TRyPTiCHON ::: emotional mapping
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For TRyPTiCHON, we envisaged two roaming performers (mU! and Agent Gav) equipped with two mobile units, and three indoor artists (manu/mukul/muth) managing the data and presenting the audio/visual performance, with contributions by 3D artist minna. Roamers were to follow routes according to certain rules. We planned to allow the roamers to be directed by algorithms suggested by users at the Limehouse (eg., cross the city using only streets beginning with the letter ëCí, having cycle lanes, having post boxes; or take the 1st bus that arrives for a journey of 1 stop, then the 2nd for 2 stops etc.)

During the jam, we were to test and explore a range of data interpretations:

3D and inside/outside relationships
ïGPS fixes from the roamers are visualized as on-screen traces in a perspective projection.
ïThe location data are used to distort a 3D model of the interior space of the Limehouse (pre-produced by minna).

Two roamers: subjective mapping
ïMoods and colours: the two roamers/flaneurs see the same street / neighbourhood / key spots through different eyes and code their different emotional interpretations by tagging the GPS data. The tags are then interpreted and used to modify the traces on screen. Possible modes of ìbeing on the moveî were suggested by the following writings:

mode_1: Walking by Thomas Bernhard
ìWalkingî records the conversations of the narrator and his friend Oehler while they walk, discussing anything that comes to mind but always circling back to their mutual friend Karrer, who has gone irrevocably mad. Walking provides a penetrating meditation on thinking and on the impossibility of truly thinking.

mode_2: On The Road ‚ Jack Kerouac

ìThe point of Beat is that you get beat down to a certain nakedness where you actually are able to see the world in a visionary way,î wrote Ginsberg, ìwhich is the old classical understanding of what happens in the dark night of the soul.î

mode_3: H”nsel and Gretel ‚ Grimm Brothers
The classic fairy tale about two kids, who dropped breadcrumbs on the way into the woods to mark their way back, but when birds eat their traces, they become lost and are abducted by a witch.

mode_4: Walden ‚ Henry David Thoreau
ìI wish to speak a word for Nature, for absolute freedom and wildness, as contrasted with a freedom and culture merely civil ‚ to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society.î ìI have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks ‚ who had a genius, so to speak, for SAUNTERING.î

Other possible literary bases for modes:
Homerís Odyssey, Georges Perecís ìSpecies of Spacesî and other Oulipo-an works

ïUsing the street as a stave for music composition: position relative to Limehouse as given by GPS is used to control pitch/velocity etc. parameters of a synthesizer.
ïThe roamersí wanderings move audio streams (from their phones) around a surround-sound setup at Limehouse.
ïSamples of the roamersí voice calls are attached visibly to their on-screen traces. On their return, the roamers uses these audio objects to remix their journeys.