Reflections on Space and Memory
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| Design of Classroom: Nicola Okezie |
Over the course of the past month, Bournemouth University Computer Animation students have been working on developing an interactive experience using Unreal to explore questions around space and memory with a focus upon the Sami Frasheri gymnasium faculty in the Hertica Family home, a School House in Prishtina in the 1990s.
The development of this project is informed by a collection of sound clips taken from interviews with students from the University of Prishtina, and with Dr Linda Gusia, a former student of the school and lecturer at the University of Prishtina - as a means to interrogate and learn about historical narratives from the region during this time.
The use of sound, as testimony and to a degree indexical in nature, is a key aspect to framing this piece as a non-fictional interactive experience. The sound will be placed throughout the different spaces, trapped within objects, waiting for the player to bring them to life as they explore the different rooms or levels. But the sound here is also used to describe a sense of place and time, that existed beyond the Hertica home; the student protests in the street, the music of the Boom Festival bands, the spaces occupied by different languages.
Whilst photographic evidence of the exterior of the building was found in archival photographs, images of the interior are fragmentary and non-relational. These fragments of impressions created through prompts such as image and sound are used to inform the design of 3D CGI interior space that the player is invited to explore. It bears no accuracy to the spaces in the real Hertica family house, but instead is designed to evoke a sense of a dreamscape, or memory, that is partial in its rendition.
Students listened to different accounts, and identified particular themes that could be explored through objects as the vehicle that is used to carry stories. From cushions in class rooms, to stacked shoes, posters of bands, and newspaper cuttings. They use these objects to structure the experience, that is designed to be different each time as you navigate through spaces in a surrealistic manner. This space is not occupied by characters or people and yet it is intended to convey a sense of the people that went to this school, lived in this house, come from Prishtina.
The use of sound, as testimony and to a degree indexical in nature, is a key aspect to framing this piece as a non-fictional interactive experience. The sound will be placed throughout the different spaces, trapped within objects, waiting for the player to bring them to life as they explore the different rooms or levels. But the sound here is also used to describe a sense of place and time, that existed beyond the Hertica home; the student protests in the street, the music of the Boom Festival bands, the spaces occupied by different languages.
Whilst photographic evidence of the exterior of the building was found in archival photographs, images of the interior are fragmentary and non-relational. These fragments of impressions created through prompts such as image and sound are used to inform the design of 3D CGI interior space that the player is invited to explore. It bears no accuracy to the spaces in the real Hertica family house, but instead is designed to evoke a sense of a dreamscape, or memory, that is partial in its rendition.
Students listened to different accounts, and identified particular themes that could be explored through objects as the vehicle that is used to carry stories. From cushions in class rooms, to stacked shoes, posters of bands, and newspaper cuttings. They use these objects to structure the experience, that is designed to be different each time as you navigate through spaces in a surrealistic manner. This space is not occupied by characters or people and yet it is intended to convey a sense of the people that went to this school, lived in this house, come from Prishtina.
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| Computer Room: Morgan Moore |
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| Protest Concept: Ellen Conlan Ellis |
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