Hypnagogue |
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By Perry Hall, Ed Keller
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Description:
Hypnagogue is an interactive CD-ROM that combines the paintings and music of Perry Hall and the architectural work of Ed Keller into a digital labyrinth that collides painting, soundsculpture, digita
l architecture and non-linear narrative. The project contains digitally navigable paintings, continuously running 44.1kHz sound, spaces designed and rendered in Softimage and over 40 QTVR nodes. Hypnagogue attempts to combine the properties of painting, a
rchitecture and narrative into a hybrid collage that embraces the aesthetic of the surrealist movement of the 30's with the digital age.
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Medium:
CD-ROM
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How is it interactive?
The spaces and paintings are navigable; the sound recombines and phases dependent upon the viewer's spatial navigation; narrative sequences are dependent upon the viewer's choices and greatly effects the interpretation of the story; paintings can be alt
ered by the viewer
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Tools used:
mTropolis, SoftImage, QTVR, Photoshop, electric bass
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Narrative structure:
Hypnagogue is divided roughly into eight different architectural environments that can be explored in varying duration and in varying sequence; this is punctuated by more linear filmic sequences; found text, voice overs, prose, symbols, artwork, sound ele
ments and the design of the architecture all imply and suggest narrative possibilities of the nature of the environment, story and characters.
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Interface design:
Basic spatial navigation (up, down, left , right, etc), QTVR interface, custom cursors; control of sound properties through navigation; mTropolis designed.
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Philosophy:
The overarching philosophy was to create an experience in which the viewer is forced to break with habitual perception of their environment to enter into a questioning of issues of scale, language and time The use of experimental narrative forms, ones lij
ke those found in the cut-up works of William S. Burroughs; also Borges and Cortazar; a desire to use articulate architectural design to create spaces that have an inate effect on the viewer's subjectivity; an interest in creating a synaesthetic relations
hip between sound and movement through spaces; a desire to investigate issues of surface in depth in painting by digitizing paintings and creating navigational environments with them. We wanted to mix "high" and "low" art into one continuous experience.
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