Index
Final Project - Happy Apocalypse - Fabricademy - Futurelab - Amasterdam 2024
HAPPY APOCALYPSE WEBSITE LINK CLICK ME¶
FINAL PRESENTATION¶
Concept Description¶
GAME TRAILER¶
Q&A with Ray
Interviewer: Can you introduce yourself to our readers?
Ray: Sure! I'm Ray, a scavenger who hunts for left-overs and transforms trash into treasure. My journey begins at Trash Island, where I create my own clothes and daily necessities from discarded items. The adventure then takes me to the Holy Mountain, a lush, magical forest where I explore the infinite possibilities of crafting with bio-materials in a DIY approach. The game concludes with me morphing into a nomad, bridging the gap between the natural and trash worlds.
Interviewer: What inspires you to scavenge and create?
Ray: The idea of turning waste into something valuable. It's a process of exploring the potential in what others see as useless. Plus, it's about living symbiotically with nature, finding harmony in a world that's largely forgotten.
Interviewer: What kind of clothes do you make?
Ray: I make them from a mix of natural fibres, witch crafting my own bio-materials and of course recycled materials I find on Trash Island; my favourite so far are umbrellas. I try to keep things practical but also a bit stylish. It's a new way of seeing your “trash” and giving it a new life!!
Interviewer: What's the purpose of the website?
Ray: The website is an archive of my journey, showing how I played the game by questioning and transforming trash into treasure. It provides inspiration, recipes, and tips for players to customize their own experiences, encouraging them to see waste and the natural environment in a new light.
Interviewer: Why set this in an apocalypse?
Ray: The apocalyptic setting strips away the excess and challenges us to find comfort in discomfort. It encourages creativity and innovative solutions to the obstacles we face. This format lets players escape from conventional norms and reimagine their relationship with the world around them. It merges the past, present, and future in a space where new ideas can flourish.
HAPPY APOCALYPSE SCENARIO:¶
GAME FORMAT¶
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.
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.
AIM¶
Through the journey of 'Happy Apocalypse,' players uncover resilience and innovation within themselves, navigating a world transformed by necessity into a realm of limitless potential. Through thought-provoking questions and hands-on DIY experiments, users will be prompted to reflect on their impact on the environment and explore new ways for personal growth.
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.
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?
Level 02 change of scene know you’re immersed in the large green forest. Your resources and surroundings have changed. You have to rely on mother nature and it said it’s hidden treasures in order to create new materials from a borrowing rather than taking from nature on this level we are exploring the world of biodegradable materials in order to make our new items in a harmonious way with nature, leaving carbon footsteps behind
LEVEL 03 NOMADISM¶
Level 03: Bridging both realms, players adapt and move seamlessly between urban and natural environments. How many things can you carry?
Welcome to Level 03: you become a nomad bridging between the serene Holy Green Mountain and the resilient Trash Island. Atlas lives by the creed of simplicity, embodying the essence of nomadic existence. His world is a testament to the beauty of traveling light, carrying only the essentials, yet ingeniously expanding and adapting as needed. In this level, every item serves multiple purposes – they expand, they modularize, you wear them and live in them. As a nomad, he finds beauty in simplicity, turning each possession into a resource, each creation into a story.
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