Chapter 2 Reading Response
A through line I’ve seen now in Ge’s work is the goal to connect people — the various applications demonstrated in the book, from Ocarina to the “useless” lighter both include components of allowing users to see who else is using the application around the world. Ocarina took it a step further by letting users hear other users’ music creations, not just a binary on/off signal like the lighter. I really like the idea of creating a tool that can unify an otherwise completely separate population. I wonder if there are ways to create technologies that allow musicians to connect with others with their personal instruments — ways to make chamber music possible with people around the world.
The definition of “amateur” stuck out to me from page 91 — I appreciate the more positive and inclusive definition that being an amateur is good, that it means that someone is doing something just because they love it or are interested in it. I have been trying to lean into this idea that I don’t have to be a professional or excel at all the activities I try. It’s totally fine, and I think should be encouraged, to create things just to experiment. As I’ve been talking to friends about our creative processes, one particular conversation sticks out and I think supports this definition of “amateur.” One of my friends wanted to start making art, but didn’t know what type of medium or style or really anything about what he wanted to create. But, this didn’t stop him from trying or enjoying experimenting. It took a while, probably almost a year to even start to figure out what medium and style he felt comfortable creating with, and there still isn’t a “label” he associates with. However, I admire the persistence to keep trying to create just for fun, and now, I would say his art is actually pretty cool! He’s continuing to explore different materials in his creation process, but it’s been a very exciting experience to watch him and his art grow.
For this class, especially because I’m not very familiar with the technicalities of sound, I want to make sure that that doesn’t hold me back from experimenting with creating projects this quarter. I think it is important for me to put the quarter into perspective and realize that I most likely won’t become an expert in sound, but I can still try and make some really cool projects with ChucK and Unity that will still be valuable steps in my growth as an artist and programmer.
Finally, a few notes on “Aaru: The Idyllic Video Game Sublime.” I have had similar experiences in games, and the connection I made was similar to that which was mentioned in the video; in contrast to the usual violent intensity and speedy mission timelines of RPG games, this scenery is a welcomed “break” from the game reality. This reaches an almost meta level within a game, since in my opinion and experience, gaming can be used to transport yourself elsewhere and detach from reality. In this sense, scenes that evoke surprise within the already imagined reality is a second and potentially more intense level of immersion. The ability to create an environment that gives both the gaming character AND real-world player peace and evokes a personal connection to the world is an incredibly hard feeling to create, and I am curious to see how I can create visual-audio experiences that have the layered immersion that Aaru demonstrates.