- 情緒發洩與女性權益:
女性論點
eg.一個香水可以發洩情緒?

Q如何express情感更強烈?eg)Daisy
Q可以討論亞洲話題嗎 還是就是中國?


- 信息素:
1.反移民嗅覺偏見, 記住氣味的主要方法是記憶
2.氣味的掩蓋和誇大

情绪

​喜怒哀乐

快乐

喜悦

悲伤

​人与人

​偏见气味

动物情绪

自然情绪

​危机情绪

人情绪

​​人的框架

家人互相束缚

​相亲?结婚,剩女男?为谁好

地球情绪

 

环境保护

表现它的情绪

动物也一样

​其实动物不能说话,怎么了解他们的情绪?

​可持续生活

社会情绪

 

​偏见歧视

性别歧视

种族歧视

知识歧视

​文化歧视

​盖章形式

地球情绪

​传递地球情绪

动物情绪

自然情绪

​危机情绪

VanMoof collaborates with illustrator Jim Stoten to animate a campaign celebrating the positive impact of cycling

The Dutch e-bike company has commissioned the UK-based illustrator to create a one-minute spot, emphasising the positive advantages of cycling.

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The biggest threat to forests is…agriculture
Many people will be aware of the devastating effects that illegal and unsustainable logging has on forests, but the biggest global driver of deforestation is actually agriculture, because of the extent to which forests are converted to farmland and livestock grazing land: a key challenge is how to manage the ongoing increase in agricultural production, and improve food security, without reducing overall forest areas.

David-Attenborough-A-life-on-our-planet-

A LIFE ON OUR PLANET 

How our lifestyle is changing the planet due to global warming 

Ways in which we can reverse the effects: 

 

Return of the tree 

Change our diet

‘The planet cannot support billions of large meat-eaters, there just isn't the space. If we all had largely plant - based diet. We would need only half the land we use at the moment.’

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This speculative ecology animation imagines what undiscovered deep sea creatures may look like

Digital artist and animator Alice Aires looks into the importance of deep sea creatures and their impact on the ecosystem.

Though Alice created a base structure for the film in the form of a storyboard, she made sure there enough room for spontaneity to unfold. Ultimately however, she wanted the short to raise awareness on the increasing effects of climate change. “A few years back I started experiencing eco-anxiety,” she says on the added importance of the work. “I wanted to make a work that felt purposeful in that sense. Making this film was a further incentive for me to look into my own consumer habits and make more deliberate choices.” And with this intention at the forefront of her work, as for the future, Alice hopes she can expand on the theme of this project, looking into how she can bridge the gap between animation, art and sustainability.

尽管爱丽丝以情节提要的形式为影片创建了基础结构,但她仍确保有足够的空间来展现自发性。但最终,她希望短片能引起人们对气候变化日益加剧的影响的认识。她谈到这项工作的重要性时说:“几年前,我开始体验到生态焦虑。” “我想做一件有意义的作品。制作这部电影是对我进一步了解自己的消费习惯并做出更多慎重选择的进一步激励。”出于对未来的关注,Alice希望她能够扩展该项目的主题,探讨如何弥合动画,艺术与可持续性之间的鸿沟。

The Climate Crisis Font shrinks in response to Arctic sea ice data
The OpenType variable font by Daniel Coull and Eino Korkala is currently being used by the Nordics’ largest newspaper Helsingin Sanomat to visualise the effects of climate change.

气候危机字体随着北极海冰数据的减少而缩小
Daniel Coull和Eino Korkala的OpenType可变字体目前正被北欧最大的报纸Helsingin Sanomat使用,以可视化气候变化的影响。

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“90 per cent of rainforest deforestation is a result of meat and dairy production, cites Moby in a statement about his latest music video for My Only Love, released last Friday. This shocking statistic was the impetus for focusing the video’s messaging on the crisis, and inviting Brazilian animation studio Zombie to not only direct the video, but write it too, as the team know the issues all too well.

(My Only Love)的一份声明中说:“ 90%的雨林砍伐是肉类和奶制品的生产。这一令人震惊的统计数据促使人们将视频的信息重点放在危机上,并邀请巴西动画工作室Zombie不仅导演视频,而且还编写视频,因为团队对此非常了解。

人情绪

chinese arranged marriage

​leftovers

​​人的框架

家人互相束缚

​相亲?结婚,剩女男?为谁好

个人信息打印

香水识别个人信息

​或者气味教育,不需要这么操心?

​味道来定义幸福指数,而不是靠外人

信息接受不对等 不一样 歧视 疫情知识等

​问题导向

看到一些人 一些物品

有潜意识的导向

​为啥子 

​​通过香水传递真实信息

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THE SOCIAL DILEMMA 

The human impact of social networking.

The underlying control of the algorithms of social media businesses which shape and control the way we use their platforms.

We think we are making our own decisions, but we are provided with heavy suggestions, based on our previous activity.

I want to highlight the lack of control, that most are unaware of in terms of the use of social media and the impact on our minds. 

olfactory art

别人做的情绪与气味

气味与保护环境

​气味与记忆 提醒

​用气味代替一座城市?xiaoling 有些?

​工作焦虑 打键盘参出来的味道

​数字与声音 气味结合

 Peter De Cupere is another artist who integrates smells in his installations, wanting to force visitors to react to the art. He explains that when faced with a tough, disagreeable odor, it is impossible to stop the body from reacting. Among other installations, he built a cloud filled with the scents of air pollution, a bathroom fully covered in toothpaste, and a room made of 750’000 cigarette buds. For the 57th Venice Biennial, the artist worked with Spazio Thetis Gardens to manipulate some flowers into emitting small dashes of smoke – nature taking its revenge on humans for pollution.

彼得·德·库珀(Peter De Cupere)是另一位在装置中融入气味的艺术家,他想迫使游客对艺术做出反应。他解释说,当遇到难闻的难闻气味时,不可能阻止身体做出反应。在其他装置中,他建造了云层,上面弥漫着空气污染的气味,一间完全用牙膏覆盖的浴室以及一间由750'000烟芽制成的房间。在第57届威尼斯双年展上,这位艺术家与Spazio Thetis Gardens合作,操纵了一些花朵,散发出些许烟雾,这是大自然为人类对污染的报复。

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Olfactory works by Japanese artist Takako Saito are smaller in scale. In Spice Chess (1965), the chess pieces are replaced by little wooden boxes containing spices, while in Smell Chess (1965) each figurine is represented by a vial containing different perfumed liquids. Activist and artist Lisa Kirk on the other hand wanted to capture the smell of revolution. The art piece Revolution Pipe Bomb  (2008) wanted to evoke the scents of tear gas, blood, urine, smoke, and burning rubber, which were reproduced by a mixture of birch tar, ambergris, leather, musk, vetiver, wood, and civet that gave off a smoky, metallic smell.

日本艺术家斋藤孝子的嗅觉作品规模较小。 在Spice Chess(1965)中,棋子由装有香料的小木箱代替,而在Smell Chess(1965)中,每个小雕像由装有不同香料液体的小瓶代表。 另一方面,活动家和艺术家丽莎·柯克(Lisa Kirk)想要捕捉革命的味道。 艺术作品Revolution Pipe Bomb(2008)想要唤起催泪瓦斯,血液,尿液,烟气和燃烧的橡胶的气味,这些气味是由桦木焦油,龙涎香,皮革,麝香,香根草,木材和麝香的混合物所复制的。 散发出烟熏的金属味。

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Olfactory Descriptions
Downtown: Hot asphalt penetrates traffic exhaust
East/Northeast Los Angeles: Mexican food mixes with orange blossom-infused air
Harbor Area: A breeze of salty ocean air mixed with heavy machinery
Hollywood: An old lady wearing cheap perfume, a kid sticky with cotton candy, and a hipster redolent of sweet tobacco
Los Feliz & Silverlake: Dry air infused with night blooming jasmine drifts across dry concrete
Northwest of Downtown: Musty pond water fades into warm air
San Fernando Valley: Rosemary gives way to bubblegum melting on the sidewalk
South Los Angeles: Metallic heat and hydraulic fluid pulse over old asphalt
West Los Angeles: Wet lawn gives ways to dry air, which gives way to the clean sweat of a trophy wife

Artist Statement
I think of Sillage as an olfactory public artwork. This project is a challenge to conventional notions of what makes art “public.” In public art, the idea of collective memory is often considered when designing monuments and memorials. Throughout the world, the built environment is full of objects that claim to embody a specific public’s memory. However, as opposed to embodying collective memory, many such objects have been criticized for displacing it. Through their permanent materials, masculine nature, and rigid meaning, conventional monuments have been challenged for being impotent, symbolic markers unable to adapt to a public that is constantly in flux. With the olfactory public artwork, this is inverted. “Counter- monuments” like Sillage are highly ephemeral, physically unimposing, and capable of generating discourse chiefly because they provoke memory. As a form of socially engaged art, the ephemeral nature of smell calls for public dialogue now, because the smell itself will soon be a memory.

嗅觉描述
市区:热沥青渗入交通尾气
洛杉矶东部/东北部:墨西哥美食与注入橙花的空气混合在一起
海港区:微风吹拂着咸海空气,混合着重型机械
好莱坞:一位老太太穿着廉价的香水,一个粘有棉花糖的孩子,和一个时髦的甜烟草调香师
洛斯·费利斯(Los Feliz)和银湖(Silverlake):注入了盛开的茉莉花的干燥空气在干燥的混凝土中漂移
市区西北部:发霉的池塘里的水逐渐消散到温暖的空气中
圣费尔南多谷:迷迭香让位于人行道上的泡泡糖融化
洛杉矶南部:旧沥青上的金属热和液压流体脉动
洛杉矶西部:湿草坪可以让空气干燥,让奖杯妻子的汗水清净

艺术家声明
我认为Sillage是一种嗅觉的公共艺术品。这个项目对使艺术“公开化”的传统观念提出了挑战。在公共艺术中,设计纪念碑和纪念馆时通常会考虑集体记忆的想法。在全世界,建成的环境到处都是物体,这些物体声称体现了特定公众的记忆。但是,与体现集体记忆相反,许多这样的对象因取代集体记忆而受到批评。通过其永久性的材料,阳刚的性质和僵化的含义,传统古迹因其无能为力而受到了挑战,这些象征性标记无法适应不断变化的公众。对于嗅觉的公共艺术品,这是倒过来的。像西拉奇(Sillage)这样的“反纪念碑”具有高度短暂性,在身体上没有约束力,并且能够产生话语的主要原因是它们引起了记忆。作为一种社会参与的艺术形式,气味的短暂性质现在需要进行公开对话,因为气味本身将很快成为一种记忆。

Belle Haleine approached from another 
perspective by presenting the odours with its own 
artistic expression. The exhibited odours included 
bodily odours like urine, skin, and pheromones; also, 
natural scents like lilies, garlic and spices. The 
expressions were varied including installations, 
videos, sculptures, drawings, photographs, etc
("Belle Haleine," 2015). 

Belle Haleine - The Scent of Art at Museum Tinguely in Basel (Switzerland) is an experimental exhibition that has its focus on art that deals with the sense of smell. On display are works by Marcel Duchamp (the famous “Air de Paris”, Parisian air enclosed in an ampule), Ernesto Neto (“Mentre ninety accade”, an installation consisting of pouches filled with sand, black pepper, turmeric, ginger, and cloves), Piero Manzoni (the infamous tin can filled with “Merda d'artista“, Sissel Tolaas (a white cube filled with the cold sweat of 11 men who suffer from serious phobias), Kristoffer Myskja (a machine that smokes cigarettes), and many others.

Belle Haleine - The Scent of Art aims to shed light on the fascination world of odor and olfactory art: “The sense of smell is not represented in our increasingly digitalized life worlds (yet). In research, the universe of smelling still harbors much that is unknown, and so, with its anarchic force as a component of artistic works, it is perhaps of particular interest precisely today.” (Roland Wetzel, Director, Museum Tinguely). 

百丽·海琳(Belle Haleine)从另一个走近
通过呈现自己的气味来透视
艺术表现力。表现出的气味包括
身体气味,如尿液,皮肤和信息素;还,
百合,大蒜和香料等天然香精。这
表达方式各不相同,包括装置,
录像带,雕塑,素描,照片等
(“ Belle Haleine”,2015年)。

Belle Haleine-位于瑞士巴塞尔的廷格利博物馆的艺术气味是一个实验性展览,其重点是处理气味感的艺术。展出的作品包括马塞尔·杜尚(Marcel Duchamp)(著名的“巴黎空气”,装在安瓿瓶中的巴黎空气),埃内斯托·内图(“ Mentre 90 accade”),该装置由装满沙子,黑胡椒,姜黄,生姜和小袋的小袋组成。丁香),皮耶罗·曼佐尼(Piero Manzoni)(臭名昭著的锡罐,里面装满了“达美达(Merda d'artista)”,西塞尔·托拉斯(Sissel Tolaas)(白色立方体装满了11名患有严重恐惧症的人的冷汗),克里斯托弗·米斯克亚(抽烟的机器)和许多其他。

百丽·海琳(Belle Haleine)-艺术之味旨在阐明气味和嗅觉艺术的魅力世界:“在我们日益数字化的生活世界中(至今),嗅觉尚未得到体现。在研究中,嗅觉的宇宙仍然蕴藏着许多未知的事物,因此,由于其无政府状态的力量成为了艺术作品的一部分,今天正是人们特别感兴趣的地方。” (罗兰·韦泽尔,廷格利博物馆馆长)。

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嗅觉具有情感和回味
在时空上对人们的影响。气味
的母亲为新生儿带来欢乐(沙利文和
Toubas,1998年)。衣服上汗水的气味
带给远处的夫妻以身临其境的感觉
(麦伯尼,史翠特和欧拉,2012年)。的气味
香草增加了百货商店的销售额
(Spangenberg,Sprott,Grohmann和Tracy,2006年)。
巧克力的味道使书店的顾客感到满意
更有可能购买食谱和浪漫文学
(Doucé,Poels,Janssens和De Backer,2013年)。这
对气味的知觉和认知反应是
基于先前的联想学习
经验。它使嗅觉和
个人之间主观的相关记忆
(赫兹,2012年)。遇到新气味时,
大脑将气味与遇到的东西联系起来
一起插曲。如果最初感觉到气味
令人愉悦的环境,这种气味会带来令人愉悦的
对未来主题的情感。确定
在第一次遇到时根据情境
经验(Engen,1991年)。

由于嗅觉受体中的基因家族很大,
人类可以分辨出10,000种不同的气味(
Axel,1991年)。但是,并非总是很容易
识别和描述。香水有他们的
使用香料对气味进行分类的术语
车轮。但是,该术语并未得到广泛使用
大众之间(特谢拉,罗德里格斯和
罗德里格斯(Rodrigues),2010年)。人们倾向于描述气味
与物体,位置和先前物体的关联
体验-例如,玫瑰的气味,
医院的气味,暑假的气味等
该描述包括公共和私人含义。
虽然“臭鸡蛋的气味”传达了共同的
经验和一般人之间的类似信息
公众,“我童年游乐场的气味”
传达个人经历和私人经历
含义(Almagor,1990年)。气味也标志着
社会中的文化和种族(Classen,Howes和
Synnott,1994年)。在第十八和十九
几个世纪以来,气味是阶级的标志,
法国社会的性别。令人愉快的气味是
与良好的健康和清洁有关
不愉快的疾病与疾病和腐烂有关。
人们用香水掩盖异味
在过去(Corbin,1986),而人们
如今穿着香水代表他们的
个性和心情。

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2.2空间
气味定义了空间的范围。人们可能是
意识到鱼市场或面包店的存在
他们到达这个地方之前就在附近。硬石
奥兰多的酒店使用人造华夫饼干气味作为
感官提示,导致人们下楼去一家冰淇淋店,而这通常并没有被人们注意到。
客户(刘易斯,2013年)。空间的气味暗示着
它的身份也是如此。开发了一些豪华酒店
签名香气以显示其身份。它有助于
将客户与品牌联系起来,并
推广喜欢的服务(Denizci Guillet,
科扎克(Kozak)和库库斯塔(Kucukusta),2017年)。签名香气
充当客户的记忆线索
回想一下他们在酒店中的经历。
气味还会影响人们对某处位置的看法
潜意识的方式。例如,
薰衣草让人们感觉到一个房间
愉快和温暖。相关性
一致性以及气味和气味之间的一致性
物理环境可以提升用户
在太空中的经验(维拉普拉纳和山中,
2014)。涩谷Hikarie,位于的购物中心
东京,在女性厕所中提供了不同的气味
在不同楼层为客户提供变化
情绪。他们称他们的厕所为“交换室”
(“城市,企业清理”,2015年)。气味还告诉
城市的故事。 Rachel Huang发起了免费巡回演出
在台湾称为台北的气味
当地人和游客体验古老的街道
通过他们的气味。黄先生讲述了这座城市的故事
参观时遇到参与者
街道上有不同的气味(Wei,2015)。亨肖
等。 (2016)建议在城市中使用香水
营销。它为感官带来了新的方式
城市身份环境的设计。

Hanahana / Kunoh Kyoko, Chikamori Motoshi, Kakehi Yasuaki
Air the secret of scents! Spray one of the leaf-shaped test strips with the fragrance of your choice and attach it to the installation’s vase. You’ll be surprised to see which flower blooms!

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 The players had to identify the 
character's wife by remembering her fragrance 
correctly. The close fit between the story scenario 
and the use of scent successfully arose the user’s 
engagement. The symbolic usage could be 
extended from gameplay to art practices. Digital 
artists could make use of olfactory display to 
express the identities in the artwork.
By taking artistic expression with digital scents, it 
could help to evoke the imagination and the mental 
image in a person’s mind. Many digital olfaction 
applications follow the approach of "Smell-O-Vision"
by providing scent to augment the visual-audio 
channel. We smell what we see. It provides the 
sense of presence and increases the realism of 
virtual environment. 

玩家必须确定记住角色的妻子的香气
正确地。故事情节之间的契合度
并且成功使用了气味
订婚。象征性用法可以是
从游戏玩法扩展到美术实践。数字的
艺术家可以利用嗅觉展示来
在艺术品中表达身份。
通过将数字气味与艺术表现结合起来,它
有助于唤起想象力和精神
在人心中的形象。许多数字嗅觉
应用程序遵循“ Smell-O-Vision”的方法
通过提供气味来增强视听效果
渠道。我们闻到了闻到的气味。它提供了
存在感,并增加了虚拟环境。

信息接受不对等 不一样 歧视 疫情知识等

​问题导向

看到一些人 一些物品

有潜意识的导向

​为啥子 

​​通过香水传递真实信息

通过气味,视觉完成一种沉浸式的体验或者游戏

​展示这些问题

体验游戏

​多种感官的活动

别人做的情绪与气味

气味与保护环境

​气味与记忆 提醒

​用气味代替一座城市?xiaoling 有些?

​工作焦虑 打键盘参出来的味道

​数字与声音 气味结合

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Digital olfaction could also provide a sense of 
navigation in the environment for artwork. Köster et 
al. (2014) indicated that the role of smell in daily life 
is to link the people to the affective appreciation of
surrounding. Multi-sensory storytelling production 
company The Feelies provided a sequence of 
scents with 360 VR film for giving the participants 
the experience of transporting from New York to 
Jordan virtually. The scents represented the salty air 
of a city and the baking bread in a refugee camp for 
instance (Obrist, Boyle, van Brakel, & Duerinck, 
2017).

数字嗅觉还可以提供一种
艺术品环境中的导航。科斯特等
al。 (2014年)指出,气味在日常生活中的作用
是将人们与情感的欣赏联系起来
周围。多感官故事制作
The Feelies公司提供了一系列
360 VR电影的香气给参与者
从纽约到纽约的交通经验
乔丹几乎。气味代表咸空气
一个城市和一个难民营中的烤面包
实例(Obrist,Boyle,van Brakel和Duerinck,
2017)。

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USING YOUR SENSES IN VIRTUAL REALITY WITH THE FEELIES
“Humans are sensory beings, constantly taking in information through all our senses, so there are huge opportunities to reach people emotionally and effectively by communicating with more of their sensory modalities.”

– Grace Boyle, Director, The Feelies

Munduruku: The Fight to Defend the Heart of the Amazon is a multisensory VR-led experience created by The Feelies, Alchemy VR and Greenpeace. It takes the concept of immersive projects to a new level by combining a 360 VR film and binaural sound with additional sensory triggers, including scents, vibrations, humidity, touch and temperature changes.

Why was the project developed?
“The purpose of this project is to try to remove the invisibility of Indigenous People that is brought by large industrial projects such as hydroelectric dam building. The message we want to leave people with, that we want them to tell after seeing this film, is that the Munduruku have the right to exist here, with their river according to their culture and their way of life”

– Pete Speller, Greenpeace

The project was developed part of a broader campaign to raise awareness of the pressure facing the Munduruku, an Indigenous People living deep in the Amazon Forest of Brazil. Their lands in the Tapajós River basin are threatened by large-scale industrial projects, such as the development of huge hydroelectric dams that would flood huge areas of land, including several Munduruku villages and other riverside communities. These dams also create shipping channels in the shallow parts of the Tapajós River, allowing industrial-scale farming and logging to expand further into previously hard-to-reach parts of the Amazon rainforest.

通过虚拟现实在虚拟现实中使用您的感官
“人类是感官存在的人,它们不断地通过我们的所有感官吸收信息,因此存在巨大的机会通过与人们的更多感官方式进行交流来情感上和有效地接触人们。”

– The Feelies导演Grace Boyle

 

Munduruku:捍卫亚马逊之心的战斗是由The Feelies,Alchemy VR和Greenpeace创建的多感官VR体验。通过将360 VR电影和双耳声音与其他感官触发因素(包括气味,振动,湿度,触摸和温度变化)结合起来,将沉浸式项目的概念提升到一个新的水平

 

为什么开发该项目?
“该项目的目的是试图消除由大型工业项目(例如水力发电大坝建设)带来的土著人民的隐形性。我们希望让人们看到这部电影后告诉他们的信息是,蒙杜鲁库人有权在这里生活,根据他们的文化和生活方式,他们的河流将在这里生存。”

 

–皮特·斯派勒(Pete Speller),绿色和平

该项目是一项广泛运动的一部分,旨在提高人们对生活在巴西亚马逊森林深处的土著人民Munduruku面临的压力的认识。他们在Tapajós河流域的土地受到大规模工业项目的威胁,例如开发大型水坝,这些水坝将淹没广阔的土地,包括几个Munduruku村庄和其他河沿社区。这些水坝还在塔帕霍斯河的浅水区创造了航道,使工业规模的农业和伐木业进一步扩展到亚马逊雨林以前难以到达的地区。

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将竞选活动提升到一个新的水平
“该装置将观众带入了亚马逊最偏远的地区之一,这是他们通常无法访问的地方。 VR是使观看者亲身体验Munduruku人民生活并真正了解他们所面临挑战的完美工具。”

–安东尼·格芬(Anthony Geffen); Alchemy VR首席执行官兼创始人

绿色和平组织在成功开展环境运动并与支持者有效联系方面有着悠久的历史,而且通过有影响力的讲故事,这是激发同理心并进而激发行动的有效手段。

利用讲故事的力量并将其与沉浸式技术相结合,对于竞选组织而言是潜在的游戏规则改变者。虚拟现实为参与者提供了将自己传达到故事中的机会,但是它是否真的使参与者沉浸在环境中?

通过将其从VR项目发展为具有多种感官体验的活动,参与者不仅可以看到和听到雨林,还可以通过感觉到大气,闻到不同的气味并感知森林的节奏来获得更好的身临其境的体验。

 “亚马逊是一个强大的生态系统,我们希望通过结合气味,振动和大气变化以及美丽的360度视频片段,将美丽和复杂的事物带给城市观众,以使观众真正与Munduruku和森林保持联系他们居住的地方。”

–格蕾丝·博伊尔(Grace Boyle)

 

叙述真实性的重要性
作为以环保运动为基础的作品,强有力的叙述对于讲述故事以有效地与观众联系至关重要。这个故事是与Munduruku人民合作开发的,主题是将美丽变成破坏。由于最初关注该社区的日常生活,因此随着货车的引入而发生了变化,货车将工业化和土地流失带到了偏远的森林环境中。

团队铭记着Munduruku在整个制作过程中对他们的信任,并且很明显,必须以一种始终如一的真实态度来代表社区。 “ Munduruku实际上是最初接触绿色和平组织的人,比该项目早了几年。他们精通媒体,他们知道要保护自己的土地,就必须发表自己的声音。”格蕾丝(Grace)解释说。 “能够建立在巴西绿色和平组织与蒙杜鲁库之间的信任关系上非常重要,因此这个故事在任何时候都如实反映。 VR主管James Manisty对不同的Munduruku Caciques(领导者)进行了数小时的采访,这构成了剧本的基础,叙述故事的Cacique Juarez随后对其进行了审核和批准。”因此,Munduruku不仅是经验的主题,而且还是项目的合作者,他们通过采访并与制作团队分享生活方式,积极投入并对叙事产生了影响。

该项目的构思和开发是一个多感官的作品,因此AlchemyVR和The Feelies共同努力,将某些场景的顺序,主题和元素放在一起,以从多感官角度和视觉角度对叙事进行综合。 。在体验中的任何给定时刻,所有感官刺激都被放置以向访问者提供有关他们正在目睹的故事的连贯,情感的信息。与传统的剧本不同,《 The Feelies》基于整个体验的情感叙事曲线,开发了时间编码的多感官剧本。

格雷斯说:“对于客人的每一次感官刺激,都必须有一个理由。” “这给了他们什么信息?他们同时还要接受哪些其他刺激?他们在情感上会去哪里?”

Taking campaigning to a new level
“The installation transports viewers deep into one of the most remote areas of the Amazon, somewhere they would never ordinarily be able to visit. VR is the perfect tool for allowing viewers to experience first-hand the life of the Munduruku people and gain a true understanding of the challenges they face.”

– Anthony Geffen; CEO and founder, Alchemy VR

Greenpeace has a long history of successful environmental campaigning and connecting effectively with its supporters, and beyond, through impactful storytelling is an effective means of evoking empathy and, in turn, provoking action.

Harnessing the power of storytelling and combining it with immersive technology is a potential game changer for campaigning organisations. Virtual reality offers participants the chance to transport themselves into the story, but does it truly immerse participants in the environment?

By developing it from a VR project to a multisensory experience, participants don’t just see and hear the rainforest, but get a greater immersive experience by feeling the atmosphere, smelling different scents and sensing the rhythm of the forest.

 “The Amazon is a formidable ecosystem, with a beauty and complexity that we hope to bring to city audiences by using scent, vibration and atmospheric changes in combination with the beautiful 360 video footage, to allow audiences to really connect with the Munduruku and the forests in which they live.”

– Grace Boyle

Importance of the authenticity of the narrative
As a piece grounded in environmental campaigning, a strong narrative was crucial to tell the story in order to effectively connect with audiences. The story was developed in collaboration with the Munduruku people, based around the concept of beauty turning into destruction. Having an initial focus on everyday life in this community, the story shifts with the introduction of lorries that bring industrialisation and the loss of lands to the remote forest setting.

The team were mindful of the trust the Munduruku had extended to them throughout the production, and is clear that the community had to be represented in a way that was authentic at all times. “The Munduruku were actually the ones who initially reached out to Greenpeace, a number of years before this project.  They’re media-savvy and they knew that to protect their land, they had to make their voices heard” explains Grace. “Being able to build on that relationship of trust that has developed between Greenpeace Brazil and the Munduruku was so important, so that the story was reflected truthfully at all times.  James Manisty, the VR director, conducted hours of interviews with different Munduruku Caciques (leaders) and that formed the basis of the script, which Cacique Juarez, who narrates the story, then reviewed and approved.” As such, the Munduruku weren’t just the subject of the experience, they were collaborators on the project, with their active input and influence on the narrative through interviews and sharing their way of life with the production team.

The project was conceived and developed to be a multisensory piece, so AlchemyVR and The Feelies worked together to deliberately place the order, subject and elements of some scenes to make the narrative comprehensive from a multi-sensory angle, as well as from a visual one.  For any given moment in the experience, all the sensory stimuli have been placed to give the visitor coherent, emotional messages about the story they’re witnessing.  Breaking from a more traditional script, The Feelies then developed a time-coded, multisensory script, based around an emotional narrative curve of the entire experience.

“For every sensory stimulus you put on a guest, there has to be a reason why,” says Grace.  “What message is it giving them?  What other stimuli are they taking in at the same time?  Where does it take them emotionally?”

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Journeying to the Amazon on a multisensory mission
The team then travelled to the Munduruku’s home to stay as their guests, and shoot for the experience.  While AlchemyVR filmed the 360 footage and recorded binaural audio, The Feelies undertook a sensory mapping of the area; researching, collecting and recording sensory data that could then be transferred into the final piece.

The environment proved to be extremely complex, changing significantly depending on location and on the time of day, which significantly influenced the multisensory script. In addition to the process of scientifically mapping the environment, in-depth interviews with members of the Munduruku around their sensory knowledge of the forest also fed into the final experience.  “The idea of how to perform a ‘sensory shoot’ is a fascinating one, and we’ve been working to develop that,” says Grace. “For the Munduruku, the forest is of course a fully sensory environment that they’re intimately acquainted with, so to be able to work with them as they shared some of that knowledge was a huge honour.”

Sounds and vibrations
Binaural sound was recorded, but this was also accompanied by a low frequency, infrasonic track, captured by recordings made in the forest and then woven into a final vibration track by sound artist Antoine Bertin in Paris. This introduced subtle vibration and sound cues to support the story’s narrative, including underwater hydrophone recordings of the river. Additionally, more unnatural vibrations, such as those of loud, juddering engines were included, which, in the finished product, moved the feel of the environment to a more unpleasant place for the parts in which the visitor witnesses the potential industrialisation and destruction of the forest.  The infrasonic track was delivered through the SubPac, with adjustments to the audio so that the visitor only feels vibrations when it makes sense for them to embody the sound.  It was also used creatively, for example to direct the visitor’s viewpoint in the 360 space, by playing them patterns of movements that they could see far off, but not hear.

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前往亚马逊进行多感官之旅
然后,该团队前往Munduruku的家中以客人身份停留,并拍摄体验。当AlchemyVR拍摄360英尺长的镜头并录制双耳音频时,The Feelies对该区域进行了感官映射。研究,收集和记录感官数据,然后可以将这些数据传输到最终作品中。

事实证明,该环境极其复杂,根据位置和一天中的不同时间而变化很大,这极大地影响了多感官脚本。除了科学地绘制环境图的过程外,对Munduruku成员围绕森林的感官知识进行的深入采访也成为了最终的体验。格雷斯说:“如何进行“感官拍摄”的想法很有趣,我们一直在努力发展。 “对于Munduruku来说,森林当然是一个他们完全熟悉的完全感官的环境,因此能够与他们合作,因为他们分享了一些知识,这是一个巨大的荣誉。”

 

声音和振动
记录了双耳声音,但这还伴随着低频次声轨道,该次低频轨道被森林中的录音捕获,然后由巴黎的声音艺术家Antoine Bertin编织成最终的振动轨道。这引入了微妙的振动和声音提示,以支持故事的叙述,包括河流的水下水听器录音。此外,还包括更多不自然的振动,例如响亮而颤抖的发动机的振动,这些振动在制成品中将环境感觉转移到了一个更令人不愉快的地方,使参观者目睹了潜在的工业化和销毁的部分。森林。次音轨道是通过SubPac传递的,并且对音频进行了调整,以使访客仅在感觉到体现声音时才感觉到振动。它也被创造性地使用,例如通过播放访问者可以看到很远但听不到的运动模式来引导访问者在360度空间中的视点。

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Scents and atmosphere
A smell can conjure up memories and emotion in such a powerful way that it can transport us to other places and times, so bringing scents into a VR experience is a natural step to increasing the sense of place.

Capturing the differing scents was essential to help transporting participants into the heart of the forest. Perfumer Nadjib Achaibou, was part of The Feelies’ crew on the shoot in Brazil, with the mission to research the scents of the forest and Munduruku life, to create bespoke scents back in the UK for the olfactory parts of the story.

Recreating an authentic aroma of an environment wasn’t as straight forward as it may have first seemed. “Our perceptions of what the rainforest smelled like were challenged from the start; as the complexity of scents and the differences, depending where and when you were in forest” says Grace.

Having fragrant, pleasant scents to represent the ‘good’ rainforest environment and the smell representing the industrialisation process as ‘bad’ would be too simplistic and misleading. “We had to overcome our own preconceived ideas of what the environment in the rainforest smelled like, as the reality was quite different to how we’d initially imagined it. There were green, grassy notes as you might expect, but Nadjib was also finding a lot of notes from the rotting organic material on the ground, which is an essential part of the duality and beauty of great natural systems – like this rainforest.

It’s so important that, when we create digital experiences about nature, we don’t sanitise it to capture only the pleasant, fairy-tale parts.  If you do, ultimately you’re going to end up with something bland; a poorer representation of the story.”

Picking up on these nuances was crucial to create a true representation of the smells of the rainforest. In total, Nadjib created six unique scents, including a rich, organic jungle scent, through to the more unnatural scents of machinery and industrialisation.  A second scent of the forest, smelled after the visitor has witnessed potential destruction, is subtly laced with the scent of industry, as an olfactory reminder of the threat that hangs over the jungle. “For any different storytelling medium, you will have different things that you can do with it,” explains Grace. “For example, with scent you can cause a memory to linger invisibly across a scene, which changes the emotional atmosphere.”

气味和气氛
气味可以强大的方式唤起人们的记忆和情感,从而将我们带到其他地方和时间,因此将气味带入VR体验是增加位置感的自然步骤。

捕捉不同的气味对于帮助将参与者运送到森林中心至关重要。调香师Nadjib Achaibou是Feelies在巴西拍摄的摄制组的成员,其任务是研究森林和Munduruku生活的气味,并在英国为故事的嗅觉部分制作定制的气味。

重建环境的真实香气并不像看起来那样简单。 “从一开始,我们对雨林的气味的感知就受到挑战;气味的复杂性和差异性,取决于您在森林中的位置和时间。”格蕾丝(Grace)说。

具有芬芳宜人的气味来代表“好”的雨林环境,而气味代表着工业化过程的“不好”,这太过简单和误导了。 “我们必须克服自己对雨林环境气味的先入为主的观念,因为现实与我们最初的想象完全不同。正如您所期望的那样,有绿色,草木的音符,但纳吉布还从地面上腐烂的有机材料中发现了许多音符,这是伟大的自然系统(如这种雨林)的二元性和美丽的重要组成部分。

至关重要的是,当我们创建有关自然的数字体验时,我们不会对其进行消毒以仅捕获令人愉悦的童话般的部分。如果这样做的话,最终您将得到一些平淡无奇的东西。故事的表现力较差。”

掌握这些细微差别对于创建真实代表雨林气味的至关重要。纳吉布(Nadjib)总共创造了六种独特的香气,包括丰富的有机丛林香气,再到机械和工业化的非自然香气。参观者目睹了潜在的破坏之后,闻到了森林的第二种气味,并巧妙地掺入了工业气味,以嗅觉悬挂在丛林中的威胁。 “对于任何其他讲故事的媒体,您将拥有不同的处理方式,” Grace解释说。 “例如,使用气味,您可以使记忆在场景中无形地徘徊,从而改变了情感氛围。”

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The importance of the installation
A unique and innovative space was needed for participants to fully appreciate and immerse themselves in such a unique experience. The Feelies developed their own multisensory VR pods, designed by film and production designer Mark Tildesley, which the Munduruku experience takes place inside.  Large, organic shapes provided a beautiful and striking first impression, while compound curves, natural materials and covers in the colours of the forest and river provided a sensory alternative to the black, hard, regular shapes of digital technology packaging.  Although four metres in height when compiled, the pods are designed to be mobile, breaking apart into modules and fitting in the back of a van to travel to the next location.

With the project’s focus on connecting and empathising with the Munduruku’s story, having an experienced Sensory Technician to guide the participant through the experience was crucial. This served a dual purpose, introducing the participant to the space and putting them at ease throughout, whilst also following the script and overseeing the stage management of all elements of the experience. The Feelies’ experience designer Charles Michel travelled to Brazil with Grace to train the crew of sensory technicians how to engage with visitors to foster trust, as well as conduct the sensory experience. “Too often experiences are only considered from the moment the headset is put on,” says Grace.  “But we’re embodied creatures, and for a visitor the experience begins from the moment they walk into the room, and you need to create for that.

“The project was an experiment in whether multisensory immersive content could be more effective in helping urban people connect with issues faced by Indigenous People, and so it has always had a space after the experience for discussion, or routes in which people are able to take action. I think in fostering that connection, building those bridges, it’s been very successful.”

Bringing the Rainforest to the City
“During the exhibition in Sao Paolo we worked with a group of academics to try to get a better idea of whether or not this sort of experience can actually change opinions. The early results indicate audiences may well be more likely to support Indigenous land rights and protection for the Amazon rainforest after an experience like this.”

总结:


参与者需要一个独特的创新空间来充分欣赏并沉浸于这种独特的体验中。 Feelies开发了自己的多感官VR吊舱,该吊舱由电影和制片设计师Mark Tildesley设计,Munduruku的体验就在内部进行。大型的有机形状给人以美丽而引人注目的第一印象,而复合曲线,天然材料和森林和河流颜色的覆盖物则为黑色,坚硬,常规形状的数字技术包装提供了一种感官选择。尽管编译时的高度为四米,但吊舱被设计为可移动的,可分解成多个模块并安装在货车的后部,以移动到下一个位置。

由于该项目的重点是与Munduruku的故事建立联系并给予同情,因此,有经验的感官技术人员来指导参与者进行体验非常重要。这具有双重目的,将参与者介绍到空间中并使他们轻松自在,同时还遵循脚本并监督体验的所有元素的阶段管理。 Feelies的体验设计师Charles Michel和Grace一起前往巴西,培训感官技术人员如何与访客互动,以建立信任和进行感官体验。 Grace说:“通常只有从戴上耳机的那一刻起才考虑体验。” “但是我们是有生命的生物,对于访客来说,体验是从他们走进房间的那一刻开始的,您需要为此而创造。

该项目是一个实验,旨在探讨多感官沉浸式内容是否可以更有效地帮助城市人解决土著人面临的问题,因此,在经历讨论之后,它始终具有空间,人们可以采取的路线也如此行动。我认为,在促进这种联系,建立桥梁之间,这是非常成功的。”

将雨林带到城市
“在圣保罗的展览期间,我们与一群学者合作,试图更好地了解这种经历是否真的可以改变观点。早期的结果表明,经过这样的经历,观众很可能会支持亚马逊雨林的土著土地权利和保护。”

​我们可以做的是建立这个桥梁,不是解决问题。

The human impact of social networking.

社交网络对人类的影响。

信息接受不对等 不一样 歧视 疫情知识等

​问题导向

看到一些人 一些物品

有潜意识的导向

​为啥子 

​​通过香水传递真实信息

通过气味,视觉完成一种沉浸式的体验或者游戏

​比如控制,youtube

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research: connection between female pressure, environment and memory, how to develop to the memory

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Earth’s global average surface temperature in 2020 tied with 2016 as the warmest year on record, according to an analysis by NASA.

Continuing the planet’s long-term warming trend, the year’s globally averaged temperature was 1.84 degrees Fahrenheit (1.02 degrees Celsius) warmer than the baseline 1951-1980 mean, according to scientists at NASA’s Goddard Institute for Space Studies (GISS) in New York. 2020 edged out 2016 by a very small amount, within the margin of error of the analysis, making the years effectively tied for the warmest year on record.

2015-2019年全球气候:气候变化加速

创纪录的温室气体浓度意味着进一步变暖

日内瓦,2019年9月23日-气候变化的明显迹象和影响-如海平面上升,冰块流失和极端天气-在2015-2019年期间有所增加,据悉这将是有记录以来最温暖的五年期间致世界气象组织(WMO)。大气中的温室气体浓度也增加到创纪录的水平,锁定了子孙后代的变暖趋势。

WMO为通知联合国秘书长的气候行动首脑会议而发布的《 2015-2019年全球气候报告》指出,自工业化前以来,全球平均温度已上升1.1°C,而相比之下,则上升了0.2°C。至2011-2015年。

气候声明的有效期截止至2019年7月,是联合国领先科学机构United in Science在2019年联合国气候峰会科学咨询小组的领导下进行的高级综合报告的一部分。该报告对以下内容进行了统一评估:气候变化影响日趋严重的地球系统现状,人类迄今为止的反应以及未来全球气候的预测变化。它强调了雄心勃勃的气候行动的紧迫性和潜力,以限制潜在的不可逆转的影响。

WMO随附的一份有关温室气体浓度的报告显示,2015-2019年,大气中的二氧化碳(CO2)水平和其他主要温室气体持续增加,达到了新的记录,二氧化碳的增长率比前五年高出近20% 。二氧化碳在大气中停留了几个世纪,在海洋中停留了更长时间。来自一部分温室气体观测站的2019年初步数据表明,到2019年底,全球CO2浓度有望达到甚至超过410 ppm。

WMO秘书长佩特里·塔拉斯说:“气候变化的起因和影响正在增加而不是放慢,”联合国气候变化首脑会议科学咨询小组联合主席,气象组织秘书长佩特里·塔拉斯说。

“海平面上升加快了,我们担心南极和格陵兰冰盖的突然下降,这将加剧未来的上升。今年我们在巴哈马和莫桑比克产生了悲剧性的后果,海平面上升和强烈的热带风暴导致了人道主义和经济灾难。”

“挑战是巨大的。除了缓解气候变化外,对适应的需求也越来越大。根据全球适应委员会最近的报告,最有效的适应方法是投资于预警服务,并特别注意基于影响的预测。”

“减少温室气体排放,特别是能源生产,工业和运输产生的温室气体排放,非常重要。如果我们要减轻气候变化并实现《巴黎协定》规定的目标,这至关重要。

“要使全球温度升高到比工业化之前的水平高2摄氏度以上,就需要将雄心壮志水平提高三倍。为了将增加幅度限制为1.5度,需要乘以5。”他说。

Global Climate in 2015-2019: Climate change accelerates

Record greenhouse gas concentrations mean further warming

Geneva, 23 September 2019 - The tell-tale signs and impacts of climate change – such as sea level rise, ice loss and extreme weather – increased during 2015-2019, which is set to be the warmest five-year period on record, according to the World Meteorological Organization (WMO). Greenhouse gas concentrations in the atmosphere have also increased to record levels, locking in the warming trend for generations to come.

The WMO report on The Global Climate in 2015-2019 ,  released to inform the United Nations Secretary-General’s Climate Action Summit, says that the global average temperature has increased by 1.1°C since the pre-industrial period, and by 0.2°C compared to 2011-2015.

The climate statement – which covers until July 2019 - was released as part of a high-level synthesis report from leading scientific institutions United in Science under the umbrella of the Science Advisory Group of the UN Climate Summit 2019. The report provides a unified assessment of the state of Earth system under the increasing influence of climate change, the response of humanity this far and projected changes of global climate in the future. It highlights the urgency and the potential of ambitious climate action in order to limit potentially irreversible impacts.

An accompanying WMO report on greenhouse gas concentrations shows that 2015-2019 has seen a continued increase in carbon dioxide (CO2) levels and other key greenhouse gases in the atmosphere to new records, with CO2 growth rates nearly 20% higher than the previous five years. CO2 remains in the atmosphere for centuries and in the ocean for even longer. Preliminary data from a subset of greenhouse gas observational sites for 2019 indicate that CO2 global concentrations are on track to reach or even exceed 410 ppm by the end of 2019.

“Climate change causes and impacts are increasing rather than slowing down,” said WMO Secretary-General Petteri Taalas, who is co-chair of the Science Advisory Group of the UN Climate Summit.

“Sea level rise has accelerated and we are concerned that an abrupt decline in the Antarctic and Greenland ice sheets, which will exacerbate future rise. As we have seen this year with tragic effect in the Bahamas and Mozambique, sea level rise and intense tropical storms led to humanitarian and economic catastrophes,” he said.

“The challenges are immense. Besides mitigation of climate change, there is a growing need to adapt. According to the recent Global Adaptation Commission report the most powerful way to adapt is to invest in early warning services, and pay special attention to impact-based forecasts,” he said.

“It is highly important that we reduce greenhouse gas emissions, notably from energy production, industry and transport. This is critical if we are to mitigate climate change and meet the targets set out in the Paris Agreement,” he said.

“To stop a global temperature increase of more than 2 degrees Celsius above pre-industrial levels, the level of ambition needs to be tripled. And to limit the increase to 1.5 degrees, it needs to be multiplied by five,” he said.

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 Peter De Cupere is another artist who integrates smells in his installations, wanting to force visitors to react to the art. He explains that when faced with a tough, disagreeable odor, it is impossible to stop the body from reacting. Among other installations, he built a cloud filled with the scents of air pollution, a bathroom fully covered in toothpaste, and a room made of 750’000 cigarette buds. For the 57th Venice Biennial, the artist worked with Spazio Thetis Gardens to manipulate some flowers into emitting small dashes of smoke – nature taking its revenge on humans for pollution.

彼得·德·库珀(Peter De Cupere)是另一位在装置中融入气味的艺术家,他想迫使游客对艺术做出反应。他解释说,当遇到难闻的难闻气味时,不可能阻止身体做出反应。在其他装置中,他建造了云层,上面弥漫着空气污染的气味,一间完全用牙膏覆盖的浴室以及一间由750'000烟芽制成的房间。在第57届威尼斯双年展上,这位艺术家与Spazio Thetis Gardens合作,操纵了一些花朵,散发出些许烟雾,这是大自然为人类对污染的报复。

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