Index
Final Project - Happy Apocalypse - Fabricademy - Futurelab - Amasterdam 2024
HAPPY APOCALYPSE WEBSITE LINK CLICK ME¶
THESIS
FINAL PRESENTATION¶
HAPPY APOCALYPSE SCENARIO:¶
Concept Description¶
GAME TRAILER¶
WHY A WEBSITE:¶
The website serves as an archive, showcasing how "Ray" played the game by questioning and transforming trash into treasure, as well as researching and crafting bio-materials. The game aims to provide inspiration and recipes for players to customise based on their own resources, fostering a deeper connection with their own waste and the natural surroundings.
WHY AN APOCALYPSE:¶
Set within the context of an apocalypse, this scenario brings our necessities to life, amplifying our senses as players find comfort in the discomfort. This design encourages players to tap into their creativity, finding innovative solutions to the challenges they face.
The players are challenged through the game to reimagine and question their daily habits, giving value back to discarded items. The scenario of an apocalypse allows the players to escape social norms while fostering new ideas and ways of seeing the world. Merges the past, present, and future in a digital space where utopian worlds fuse together.
Inspiration:¶
I draw inspiration from everyday objects that most people tend to dismiss. I resonate with the camp aesthetic: a style and sensibility that finds appeal in things often deemed tacky, ugly, or in poor taste, embracing the irony in them. I find beauty in "trash objects" and create bio-materials from waste. Questioning the conventional ways of living in today's society led me to develop this mind-mapping game.
What if craft were driven by necessity? In scenarios where survival is paramount, honing a skill takes on a new urgency. Adaptation, intuition, curiosity, and manual labor become essential ingredients. This is the premise of Happy Apocalypse, where players break free from traditional social and natural constructs, playfully inventing new ways to perceive the unseen. The journey invites us to reconsider what it means to create, adapt, and thrive in a world where the rules are constantly changing.
LEVEL 01 TRASH CITY¶
Trash City presents a clean slate; with no clothes, players must innovate with what's at hand. What would you wear?
In level one of this speculative game based on research and aesthetics of a decolonisation of humnaity which is stripped down to-the bare skin and need to re build theor world: the city implode leaving thr remains of a generation of consumers mainly “un bio-degradable” items! Given this prompt me question to ask the player the look at the humans artefacts as treasure and reuse it and transforming it.
What would you wear???
LEVEL 02 INTO THE WILD¶
Level 02: Into the Wild offers an opportunity to live symbiotically with nature. What can you create from its resources?
In Level 2, titled "Into the Wild," players venture into the wilderness, leaving behind the city ruins. Here, the focus shifts from up-cycling trash to crafting with natural resources, with an emphasis on sustainability and respect for nature. The challenge is to create biodegradable materials using "nature's leftovers," borrowing from nature.Players must consider the entire life cycle of the items they create, ensuring that everything used can eventually return to the earth. It's an invitation to reconnect with nature and embrace a more mindful, eco-friendly approach to survival and creativity.
What materials can you make symbiotically with nature???
LEVEL 03 NOMADISM¶
Level 03: Bridging both realms, players adapt and move seamlessly between urban and natural environments. How many things can you carry?
In Level 03, players embody the nomadic lifestyle, bridging the urban world with the natural one. Embracing a minimalist and modular approach, they learn to maximize resources, with each item serving multiple functions. Whether it's garments for travel, makeshift shelters, or a portable diary, players craft, repair, and exchange skills to adapt to their surroundings. This level encapsulates the nomadic ethos of resourcefulness and creativity, emphasizing the beauty of simplicity and the satisfaction of collaborative creation. Through this journey, players discover the richness found in valuing experiences and connections over material possessions, inviting them to fully embrace the nomadic spirit.
How many things can I carry? What are my necessities? What do I really need?? Who am I?
EXHIBITION "LIVING THE GAME"¶
Level 01: Participants begin by selecting their attire and tools from a curated collection of clothing and recycled materials, setting the stage for their journey ahead.
Level 02: Engaging their senses, participants explore various stations where they can touch, smell, and interact with biomaterials, experiencing the transformation process firsthand. They are encouraged to collect clay from the ground, laying the groundwork for future creative endeavors.
Level 03: Armed with their chosen tools and newfound materials, participants navigate challenges that require ingenuity and adaptability. From transforming objects into makeshift shelters to collaboratively building structures using clay bricks, they learn to rely on their intuition and resourcefulness to overcome obstacles.
Throughout the exhibition, the message conveyed is one of empowerment and connection with the environment. Participants are encouraged to trust their instincts, embrace their creative potential, and forge a deeper connection with the world around them. By engaging in this immersive experience, they not only gain practical skills but also cultivate a sense of resilience and self-confidence, fostering a renewed perspective on their own creative capabilities.
The participants are now the eyes and hands of the game. They are in charge to make their own decisions based on their surroundings. This relates directly to my own work and my creative process and how the objects that I found inspired me to make this creations and I would love to be inspired by the new ways people see throughout the exhibition
**ALL RECIPES**
3 Questions 2 Strangers
1. What 3 items would you bring with you?
2. what is the most common trash object in your area?
3. Would you like to get dirty /cooking your own bio materials ?
STREET INTERVIEWS¶
n1
n2
questioning
ASKING QUESTION ABOUT SOCIAL AND NATURAL NORMS
1- What does it mean to upcycle in a post-technological future? 2- How can I survive without technology? 3- What are some sustainable living solutions in a post-technological world? 4- What does 'seeing the unseen' mean in the context of survival? 5- What are some examples of upcycled items in a post-technological future? 6- How can I use natural elements like clay, wood, hemp, and wool to survive? 7- How can I exchange my crafts for food, clothes, or books in a world without technology? 8- What are the stages of evolution in a world without technology, and how do people interact and collaborate? 9- How can I use symbolism, icons, and illustrations to communicate in a world without technology? 10- How might social dynamics and exchange systems evolve in a post-technological society?
CONCEPT DEVELPMENT¶
PITCH PRESENTATION
PROJECT PROPOSAL
INSPiration/references¶
MIX&MATCH
- [ ] Look at mp4 trash people and more refs to put in
- [ ] Cinzia Ruggeri
- [ ] Japanese designers rei kawakubo, issue mistake, Martin Margiela, Elsa schiaparelli,
- [ ] David bowie,
- [ ] Anna Biller: movie director/ costume designer/ writer
- [ ] odorosky Alexander way of imagery in his movies and filosofical aspect,
- [ ] bushcrating using nature discovering its potential, learning by doing,
- [ ] Richard long and his natural landscape art contrastdualisms between natural and unnatural
- [ ] CAMP aesthetic definition:
- [ ] Craft definition: my theory
- [ ] ARCHITECTURE MICHEAL RAKOWISH
- [ ] MY SURROUNDINGS : EXAMPLE OF TRASH FINDINGS MORE PICS OF THEM…
- [ ] NON-FICTIONALL-IRRATIONAL-MAGI-TRANSFORMATION-
RESEARCH PAPERS¶
Nomadic theory: Braidotti (IT)
Garbage in Popular Culture, Consumption and the Aesthetics of Waste
List of Biomaterial Fossil Papers : rsr.org
Trash Research
"The notions of trash, dirt and glitch boast a number of parallels and interconnections. Some are self-evident – or so a bird’s-eye view of their semantic histories and connotations in popular language tells us.In modern societies, the term trash(y) historically refers to (broken, torn, or valueless) material surplus that elaborates institutional systems and devices clear from public space (think of household trash, plastic trash or trash barrels). In metaphorical constructions, trash can also indicate an undesired or underprivileged social status (white trash, trashy clothes) (Humes, 2013; Rogers, 2005). In the phrase ‘trash culture’, it stands for entertainment that is quickly consumed and discarded (Simon, 1997). The noun and adjective dirt(y) can acquire positive functions (think of dirt cures, or of the fertile dirt used in farming and gardening) – but in popular language, it often refers to valueless material waste that needs to be cleaned or cleared from view (a dirty dress, dirty dishes). Its association with the low ground renders dirt a source of humiliation or insult (‘eat dirt!’), and when used in symbolic terms, dirt can also stand for problematic or unethical conduct (as in the metaphorical ‘dirty hands’). Dirt thus reveals itself as something materially or metaphorically sticky, which infiltrates what should supposedly stay clean or pure (Douglas, 2001; Logan, 2007)."
The research explores the interconnected exploration of trash, dirt, and glitch in various aesthetic domains such as fashion, urban design, music, and art. The introduction provides an overview of the studies conducted by four scholars, focusing on dirt and glitch-based practices in sound-making and media art in Australia, German electronic and glitch music, dirt and trash aesthetics in sneaker fashion and grunge subcultures, and discourses of dirt and disorder in the creative industry in Russia.The popular usage of the terms "trash(y)," "dirt(y)," and "glitch" is discussed, highlighting their historical and metaphorical associations with unwanted interruptions or disturbances in everyday life. Trash refers to material surplus, dirt often signifies valueless waste, and glitch denotes machinic bugs and flaws in electronic systems. In aesthetic categories, the research notes a trend among artists, designers, and theorists to embrace rather than reject the dirty, trashy, and glitchy. Historical examples include 15th-century Japanese tea ceremonies, where an aesthetics of imperfection celebrated blemishes and trashy-looking items, and Rembrandt's celebration of a "poetry of imperfection" in his paintings. Over time, artists have integrated dirt and trash into their work, reflecting on historical traumas and societal perceptions, while recent examples include fashion designers incorporating glitches into textiles, merging digital tools with a heightened interest in craft and tactility. The introduction positions the present-day interest in dirt-, trash-, and glitch-based aesthetics as an "imperfect turn," suggesting it as a socio-technologically motivated historical trend that can facilitate important social interventions despite its flaws. In modern societies, the term trash(y) historically refers to (broken, torn, or value- less) material surplus that elaborates institutional systems and devices clear from public space (think of household trash, plastic trash or trash barrels). In meta- phorical constructions, trash can also indicate an undesired or underprivileged social status (white trash, trashy clothes) (Humes, 2013; Rogers, 2005). In the phrase ‘trash culture’, it stands for entertainment that is quickly consumed and discarded (Simon, 1997). The noun and adjective dirt(y) can acquire positive functions (think of dirt cures, or of the fertile dirt used in farming and gardening) – but in popular language, it often refers to valueless material waste that needs to be cleaned or cleared from view (a dirty dress, dirty dishes). Its association with the low ground renders dirt a source of humiliation or insult (‘eat dirt!’), and when used in symbolic terms, dirt can also stand for problematic or unethical conduct (as in the metaphorical ‘dirty hands’). Dirt thus reveals itself as something materially or metaphorically sticky, which infiltrates what should supposedly stay clean or pure (Douglas, 2001; Logan, 2007). The substantially newer term glitch was introduced in the 1940s to denote machinic bugs and flaws (Online Etymology Dictionary, 2001–2017). Today glitches stand both for small, usually temporary and surmountable problems
(DISCLAIMER ALL OF THE LITTLE PROJECTS I MADE DURING HAPPY APOCALYPSE ARE THE WAY I SEE THE WORLD AROUND ME, HOW INSPIRATIONS COME FROM EVERYDAY OJECTS AND PEOPLE, THIS IS MY OPEN SOURCE, SHARING, TALKING, LEAVING A LITTLE FOOTSTEP.)
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© [2024] credit : ray