Artistic Statement
Liquid Meditation is a narrative virtual environment based on nature,
philosophy and architecture. Constructed as a place of discovery, it was
created to offer an experience of investigation rather than guidance. Within
the space, an immersant is given the opportunity to explore abstract
water reflections. Exploration occurs within a unique architecture that
structures a narrative philosophy, as well as the images of reflection.
As the immersant journeys through the structure, meditative experiences
within the environment foretell the upcoming revelation. Capacity to
conclude the narrative is solely based on individual experience.
Narrative Elements
The reflective fountain serves as the chaotic
center of the narrative. Creating life from static images of reflection,
it continually pieces together reality. The images on the
walls of the surrounding architecture can be alternately viewed within
its flowing structure. The immersant's physical closeness to one of these
reflections changes the image in the fountain. Movement around the fountain
changes the viewing perspective of reconstruction.
The architecture surrounding the fountain structures the reflections and the philosophical narrative. Constructed in the form of a winding progression of stairs and small towers, it guides the immersant through the experience. A high wall on the outer perimeter, additionally, confines a participant within the space and persuades movement upward through the architecture. At the summit of the structure, the narrative comes to a climax as the final tower opens with three doorways into the sky.
The water reflections, within the towers, animate in response to the presence of the immersant. They are abstracted in various degrees of depth, existing in the form of flowing, outward flowing and outward encompassing images. The reflections symbolize various levels of meditation. The deepest reflections dissolve into worlds created from themselves. The worlds serve as signs of meditative experience (similar to dreams) that foretell the conclusion of the narrative through navigational and structural elements. Two of the environments reflect the narrative architecture. The other two mirror the fountain contained within the architecture. Each of the four environments progressively change in navigation to foretell the conclusion of the narrative. Within the architectural environments, the immersant can interact with spherical orbs that affect the flow or transparency of the water reflections. Within the fountain-based environments, the immersant has the opportunity to interact with two different streams of water - one is directly connected to the input device (a wand) and the other is affected by the input device, but separate from the immersant.
The audio for the reflections is based on recordings of natural water sounds. Designed to reflect the flowing nature of the graphics, the soundscape was created to dissolve in and out in response to the immersant's interaction with the reflection images. Sound within the architecture, also, gradually evolves from a fountain sound to a wind sound as the immersant climbs through the architecture. Other sound effects such as the sound of walking up the stairs, running into the outer wall, falling and flying were added to enrich the navigational experience. Sounds for the images around the fountain and the orbs within two of the reflection worlds indicate a change in the environment.
The navigation of Liquid Meditation allows the immersant to freely explore and move within the space. As in the real world, gravity exists. So, in moments of haste, an immersant may fall from the architecture. Only the walls provide security in the journey up to the top. Once the highest tower is reached, flight can be attained if the immersant courageously makes a decision to step off of the architecture. At that point, all navigational boundaries are removed.
Philosophy
As a philosophical narrative, the virtual experience is representative
of growth in life. Various elements in the narrative structure
express a scenario symbolic of attaining awareness. The
architecture visualizes the steps in working toward a change. The walls
symbolize the subconscious confinements that we place around ourselves.
The fountain exists as a reminder of the continuing chaos in life.
The reflections act as conduits to reality and reflection (meditation or intuition)
within the growth process. The navigation symbolizes the work and
dedication needed to realize the subconscious. Falling from the
architecture represents laziness or resistance to awareness. As in reality,
laziness occurs in the form of repetitive chances to learn the same lesson.
Without self-awareness and conscious realization, stagnation will
continue to trap an individual. Flight is representative of
attaining awareness and change. Growth allows evolution and the ability
to look back at the past and towards the future with a new perspective.
The same is experienced at the end of the virtual narrative.
Exploration of Medium
In response to working with the CAVE virtual reality system, the project
was, also, created to explore its physical space. The CAVE is a 10
x 10 x 10 foot rear-projected visual/audio room. Within Liquid Meditation,
the winding architectural structure was created so that immersants would utilize
all of the walls
of the CAVE. The stairs within the structure can be
physically navigated (as well as being navigated with the wand),
encouraging movement within the space of the CAVE. Spherical orbs
within two of the reflective worlds, as well as interactive streams and
fountains, also encourage spatial movement.
Hardware
Liquid Meditation was created for the CAVE (CAVE Automatic Virtual
Environment). The CAVE is a 10 x 10 x 10 foot, room-sized, multi-person,
high-resolution 3D video and audio environment developed at the Electronic
Visualization Laboratory (EVL) at the University of Illinois at Chicago.
Within the CAVE, an individual can become immersed in a virtual environment
by wearing stereoscopic glasses. The visual perspective of one individual
is tracked and can be simultaneously viewed by the other participants. Navigation
and interaction within the environment is accomplished with an input device
called the wand (a 3D mouse containing
buttons and a joystick).
In addition to the CAVE, Liquid Meditation has also been shown on the I-Wall (Infinity Wall). The I-Wall was used as a display during the Master of Fine Arts Thesis Show. The I-Wall is a large, rear-projected video screen (a one wall CAVE). During the show, a non-stereo version of Liquid Meditation was projected in the Reception area as a prelude to the CAVE showing of the application.
The CAVE and the I-Wall each use a Silicon Graphics Onyx InfiniteReality for graphics and a SGI Indy for sound. Both VR systems are creations of the Electronic Visualization Laboratory.
Software
Liquid Meditation was programmed in C using OpenGL, the CAVE library,
and NCSA's VSS audio library. Images for the application were transferred
from color slide film to a Photo CD and were color and intensity corrected
using Adobe Photoshop. Video images were created from footage shot with
a Hi-8 camera and input into a SGI O2 through S-VHS. Batch processing scripts
were created through csh programming to process the photography and video
images. The sound samples were created from natural water sounds and synthesized
using Digital Performer and Sound Designer II on a Power Mac 7100/80.
Exhibition Feedback
Liquid Meditation was first exhibited in May of
1997 at EVL in Chicago as the Master of Fine Arts Thesis Show.
Displayed as a one-person show, visitors were given the opportunity to
experience the environment both in a CAVE and on an I-Wall VR system.
The I-Wall installation, in particular, allowed visitors to walk up and randomly
experiment with the interface. The resulting interaction was an interesting
psychological investigation into the character of each participant. As an
example, some people would try to navigate, fall off the architecture a few
times and, then, quit. Others would keep falling off, but they never gave
up. The experts (usually small children) had no problem easily navigating
through the architecture. The location of the installation in the reception
area, also, seemed to encourage people to interact at their own pace. Since
CAVE experiences are timed and, usually, consist of a large group (5 - 10),
people seem to
be apprehensive
to try to navigate or interact with a project. This did not seem to be the
case with the I-Wall installation.
At other exhibitions, Liquid Meditation was exhibited with several other VR works in a CAVE, on a Panorama or I-Wall. Restricted by time constraints, the exhibitions did not allow time for individual interaction. Instead, Liquid Meditation was shown in a presentation format. Despite the lack of individual participation, the audience still provided educational input into the process of creating art for virtual reality by supplying comments about their experiences. Exhibitions have included the Ars Electronica Festival in 1997, Virtual Spaces in conjunction with ISEA 97, the opening of the VR-CUBE in Stockholm in late 1998, the opening of VR CENTER NORD in Aalborg, Denmark in 1999, SIGGRAPH Art Gallery 1999 and the opening of the Center for Advanced Visualization and Interaction in Aarhus, Denmark in 2001.
© 1997 Margaret Watson