The lifeSigns world is an interactive installation
that combines two separate views of the space. A large projection shows a
map of this world, accompanied by a generative soundscape. Between two and
four workstations placed around the edges of the map enable navigation and
play of the world. The space appears to be infinite as the player may continuously
navigate and search in any direction – there is no up or down. Although
it is a three-dimensional representation there is no horizon line or indication
of linear perspective, but instead multiple layers of abstract form, colour
and movement. When icons are played they perform animation and music, and
their energy is increased thus making them more likely to persist in the world.
When multiple users are playing a number of icons simultaneously, the result
is a symphony of artificial image and sound.
The gallery space is extended by the connected web site, which documents all
of the icons generated in the world. Visitors to the site can assign meanings
to each icon. The most commonly assigned meanings for each icon are then communicated
back to the installation space so that they may influence the behaviour of
the icons. They can also be displayed to the gallery visitors interacting
with the world.
Interaction with lifeSigns can be summarised into three levels of experience:
1. Ambience: experience the installation space, multi-layered sound, activity
in map view
2. Navigation: using one of the workstations to move through the world, observe
icon behaviour and form
3. Play: Select and play icons causing them to perform animation and music,
give them energy. Multiple players may perform together.
MAP VIEW
The four players may also see themselves on a ‘top-down’ view
that functions as a map of the current world. This ‘map view’
gives a general feel for the overall energy and activity of the world.
This view is projected onto a screen mounted on the floor. Each player can
see their position in the world, and in relation to other players, in this
view. The behaviour and relationships between icons are also displayed. A
low frequency pulsing sound changes its speed in relation to the overall energy
of the world. Short hi freq uency sounds accompany the behaviours as they
flash into view.
ICON PLAY
lifeSigns appear throughout the world. They have been generated by a system
of rules that govern features typical of signs, symbols and icons such as
symmetry, form, colour and sound. The results of these rules are encoded into
a ‘dna string’ that uniquely defines each icon. This also drives
their behaviour as they choose to attack, befriend, leech, or mutate one another.
They may also send messages or commands. Using a bank of four touch-sensitive
buttons, each icon may be performed by the player resulting in the generation
of synaesthetic sound and animation. Player input increases the energy of
the icon and therefore it’s chance of survival as low energy icons will
eventually die in the world. Furthermore, icons with excess energy may reproduce
and generate offspring that combine features of their parent icons.
Each lifeSign has a ‘meaning vector’ that defines its meaning
in the world. These come from a list of sixty-four words that describe actions,
attributes and structures that are possible in the space. The players may
affect these meanings, and the cumulative input of all players is collated
to determine the final meaning. This process, combined with the system for
generating icons, can be described as a ‘generative meaning system’.
It combines the capacity of the computer to generate multiple forms from the
same system with the collection of data from human participants to interpret
the meaning and significance of the forms generated.
