TRANSMEDIAL
EXTENSION
THE VR EXPERIENCE
With our pre-existing TouchDesigner files and 3D modeled scenes of the space in Unreal Engine, adapting DIS(ORIENT) into a VR experience would not be too far-fetched. It would also remove all limitations we have had previously in terms of type of environment, amount of space, or size of the installation.
We would ideally like to realize their project in all kinds of different spaces, and make it accessible to more people regardless of where they are in the world. We could, for example, situate our 3-screen layout in a simulated natural environment like a forest, or even in a brutalist-style warehouse building echoing the architecture of Funkhaus or Berghain. The idea would be to create these somewhat liminal spaces of disorientation which can be experienced in various contexts, from virtually anywhere, thus driving home the point that our proprioceptive sense is essential and adaptive to wherever our body is.
While exhibiting DIS(ORIENT) at TRANS_CORPO_REAL, one of the things that really stayed with us was seeing the reflections of our visuals permeating the entire space, bouncing through and off the semi-transparent fabric and across the walls and floors. This extension of the space seemed to us like an important aspect to consider, especially when thinking about our transmedial extension.
DIS(ORIENT) is after all, at its core, conceptually focused on navigation in and through space, and what better way to highlight this than through a virtual extension of that space, allowing more room to experience and explore. Thinking along these lines, we decided that taking our project into the realm of virtual reality would be the next logical step.
TRANS_CORPO_REAL
UE x CATALYST EVENT
DIS(ORIENT) was one of several installations exhibited on February 3rd. Our team had some initial technical difficulties in getting connected to the Kinect movement sensor, but we powered through and our project was a huge success. Team members Alessandra and Gokalp were behind the screens operating the MIDI controllers along with Hari, who was managing the audio track. Ananya and Miroo were amongst the crowd capturing footage for documentation. It was a full circle experience to watch audience members resonate with the project and hear reviews afterwards.
On February 3rd, 2023, DIS(ORIENT) debuted at TRANS_CORPO_REAL, a combined audiovisual event hosted by Catalyst and the New Media Design MA of the University of Applied Sciences Europe.
Members of our team and their fellow students were in charge of designing and building the main stage set-up. During the days preceding the event, we brought all the equipment to the event location and set up the three projections surfaces, the projectors, the kinect and the sound and PC station thanks to a huge team effort.
ORIENS
Audiovisual installation
by Cao Yuxi
ALEX GUEVARA
Digital artist specialized in data visualisation
3.2 DARK MOFO
A spatial installation
by the duo 404
LIVING MEMBRANE
Installation by Daan Roosegaard
Our project underwent multiple stages of development, conceptualization, research and prototyping. Many ideas that we began with did not make it to the end, and similarly, we stumbled upon many concepts during our process that stuck with us until the realisation of the installation.
Our concept began from a feeling: the feeling of finding your feet upon arriving in a new city. We are faced with new streets, new sights and smells, thus creating a new sense of navigation. We asked ourselves, ‘what is it about our bodies and our minds that allows us to become familiar with foreign surroundings, and get comfortable enough to rebuild our lives in a new space?’
Our goal for the DIS(ORIENT) experience was to combine visuals, sounds and scientific methodology related to navigation in order to allow our audience members to perceive their internal ability to wayfind, which is usually so innate and subtle that we miss it completely.
The importance of this experience lies in our perception of our own bodies; what they can do for us, how we can nurture them, and how we can facilitate a deeper connection between our minds and the vessels they operate.
CONCEPT
OUR BODY IS A VESSEL THROUGH WHICH WE NAVIGATE THE WORLD
BODY AS A COMPASS,
Documentation
Documentation
After developing the three initial visual elements, we realised that if we really wanted to centralize the feeling of proprioception, it would not be sufficient to have the viewer cycle through this process just one time.
Thus we decided to loop the first three elements to occur 6 times each in a span of 15 minutes, with the length of each loop becoming shorter and faster as it progresses, creating a sharp contrast between each element, and therefore making the feeling easier to perceive.
NARRATION
TIMELINE,
STORYBOARD AND VISUALIZATION OF THE SPACE
DISORIENTATION
REFERENCES
Disorientation, on the other hand, has the opposite effect - it is caused by chaotic scenes, changes in light and frequency, and disjointed sounds that are hard to localize. All these things put together disturb our proprioception, and in its absence we are able to understand why it is necessary.
The work of Alex Guevara inspired to convey this chaotic feelings. His artworks integrate sonic and light elements. Thanks to the use of stroboscopic lights and fast and sudden animations the effect given by his visuals is unsettling and disorienting.
ORIENTATION
REFERENCES
Orientation is characterized by the initial exploration or discovery of a new space - a calm sense which allows us to map the space in our minds and become familiar with it. Once we feel oriented, we are free to feel comfortable and safe in the space.
In order to allow this sensation of free and endless navigation, we took inspiration from audiovisual
installations that exploited the space, but also created a calm sensation for the viewer.
Oriens by Cao Yuxi employs a series of shifting shapes travelling around the space, absorbing the audience in an external dimensional "atom blackhole".
How can we manipulate our internal proprioception?
PROPRIOCEPTION
IS the sense of self-movement, force, and body position
RESEARCH
As the idea for our project began with the metaphor of proprioception being our body’s natural compass, we began to think about how we could manipulate our internal proprioception in a way that leaves a lasting effect on our viewers. We researched already known phenomena which facilitate this sense and those which disrupt it. And we found that proprioception is easiest to perceive when the body is experiencing orientation, disorientation and re-orientation within a singular space.
Our bodies are resilient and incredibly adaptive, which is why they almost always reorient themselves to navigate our life experiences. Just as a compass helps us find our way, our body's proprioception—awareness of its position in space—guides us through movement and coordination. Proprioception, also known as kinesthesia, allows you to walk without consciously thinking about where to place your foot next. And thanks to our ‘gut feelings’ there is a harmonious interplay between the physical and mental realms we occupy without actively realising it. We wanted to explore the anatomical science behind
our body’s proprioception so we let our research on the topic guide us in conceptualising and creating the different visuals intended to trigger different feelings in our audience. In the increasingly digital disconnected online existence that currently affects so many of us in society today, we wanted to foreground the bodily senses in the awareness of those who experience our work. The goal of our installation is to give our audience the opportunity to consciously experience proprioception in a safe controlled environment.
BODY AS A COMPASS,
OUR BODY IS A VESSEL THROUGH WHICH WE NAVIGATE THE WORLD
CONCEPT
Our goal for the DIS(ORIENT) experience was to combine visuals, sounds and scientific methodology related to navigation in order to allow our audience members to perceive their internal ability to wayfind, which is usually so innate and subtle that we miss it completely.
The importance of this experience lies in our perception of our own bodies; what they can do for us, how we can nurture them, and how we can facilitate a deeper connection between our minds and the vessels they operate.
Our project underwent multiple stages of development, conceptualization, research and prototyping. Many ideas that we began with did not make it to the end, and similarly, we stumbled upon many concepts during our process that stuck with us until the realisation of the installation.
Our concept began from a feeling: the feeling of finding your feet upon arriving in a new city. We are faced with new streets, new sights and smells, thus creating a new sense of navigation. We asked ourselves, ‘what is it about our bodies and our minds that allows us to become familiar with foreign surroundings, and get comfortable enough to rebuild our lives in a new space?’
What is it about our bodies and our minds that allows us to become familiar with foreign surroundings?
RE-ORIENTATION
REFERENCES
Re-orientation is a navigational sense, which uses geometries and directions to reset our internal compass and refresh our proprioception. Re-orientation often occurs after our internal compass has been disturbed, as a way of re-acquainting us with our surroundings.
Reconnecting to simple geometry and to the nature of the space was essential for this step of our journey. 3.2 Dark Mofo is a spatial installation, where algorithmic light patterns with a sound of modular synthesizers create a defined path through a tunnel, pushing the visitors to explore the space.
GROUNDING
REFERENCES
We also decided to add a fourth element of grounding to our piece, as sort of guided meditation which allows the viewer to once again feel safe within their bodies after the series of disruptions to their body’s compass.
The aim of grounding is to create a connection between human interaction and space.
Living Membrane is an immersive installation by Daan Roosegaard where the dutch artist combined music and light with a flexible membrane to create a ‘living’ space that responds to human touch and movement.
ORIENS
Audiovisual installation by Cao Yuxi
ALEX GUEVARA
Digital artist specialized in data visualisation
3.2 DARK MOFO
A spatial installation by the duo 404
LIVING MEMBRANE
Installation by Daan Roosegaard
TIMELINE, STORYBOARD
AND VISUALIZATION OF THE SPACE
After developing the three initial visual elements, we realised that if we really wanted to centralize the feeling of proprioception, it would not be sufficient to have the viewer cycle through this process just one time.
Thus we decided to loop the first three elements to occur 6 times each in a span of 15 minutes, with the length of each loop becoming shorter and faster as it progresses, creating a sharp contrast between each element, and therefore making the feeling easier to perceive.
NARRATION
for the space we decided to
createD a u-shape TO enclose the audience in the experience
VISUAL EQUIPMENT:
Projector x3
Projection surface x3
Kinect x1
SOUND EQUIPMENT:
Speakers x6
RME fire face sound card
Cables
TECH RIDER
ORIENTATION
VISUALS
Since orientation often occurs through natural phenomena, such as using the direction of the sunset to find true north, or using constellations to wayfind in the ocean, we decided to use the soothing visual inspiration of northern lights as a base for our first visual element.
After many rounds of development, we additionally decided to simulate a journey through an ambiguous 3D city in the background, as a way of portraying the commonly shared experience of navigating a familiar city, and also as a homage to the cities that we are all familiar with but have left behind.
Orientation during the TRANS_CORPO_REAL event at Catalyst, Berlin.
Orientation uses 3D space and nature inspired visual elements.
DISORIENTATION
VISUALS
For disorientation, our goal was different - instead of making the viewer feel calm and like they’ve been here before, we wanted to serve a shock to their system. The visual for this part is sharp, jagged and unpredictable. It is powered by noise which makes it impossible to tell what’s about to happen next, where the next strobe will flash, or what shape the mass is about to take.
Prototyping Disorientation in university.
Reactions from the audience during TRANS_CORPO_REAL event at Catalyst, Berlin.
RE-ORIENTATION
VISUALS
Re-orientation employs geometries and directional paths as a way to help guide the viewer and allow them to once again find their feet, and start to re-familiarize themselves with the space. Think of the small guiding lights along the floor in airplanes and movie theaters which tell you which direction the exit is in.
The visual element here employs a similar concept of spatially aware visuals which move across the space in a calm, predictable way.
Re-orientation during the TRANS_CORPO_REAL event at Catalyst, Berlin.
Re-orientation comprises seven different geometric visuals controlled by a MIDI.
GROUNDING
VISUALS
For the fourth and final element of grounding, we did extensive research into guided meditations and other experiences that allow us to come back into sync with our bodies. Paced breathing, calm observation of one’s surroundings, and scanning one’s own body are good ways of achieving this. The visual element of grounding employs some of these concepts - such as portraying a growing - like visual that comes slowly up from the ground, simulating the feeling of first becoming aware of your feet, and then moving your awareness upwards.
Towards the end of grounding, our visuals become interactive with the silhouettes of our viewers. The reason we did this is because, after 15 minutes of allowing the changing space to affect everyone’s internal sense of familiarity and location, we wanted the viewers to have a moment where they could also affect the space, thus completing the process of bringing them back to a safe feeling within their bodies.
Testing grounding in the prototype room.
Grounding during the TRANS_CORPO_REAL event at Catalyst, Berlin.
A SPATIAL SOUND EXPERIENCE
TO HELP US DISCONNECT AND RECONNECT WITH OUR BODIES
SOUND
We collaborated with our friends and sound designers from Catalyst, Hari Krishna and Ashley Maurice, who designed the audio element of our piece, a spatially arranged and similarly looped audio track which accompanies and partially drives the visuals throughout the installation.
After receiving the audio file, we arranged parameters in our TouchDesigner patches in order to make the visuals react to the sound design in different capacities.
Our collaboration consisted of several rounds of ideation and sharing research so that the audio elements followed the same logic as the visuals. For Orientation, the audio is characterized by soothing, isolated guitar strums and light tones, lulling the viewers into a sense of security. For Disorientation, the audio becomes jarring, disjointed and unnerving, in order to catch the audience off guard. During Re-orientation, the audio element transforms into more predictable tempos and sounds so that the viewers can find their feet again.
The sound element during Grounding is mostly ambient, but also features a carefully crafted guided meditation, which was recorded by five different members of our team and then spatially arranged by our sound designers so that different voices speak from different speakers around the room. This was done in order to create a feeling of personalized guidance for each viewer, as though everyone has their own voice, speaking only to them.
We recorded the vocals for Grounding in Catalyst's studios in Funkhaus, Berlin.
PROTOTYPING AND MAKING OF
In order to have a real feeling of how the installation would look like, together with other students of the MA of New Media Design, we set up a prototyping room in an empty classroom of our university. Our prototyping sessions were integral turning points in the development of DIS(ORIENT). In the initial stages, we were developing the first three elements step by step.
Orientation developed from just a singular orb of light that swept across the space. After seeing it in the space, we realised that our audience would benefit from an extension of the installation space via the visuals, which is when we decided to add the ambiguous 3D city visuals in order to centralize a feeling of navigation. Similarly, the Re-orientation element also underwent many changes once we had seen it in a 3-screen setup; we began to think about how the guiding lights could utilize all three walls and corners in order to guide the eye in a particular direction.
Our prototyping sessions also allowed us to touch base with our sound artists, who had been working independently on the sound design. When were all finally bring together all our separate parts, we experienced a moment of synergy and alignment which felt very much in line with our preconceived concept.
Testing the kinect for Grounding.
We prototyped our piece in an empty classroom in our university.
This is how our timeline looks like on TouchDesigner.
TRANS_CORPO_REAL
UE x CATALYST EVENT
On February 3rd, 2024, DIS(ORIENT) debuted at TRANS_CORPO_REAL, an event hosted by Catalyst and organized by Time Lab and the New Media Design MA of the University of Applied Sciences Europe.
Members of our team and their fellow students were in charge of designing and building the main stage set-up. During the days preceding the event, we brought all the equipment to the event location and set up the three projections surfaces, the projectors, the kinect and the sound and PC station thanks to a huge team effort.
DIS(ORIENT) was one of several installations exhibited on February 3rd. Our team had some initial technical difficulties in getting connected to the Kinect movement sensor, but we powered through and our project was a huge success. Team members Alessandra and Gokalp were behind the screens operating the MIDI controllers along with Hari, who was managing the audio track. Ananya and Miroo were amongst the crowd capturing footage for documentation. It was a full circle experience to watch audience members resonate with the project and hear reviews afterwards.
The main stage was entirely set up by New Media Design students.
The audience could feel fully immersed thanks to the U-shape design of the stage.
Thanks to the transparent screens, visitors could watch the piece from any side of the room.
RESEARCH
PROPRIOCEPTION
PROPRIOCEPTION
IS the sense of self-movement, force, and body position
Our bodies are resilient and incredibly adaptive, which is why they almost always reorient themselves to navigate our life experiences. Just as a compass helps us find our way, our body's proprioception—awareness of its position in space—guides us through movement and coordination.
Proprioception, also known as kinesthesia, allows you to walk without consciously thinking about where to place your foot next. And thanks to our ‘gut feelings’ there is a harmonious interplay between the physical and mental realms we occupy without actively realising it. We wanted to explore the anatomical science behind our body’s proprioception so we let our research on the topic guide us in conceptualising and creating the different visuals intended to trigger different feelings in our audience. In the increasingly digital disconnected online existence that currently affects so many of us in society today, we wanted to foreground the bodily senses in the awareness of those who experience our work.
The goal of our installation is to give our audience the opportunity to consciously experience proprioception in a safe controlled environment.
As the idea for our project began with the metaphor of proprioception being our body’s natural compass, we began to think about how we could manipulate our internal proprioception in a way that leaves a lasting effect on our viewers.
We researched already known phenomena which facilitate this sense and those which disrupt it. And we found that proprioception is easiest to perceive when the body is experiencing orientation, disorientation and re-orientation within a singular space.
REFERENCES
ORIENTATION
Orientation is characterized by the initial exploration or discovery of a new space - a calm sense which allows us to map the space in our minds and become familiar with it. Once we feel oriented, we are free to feel comfortable and safe in the space.
In order to allow this sensation of free and endless navigation, we took inspiration from audiovisual installations that exploited the space, but also created a calm sensation for the viewer.
Oriens by Cao Yuxi employs a series of shifting shapes travelling around the space, absorbing the audience in an external dimensional "atom blackhole".
REFERENCES
DISORIENTATION
Disorientation, on the other hand, has the opposite effect - it is caused by chaotic scenes, changes in light and frequency, and disjointed sounds that are hard to localize. All these things put together disturb our proprioception, and in its absence we are able to understand why it is necessary.
The work of Alex Guevara inspired to convey this chaotic feelings. His artworks integrate sonic and light elements. Thanks to the use of stroboscopic lights and fast and sudden animations the effect given by his visuals is unsettling and disorienting.
REFERENCES
RE-ORIENTATION
Re-orientation is a navigational sense, which uses geometries and directions to reset our internal compass and refresh our proprioception. Re-orientation often occurs after our internal compass has been disturbed, as a way of re-acquainting us with our surroundings.
Reconnecting to simple geometry and to the nature of the space was essential for this step of our journey. 3.2 Dark Mofo is a spatial installation, where algorithmic light patterns with a sound of modular synthesizers create a defined path through a tunnel, pushing the visitors to explore the space.
REFERENCES
GROUNDING
We also decided to add a fourth element of grounding to our piece, as sort of guided meditation which allows the viewer to once again feel safe within their bodies after the series of disruptions to their body’s compass.
The aim of grounding is to create a connection between human interaction and space.
Living Membrane is an immersive installation by Daan Roosegaard where the dutch artist combined music and light with a flexible membrane to create a ‘living’ space that responds to human touch and movement.
for the space we
createD a u-shape TO enclose the audience in the experience
TECH RIDER
VISUAL EQUIPMENT:
Projector x3
Projection surface x3
Kinect x1
SOUND EQUIPMENT:
Speakers x6
RME fire face sound card
Cables
VISUALS
ORIENTATION
Since orientation often occurs through natural phenomena, such as using the direction of the sunset to find true north, or using constellations to wayfind in the ocean, we decided to use the soothing visual inspiration of northern lights as a base for our first visual element.
After many rounds of development, we additionally decided to simulate a journey through an ambiguous 3D city in the background, as a way of portraying the commonly shared experience of navigating a familiar city, and also as a homage to the cities that we are all familiar with but have left behind.
VISUALS
DISORIENTATION
For disorientation, our goal was different - instead of making the viewer feel calm and like they’ve been here before, we wanted to serve a shock to their system. The visual for this part is sharp, jagged and unpredictable. It is powered by noise which make it impossible to tell what’s about to happen next, where the next strobe will flash, or what shape the mass is about to take.
VISUALS
re-ORIENTATION
Re-orientation employs geometries and directional paths as a way to help guide the viewer and allow them to once again find their feet, and start to re-familiarize themselves with the space. Think of the small guiding lights along the floor in airplanes and movie theaters which tell you which direction the exit is in.
The visual element here employs a similar concept of spatially aware visuals which move across the space in a calm, predictable way.
VISUALS
GROUNDING
For the fourth and final element of grounding, we did extensive research into guided meditations and other experiences that allow us to come back into sync with our bodies. Paced breathing, calm observation of one’s surroundings, and scanning one’s own body are good ways of achieving this. The visual element of grounding employs some of these concepts - such as portraying a growing - like visual that comes slowly up from the ground, simulating the feeling of first becoming aware of your feet, and then moving your awareness upwards.
Towards the end of grounding, our visuals become interactive with the silhouettes of our viewers. The reason we did this is because, after 15 minutes of allowing the changing space to affect everyone’s internal sense of familiarity and location, we wanted the viewers to have a moment where they could also affect the space, thus completing the process of bringing them back to a safe feeling within their bodies.
In order to have a real feeling of how the installation would look like, together with other students of the MA of New Media Design, we set up a prototyping room in an empty classroom of our university. Our prototyping sessions were integral turning points in the development of DIS(ORIENT). In the initial stages, we were developing the first three elements step by step.
Orientation developed from just a singular orb of light that swept across the space. After seeing it in the space, we realised that our audience would benefit from an extension of the installation space via the visuals, which is when we decided to add the ambiguous 3D city visuals in order to centralize a feeling of navigation. Similarly, the Re-orientation element also underwent many changes once we had seen it in a 3-screen setup; we began to think about how the guiding lights could utilize all three walls and corners in order to guide the eye in a particular direction.
Our prototyping sessions also allowed us to touch base with our sound artists, who had been working independently on the sound design. When were all finally bring together all our separate parts, we experienced a moment of synergy and alignment which felt very much in line with our preconceived concept.
PROTOTYPING
AND MAKING OF
SOUND
A SPATIAL SOUND
EXPERIENCE TO HELP US RECONNECT WITH OUR BODIES
Our collaboration consisted of several rounds of ideation and sharing research so that the audio elements followed the same logic as the visuals. For Orientation, the audio is characterized by soothing, isolated guitar strums and light tones, lulling the viewers into a sense of security. For Disorientation, the audio becomes jarring, disjointed and unnerving, in order to catch the audience off guard. During Re-orientation, the audio element transforms into more predictable tempos and sounds so that the viewers can find their feet again.
The sound element during Grounding is mostly ambient, but also features a carefully crafted guided meditation, which was recorded by five different members of our team and then spatially arranged by our sound designers so that different voices speak from different speakers around the room. This was done in order to create a feeling of personalized guidance for each viewer, as though everyone has their own voice, speaking only to them.
We collaborated with our friends and sound designers from Catalyst, Hari Krishna and Ashley Maurice, who designed the audio element of our piece, a spatially arranged and similarly looped audio track which accompanies and partially drives the visuals throughout the installation.
After receiving the audio file, we arranged parameters in our TouchDesigner patches in order to make the visuals react to the sound design in different capacities.
TRANS_CORPO_REAL
UE x CATALYST EVENT
DIS(ORIENT) was one of several installations exhibited on February 3rd. Our team had some initial technical difficulties in getting connected to the Kinect movement sensor, but we powered through and our project was a huge success. Team members Alessandra and Gokalp were behind the screens operating the MIDI controllers along with Hari, who was managing the audio track. Ananya and Miroo were amongst the crowd capturing footage for documentation. It was a full circle experience to watch audience members resonate with the project and hear reviews afterwards.
On February 3rd, 2023, DIS(ORIENT) debuted at TRANS_CORPO_REAL, a combined audiovisual event hosted by Catalyst and the New Media Design MA of the University of Applied Sciences Europe.
Members of our team and their fellow students were in charge of designing and building the main stage set-up. During the days preceding the event, we brought all the equipment to the event location and set up the three projections surfaces, the projectors, the kinect and the sound and PC station thanks to a huge team effort.
TRANS_CORPO_REAL
UE x CATALYST EVENT
DIS(ORIENT) was one of several installations exhibited on February 3rd. Our team had some initial technical difficulties in getting connected to the Kinect movement sensor, but we powered through and our project was a huge success. Team members Alessandra and Gokalp were behind the screens operating the MIDI controllers along with Hari, who was managing the audio track. Ananya and Miroo were amongst the crowd capturing footage for documentation. It was a full circle experience to watch audience members resonate with the project and hear reviews afterwards.
On February 3rd, 2023, DIS(ORIENT) debuted at TRANS_CORPO_REAL, a combined audiovisual event hosted by Catalyst and the New Media Design MA of the University of Applied Sciences Europe.
Members of our team and their fellow students were in charge of designing and building the main stage set-up. During the days preceding the event, we brought all the equipment to the event location and set up the three projections surfaces, the projectors, the kinect and the sound and PC station thanks to a huge team effort.
THE VR EXPERIENCE
TRANSMEDIAL EXTENSION
While exhibiting DIS(ORIENT) at TRANS_CORPO_REAL, one of the things that really stayed with us was seeing the reflections of our visuals permeating the entire space, bouncing through and off the semi-transparent fabric and across the walls and floors. This extension of the space seemed to us like an important aspect to consider, especially when thinking about our transmedial extension.
DIS(ORIENT) is after all, at its core, conceptually focused on navigation in and through space, and what better way to highlight this than through a virtual extension of that space, allowing more room to experience and explore. Thinking along these lines, we decided that taking our project into the realm of virtual reality would be the next logical step.
With our pre-existing TouchDesigner files and 3D modeled scenes of the space in Unreal Engine, adapting DIS(ORIENT) into a VR experience would not be too far-fetched. It would also remove all limitations we have had previously in terms of type of environment, amount of space, or size of the installation.
We would ideally like to realize their project in all kinds of different spaces, and make it accessible to more people regardless of where they are in the world. We could, for example, situate our 3-screen layout in a simulated natural environment like a forest, or even in a brutalist-style warehouse building echoing the architecture of Funkhaus or Berghain. The idea would be to create these somewhat liminal spaces of disorientation which can be experienced in various contexts, from virtually anywhere, thus driving home the point that our proprioceptive sense is essential and adaptive to wherever our body is.
DIS(ORIENT) is, at its core, the exploration of liminal spaces of disorientation.