Information Technology Reference
In-Depth Information
Representation:
Simulation is dominated by high-fidelity representation. The
higher the desired quality of representation, the longer the production cycle
will be. If the simulated world is unclear or ambiguous there is a gap in user
comprehension. With fabrication, ambiguity is the vehicle for exposition; to
represent the world piece by piece is to tell the story of that world.
In the worst case scenario, the characteristics of a simulation result in a
guided tour experience. So much effort is invested in creating the world, test-
ing the world, and making the world look as good as possible, the author must
ensure that the user does not miss any of the “good stuff ”. Indeed, the highly de-
signed areas are the most aesthetically pleasing, given the otherwise mundane
experiences that make up a majority of the simulated world.
In all fairness, the worst case scenario for a fabrication is unparseable
nonsense.
Avoiding nonsense
There is one major pitfall to avoid when creating a fabricated world: the re-
peated generation of unparseable nonsense. Steps need to be taken to insure
that the world will become more than a highly potential form, more than a
random collection of elements.
Dr. K- uses a few different approaches to maintain some level of compre-
hensibility within the narrative.
The first approach is the choice of specific subject material for the story. Dr.
K- is constructed around the historic account of William Burke and William
Hare in 1820's Edinburgh. The elements of the project are drawn from this par-
ticular story, elements that when viewed in quantity create a underlying setting
and mood for the story. (Burke and Hare were notorious criminals - they made
a living by killing people and selling the bodies to an anatomy school.) This
should not be considered a backstory, however. It exists more as a background
motif, like a melody line for a set of musical variations. Users are not explor-
ing an environment where they will literally discover Burke and Hare, but they
may recognize some of their elements within the narrative.
Second, the project can be presented within a theatrical setting. The ele-
ments of the set - a desk, a bench, a tea chest - echo the elements within the
story environment, reinforcing the place and mood of the story. Even when
incongruous elements are presented by the environment, the theatrical setting
helps to emphasize hidden relationships between those elements.
The project can be performed, or it can be arranged as a walk-in installa-
tion. A performance serves to engage an audience that may otherwise be too
