Performative Media ：Final Project

 Performative Media

Final Project 

Start from 26.9.2025

21.11.2025 - 26.1.2025 / Week 9 - Week 14

LI XIN LI / 0379305

Performative Media  / Bachelor of Interactive Spatial Design 

Final Project

Week 9

The teacher then explained how to use the equipment required for the final assignment and highlighted the importance of space planning for the presentation. He also referenced past student projects to give practical advice on presentation narrative and spatial display, helping us understand what to focus on for the final showcase.

1. Exhibition Space and Usage Arrangements

The lecturer explained that this year’s exhibition will take place within the same GFED area, using both the white-wall sections and the tower-like structure.

In previous years, exhibitions typically lasted 7–10 days, but due to time constraints, this year’s display period will be limited to three days. During the exhibition, students will take turns supervising the artworks, explaining their concepts to visitors, and ensuring the safety of the equipment. The lecturer emphasized that this responsibility mimics real industry practice and is therefore an important part of the learning experience.

2. Equipment Requirements and Laptop Management

All interactive components must be run using a laptop. Each group must decide whose laptop will be used for the showcase—or, alternatively, borrow one from the school.

However, if a borrowed laptop is used, someone must remain present throughout the entire presentation to monitor and safeguard the equipment.

The lecturer repeatedly stressed the importance of pre-show testing, reminding us that technical issues such as sensor malfunctions or playback failures must be identified and resolved beforehand.

3. Professional Standards for the Presentation

The lecturer presented several strong examples from past years and highlighted a few key expectations:

• Physical elements are essential—the work cannot rely solely on screens.

• The installation must have narrative clarity, visual logic, and a meaningful spatial experience.

• Last-minute sketches or rushed concepts are unacceptable; the design must reflect real thought, planning, and testing.

He emphasized again and again:

“Your final showcase is effectively the first page of your professional portfolio.”

This set a very clear standard for the level of refinement expected.

4. Our Initial Direction for the Final Project

After hearing the lecturer’s explanation, we began developing new ideas for our final project. We sketched a simple concept and shared it with him for early feedback.

Our proposed setup includes three screens, ground reflection materials, and dynamic lighting:

• Center Screen: Displays detailed winter visuals—snow particles, storm-like motion, and subtle atmospheric shifts.

• Side Screens: Use softer, more abstract colors with prismatic or mirrored refraction to create ambience.

• Reflective Ground Surface: A low-key reflective material is placed on the floor to refract visuals into the surrounding space, enhancing immersion.

• Spatial Lighting: Soft, low-intensity LEDs or DMX lighting create a subtle flow of light across the floor.

The goal is to evoke a semi-enclosed sense of “winter emptiness,” allowing the audience to feel the quiet, gentle atmosphere of a space where the presence of the season is suggested through absence.

Teacher feedback

The teacher acknowledged the potential of our concept, particularly the layered visuals and reflective effects, but emphasized several key points: the installation must include well-defined physical components rather than relying solely on screens; lighting and DMX effects can add unique depth; concept sketches and diagrams should clearly convey atmosphere and narrative; and all technical elements—reflection, sensors, and lighting—must be thoroughly tested before the exhibition. Additionally, next week we need a complete equipment and material list, spatial layout, and visualizations to prepare for fabrication.

The teacher posted the task details：

Week 10

We showed the teacher the current project progress, and we received feedback.

TouchDesigner

Sketch

TouchDesigner Visuals

The instructor was impressed by our particle interaction visuals, describing them as “cool” and “visually strong.”

However, he also mentioned that:

“It doesn’t look like snow yet.”

This means our visuals are not fully aligned with the intended narrative:

blizzard → gentle snowfall → melting → blooming

We need to adjust either

• the visual style, or

• the conceptual narrative

to ensure the interaction matches the storyline.

Art Description Must Be Very Clear

The art description must be extremely concise and precise. After reading it, the instructor should immediately understand:

• the theme

• the emotional progression

• the interaction model

He will compare the description with our visuals to check for alignment.

Feedback on Physical Structure

Our spiral structure and hanging elements were seen as promising.

He encouraged us to continue exploring materials such as

• CDs

• metal or aluminum wire

• lightweight ornaments

• foam materials

At the same time, we must consider:

• safety

• stability

• weight distribution

• durability during the exhibition

He also requested more detailed structural sketches.

Scent Component (Spring Aroma)

The inclusion of a spring-like scent surprised him in a positive way.

He agreed it could enrich the experience but reminded us to consider:

• the safety of the scent mechanism

• whether the scent should react to interaction

• how close the audience will be to the scent source

Overall Direction

The instructor thinks our combination of structure + interactive visuals + seasonal transformation is strong.

But he emphasized that all components must come together as one cohesive experience.

We then refined the sketch and tried to express it using 3D modeling.

Our group presented the updated version of our interactive installation, and the teacher responded positively overall. He also gave several key suggestions that are crucial for our next development steps. This feedback helped us understand how to move forward more clearly.

Installation Size: Controlled Footprint, Flexible Height

The teacher emphasized two main points regarding the physical dimensions:

• The footprint should ideally stay within 1m × 1m to ensure easy transportation to the GMDB exhibition space.

• The height can be flexible, and building it close to human height is completely fine.

This means we can still achieve an immersive scale as long as the structure remains portable.

Effective Placement of the Interaction Zone

The teacher supported our decision to place the interaction area at the front of the installation. He noted that this layout makes it intuitive for visitors to know where to stand, whether we use projection or a physical screen.

Screens / Projection Need More Dimensionality

Currently, the projection surface appears too flat. The teacher suggested:

• Giving the screen or projection surface more three-dimensional form, or

• Extending the visuals onto parts of the structure.

This would create more depth in the visual experience and integrate the digital content more naturally with the physical installation.

Material Selection Still Needs Clarity

Our materials are not yet finalized. The teacher reminded us to begin considering factors such as:

• Weight and stability

• Transparency or opacity

• Surface texture and reflectivity

• How each material will affect projection and interaction

Material choices impact not only the construction process but also the aesthetics and user experience, making this an important focus for the next phase.

Overall Evaluation: Strong Direction, High Potential

The teacher believes we are moving in the right direction. The visual concept is engaging, and the interaction aligns well with the spatial layout. With further refinement in materials, projection integration, and spatial depth, the installation will become even stronger and more complete.

After that, we further determined the required materials and tools.

We held an online group meeting over the weekend to discuss the materials needed for our ideas.

Week 11

This week we continued to buy materials. Nuoyan and I went to Mr. DIY during our free time to see if they had any materials we could use. We bought artificial flowers and cable ties, and I also borrowed pliers from my friend.

In this lesson, we showed the teacher the current materials, structure, and design development of our installation, as well as the initial interactive effects of TouchDesigner. The teacher affirmed the overall direction but also provided many suggestions particularly crucial for the production stage.

1. Materials and Structure: Improve stability and reduce the "handmade feel"

We prepared materials such as artificial flowers, snowballs, and small lights, which is generally the right direction.

Using ready-made artificial flowers is cleaner and looks better than making flowers from foam or cardboard.

2. Installation Design: Start making physical prototypes as soon as possible

The teacher wanted us to submit the latest design sketches and reminded us:

The earlier we start making physical prototypes, the more real problems we can discover.

Our current design is too "geometric" and too rigid; we need to make the forms softer and more natural.

The transition from "snow" to "spring" cannot rely solely on color changes; the changes in the flower's form must also be valid, otherwise the visual logic will be unclear.

3. Seasonal Transition Logic: Making "Winter → Spring" More Clear and Natural

The teacher confirmed our core theme is:

Winter (Snow) →  Spring (Flowers)

However, the visual changes are not yet strong enough:

The flower shapes need a more natural transition.

The materials need to be "softer" and more organic.

The changes don't need to be complex, but the audience must be able to "understand" the seasonal changes.

4. TouchDesigner: Simplify, Don't Overcomplicate the Technology

The teacher questioned our interactive visual presentation (blinking squares), reminding us:

Tracking/segmentation doesn't need to be overly complex or precise.

Try simplifying the interactive logic.

Focus on: When the audience approaches or interacts → the image changes naturally.

The overall visual style should be softer, more dynamic, and more organic.

5. Overall Progress: The direction is correct; the key is to start implementing it now.

The teacher believes we have the foundation in two parts:

Materials Preparation ✔️

TouchDesigner ✔️

Clear Thematic Logic ✔️

But most importantly:

Start actually building the structure, creating small prototypes, and determining the actual visual effect.

Don't continue to stay in the realm of "imagined effects" or "software visuals."

6. Additional Reminder

If the school's security camera isn't working well, use your own.

If you don't have enough tools, borrow from a friend.

Don't push yourself too hard; maintain a steady pace and don't let technology become an obstacle.

We then drew a sketch.

We presented our new sketches and overall concept to the teacher. The teacher's feedback was very clear, giving us a better understanding of how to proceed with the production.

1. Teacher's Affirmation of the Sketches

The teacher first affirmed the quality of our sketches, stating that their overall visual language was already very strong and could directly serve as the inspiration for the final work. He specifically mentioned:

The sketches had a good atmosphere and a sense of design.

They could be continued and developed into an actual installation.

This gave us a lot of confidence.

2. Suggestions on the Seasonal Theme: Fusion is More Interesting than Separation

Originally, we planned to present "winter" and "spring" on the left and right sides respectively. However, the teacher offered a new direction:

It's not necessary to strictly distinguish between the two seasons; spring and winter could be merged, allowing flowers and snow to coexist.

He believed:

This combination is more imaginative and artistic.

It doesn't need to completely follow realistic logic.

The effect might be more unique and visually appealing.

This gave us more open ideas for the design.

3. It's time to move into the physical production stage.

The teacher reminded us:

Now that the materials and equipment are in place,

we can no longer remain on paper.

We should start making the physical structure as soon as possible.

He emphasized that many unexpected details will arise when transforming a sketch into a real sculpture, so the sooner we start, the better.

After that, Nuoyan and I ordered some crepe paper, wire, and cotton online during class.