構出對地方新的想像。
第四階段,漫遊者留聲機以embodied的暗示,結合多種使用模式,展示了一種引人入勝的心理地理學的體驗,也就是本研究所稱漫遊者體驗。
最後,雖然本研究僅稍微揭露了可能的漫遊者經驗特徵與可能的方法,但已展示漫遊者視角作為城市探索的另類觀點具有深厚的可能性。