Looking at my previous device, instead of focusing it on sound, I like to direct it towards ‘linearity’ (how the data behaves) and how the data embedded inside it travel and were transmitted through a single line. The data (solid particles) in a single line has the characteristics of moving from point A to point B and as well as the transverse wave that behaves in that manner.
Relating to Brooklyn Bridge, what’s fascinating about this monument is the history and drama that comes with it and it’s forever known for its story. And what I wanted to do is bring out its secrets and letting people know the story of a bridge that they use to cross the river to get to their homes and work on daily routine. Unfortunately, I had trouble in cooperating the sound with the intention of revealing the best of brooklyn bridge without the use of multiple sound devices and specialized tools.
By bringing back the train (previously used to travel on the bridge which the service ended around 1940s), hopefully I can come up with a bit of more promising strategy to get to my initial intention and better, to direct the brief towards tangibility and of my interest. I watched ‘Snowpiercer’, a sci-fi thriller movie. The plot involves a post-apocalyptic world that has entered a new ice age due to mankind’s failed geoengineering and climate-altering hubris. As a result, virtually all life on earth perishes, while a small number of “chosen” are whisked away aboard a high-speed perpetual motion-run train that circles the globe. The train is a free market economy on wheels where separation of class is conveniently represented by the linkages between cars. The rear of the train is for the impoverished workers while the front is for rich capitalists live in luxury and debauchery. Within this paradigm, man is viewed as a cog in the deterministic, naturalistic machine of the inanimate, eternal and universal ecosystem. This symbiotic ecosystem requires an inchoate metaphysical principle of “balance”. In a different perspective, the train is compared symbolically three ways in the narrative: to a machine, to the world, and to a human body.
spreading propaganda to the young kids on train
The main thing from this movie that attracts me was the genius indirect way of representing/conveying the message of the story through visual and live demonstration, more like a theatrical stage and people experience the story telling first hand. These images are taken from the movie and also from earlier concept art of the train.
What I had in mind was to engage the memories, the history of the bridge, the life of New York people evolve, the migration of multi racial people, the symbolic interpretation of how Brooklyn Bridge change the city development with the created metaphorical background. At this point, instead of relating it to the strings/cables/ or sound, I intend to insert the functionality of my previous device and how it behaves with linearity and the embedded, transmitted data.
Cars of the train with indications (done by fans)
The other day, I stumbled upon a research on Foucault’s museum definition. ‘Heterotopia’. How he explained it is inspiring. I’m not quite sure how to bring this forth in designing but it sure gives me a total different way of defining museum in my proposal. I haven’t really digest his whole concept and hopefully I’ll have the time to do it.
” The heterotopia is a space of difference, in which ordinary cultural emplacements are brought together and represented, contested, and reversed. Sacred and forbidden spaces, ‘crisis’ spaces, and spaces for holding deviant individuals are included in this definition. Heterotopias are spatially isolated places that juxtapose incompatible objects and discontinuous times, and have ‘the role of creating a space of illusion that denounces all real space, all real emplacements … as being even more illusory’ (Foucault 1998: 184) ”
” What is it that makes the museum a heterotopia? Foucault suggests a spatial aspect
and a temporal aspect: the museum brings together disparate objects from different times in
a single space that attempts to enclose the totality of time – a totality that is protected from time’s
erosion. The museum thus engages in a double paradox: it contains infinite time in a finite
space, and it is both a space of time and a ‘timeless’ space. “
When I saw the different layout in each cars of the train from the movie, I thought of this paradox that time passes only on inside of the box but it seems to stop when it’s outside on the frozen world. It gives the idea of the time contrast.
” Instead of understanding the museum as an instance of either of these ‘monuments’ of thought, we must approach it as a contingent ‘document’ that may be constituent of multiple, discontinuous historical series. When the museum is understood essentially as a heterotopia or space of difference, it becomes clear that the museum can perform Foucault’s own historical methodology of genealogy. It is in this sense that the museum can contribute to progress. Progress,understood in Foucault’s sense, is not the necessary progress of ‘total history’, nor a
teleological progress towards a goal or ideal; it is, rather, progress as the growth of capabilities
to resist and transgress systems that cast power relations and historical events as fixed and
necessary (see Hoy 1986: 138-45). “
I’ve started very small part of the train drawing. I’m looking for suitable type of train to go further with and found this sectional drawing of train by Stephen Biesty. Perhaps I can produce one of this.
This is just very small part of steam engine train works. In progress.
And others are in progress.