PERFORMATIVE MEDIA ：FINAL PROJECT

 PERFORMATIVE MEDIA ：FINAL PROJECT

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Performative Media：Final Project

Ding Jiaqi/0379388 

Performative Media/ Bachelor of interactive spatial design

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Week 10

Week 10 marked the formal transition into the development of our final project. Following the feedback received after our presentation, we decided to revisit and refine our story concept to create a more cohesive and well developed world. However, before further enhancing the narrative, our initial focus was placed on improving the visual quality and technical performance of the TouchDesigner prototype.

In the earlier iteration, the prototype lacked a background, and several unoptimized nodes resulted in slight lag within the magic effects. To address this, our Week 10 efforts concentrated on optimizing the system. Particle generation and motion were refined to achieve smoother performance, allowing the magic effects to respond more naturally and operate in real time without noticeable delays.

Regarding the background design, we opted for a pure black backdrop. This choice was driven by the need for strong visual contrast, as the particle shadows were only clearly visible under such conditions. Although we experimented with visually appealing background images, they introduced excessive visual complexity, causing the particles to blend into the background and reducing the clarity of user interaction. Ultimately, the black background was selected to maintain visual clarity and to enhance the overall magical atmosphere of the experience.

This is a detailed screenshot of the td node prototype：

Mr.Max gave us some advide：

During class, we presented the revised version to the instructor. He commented that the work was largely sufficient, and whether further optimization was necessary would depend on the group’s own decision. After receiving this confirmation, we were finally able to focus our efforts on developing the artistic installation required for the exhibition.

After the Week 9 preview session, Professor Zoen visited the class to explain the specific requirements of the exhibition space, including the allocated area and installation conditions for each group. In addition, Professor Max uploaded more detailed exhibition guidelines on MyTimes, which specified that the installation dimensions must not exceed 1 × 1 × 1.

Week 11

After confirming the available space, we immediately began designing the physical appearance of the device, as its size directly affects the overall presentation. Given our fantasy and magic themed concept, “clouds” became our initial inspiration. We first considered using expanding foam to create cloud textures around the screen frame, sprayed in light purple to match the magic effects in TouchDesigner. However, this idea was later discarded due to the risk of the foam sticking to and potentially damaging the screen.

As a result, we shifted to using cotton as an alternative material. Cotton is lightweight, easy to work with, and can be securely attached around the screen, making it a safer and more practical choice. Ultimately, cotton was selected as the main decorative material. Additionally, we plan to enhance the open space beneath the computer by adding purple artificial grass and decorative flowers to further strengthen the magical and dreamlike atmosphere.

Our first sketch：

We purchased the materials on Shopee:

The most challenging moment occurred when our initial design was ultimately rejected. Both Mr. Max and Mr. Zoen felt that our proposal lacked sufficient specificity. Rather than simply decorating a screen, they emphasized that we should be creating a genuine art installation. A design that remains purely decorative would not fully demonstrate our professionalism and could result in a lower evaluation. After considering their feedback, we promptly began to adjust our design direction.

Mr. Zoen then offered a particularly insightful suggestion: to design a dedicated space for holding the magic wand. This idea immediately inspired us and shifted our thinking. We began to explore three dimensional construction as a core concept, which could be achieved using simple materials such as wire and super light clay. From this perspective, we reimagined the design around the use of “lines.” The wire functions as a flexible linear element that can be freely bent, coiled, and intertwined. By covering the structure with white or purple super light clay, we aim to create a flowing, dreamlike form that aligns with the magical atmosphere of our project.

Design process：

Installation details：

Third perspective:

Week12

This week, we visited the exhibition venue, received the equipment, and began testing the spatial layout of the installation.

However, Mr. Zoen suggested further refining the concept developed last week, as the installation still lacked a strong sense of presence and risked becoming merely a screen decoration. This feedback led to another round of brainstorming and sketching. We refocused on expressing the intangible and flowing nature of “magic,” choosing “curves” and “rhythm” as our core visual language. Over several days, I produced more than twenty sketches exploring spiral, intertwined, and floating forms. Although we experimented with materials such as straws and LED lights, these ideas were eventually abandoned to avoid overcomplicating the installation.

Later, our instructor suggested combining two previously explored concepts: one featuring a double helix structure formed from twisted wire, and another using a crescent shaped base. Merging these ideas greatly strengthened the overall design. The final solution adopts the crescent base as structural support, while the main form is constructed from wire shaped into opposing spiral curves. Sheer fabric is wrapped around the structure to produce a soft, dreamlike glow when illuminated. The color palette is unified in shades of purple to reflect the magical particles displayed on the screen.

Although my hands were sore from constant sketching and I even got burned while using hot glue to attach ribbons, witnessing the design transform from an abstract idea into a physical form has been incredibly rewarding.

Because the previous design was modified, the materials couldn't be used either. So we bought new materials together:

Because our ideas had been revised, time became extremely tight. We were very worried that if we couldn't finish on time, we would have to race against time and make the most of every minute to complete our equipment. That very evening, we built the basic framework.

I first tried making a frame with a single iron wire but it couldn’t support the other parts. So we twisted two wires together to make longer pieces—one long piece and two of the same length—to create layering and make gauze wrapping easier. The silver wire wrapped in gauze still looked ugly, so the next day we bought thin purple silk ribbons and wrapped them around the wire, giving us a neat purple iron wire frame.

We first used foam board as the base, but it couldn’t hold up, so the next day we bought flower mud. After adding water, it became heavy and suitable as a base. All three iron wires were on the left side, so we tried adding curved wires on the right for balance, but Mr. Zoen said it looked ugly and didn’t match our design, so we had to remove them.

We started wrapping the gauze, which took about 40 minutes. The white and purple pieces were wound in opposite directions rather than pasted directly. We divided the tasks: Wang Xiangyi wrapped the gauze, Li Yuhan applied hot melt glue before it dried, Yao Huier adjusted the wire size, and I threaded beads on the edges. Leaving anyone out would have slowed us down significantly.

Yesterday at GMBB, after installing the bottom wires, I tried making the upright part from the design, but the thin iron wire kept falling. At home, we planned new ideas like using painted paper straw steps. Li Yuhan and I started splicing with hot melt glue, while the team improved yesterday’s wire installation.

When Mr. Zoen saw our device, he said it looked like a “fence” and didn’t recommend using it. We argued but eventually returned to the original design. He gave tips, like bending wires together for support, since our initial wires were too thin. Following his advice, we finally made the middle device frame.

This new frame uses only two iron wires, making gauze wrapping easier—we just wrap both sides and fix them from different directions. To hide the flower mud, we covered it with cotton.

Week13

We all had to move the device from L5 to L3A. At the site, we continued making improvements. We sprayed the cotton purple to make it look like one piece, carefully wiping off any paint that accidentally touched the outside.

At that time, the device still didn’t look very good, so we asked Mr. Max for suggestions. He stood the screen upright and pointed out that everything on a horizontal line made the visual effect weak. After adjusting and separating the two devices, the balance improved, and it looked much better.

During production, we often felt our device wasn’t as good as others, but Mr. Max encouraged us not to be discouraged. I still felt the top and bottom were too empty, so we piled up cotton at the bottom to create a dreamy cloud effect, fitting our concept.

By the end of the day, the device looked much better and restored our confidence.

The final adjustment of the device was done. This morning, everyone came to the site for the last effort. We borrowed the school computer to run TD, and when Max handed it to me, I quickly downloaded the source files to ensure it worked properly. No major issues occurred.

When Mr. Zoen arrived, he suggested that the clouds looked too dark without lights. We agreed it was a bit dim, so Huier and I immediately went to a nearby store, bought a luminous light strip, and installed it before the 11 o’clock opening.

This is our final result. Many thanks to both teachers for their help in completing this task.