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Experimental Communication

Scott Jones

Rising interconnected complexity now requires us to be comfortable with noise. Learning to embrace complexity, illegibility and uncertainty could furnish us with the tools needed to navigate the wicked problems of the world.

My practice sits at the convergence of design, technology and science, investigating how surfing uncertainty might negate a subjugation of knowledge by examining the hidden artifacts and territories between the physical and the digital.

My work repurposes hidden by-products of technological and neurological processes and platforms – producing eye-burning, ear-splitting and chest-pounding combinations of images, sounds and haptics – of noise.

By tuning out what we think we understand, we can navigate noise together, flattening out preset behaviours and transforming the future into a horizon of possibility.

Hemodynamic Disco

Utilising noise to imagine mindful digital public spaces.

You could say we are addicted to things, physical things, and digital things. The opposite to addiction is not sobriety though, it’s connection. Hemodynamic Disco allows users to resonate via cardiological rhythms, bypassing cognition and bias to create moments of synchronicity.

The work investigates empathy and openness in digital public space, producing resonances through visual, sonic and haptic outputs to create an immersive communal experience.

Each user wears a finger pulse monitor corresponding to a red, green or blue mark on screen, a component of a digital image. These chaotic marks are displayed over lidar scanned textures of the installation's location, images caught between the physical and the digital.

When resonance occurs, the signals turn to white light and produce an audible note, which over time builds into a harmonious sonic structure amplifying this resonance.

Medium:

Display screen, Woojer Strap Edge, Arduino, PulseSensor, Processing.

Conversations with electromagnetic waves.

Muxed Messages allows participants to receive sonic/vibrational signals from electromagnetic waves emitted from their own bodies and the surrounding environment. Their responses to these signals reveal their own particular personal presets when communicating with others.

When we see/hear rhythms within the 100ms - 2 second range, our sensorimotor system spontaneously entrains to it. We search for patterns in the illegible and the unknown, shifting how we receive, reorder and respond to noise in order to convert it to information.

Through post-performance discussions, embedded thoughts and values emerge during the process, uncovering preconceptions that form our world views.

The melodies were also converted to midi in order to investigate softer voices for the signals. The resultant pieces were published on vinyl record with an accompanying book.

Medium:

Satellite Dish, Processing, Arduino, display screen, Woojer Edge haptic strap.

The artifacts of lidar scanning reveal an artificial but intelligent noise. A context, a contexture - images captured between physical and digital space.

These images are texture maps built by AI processes in order to wrap digitised versions of our physical environments in digital space. We don’t usually see these images as they are secret intermediate souvenirs of reality-building process.

But this process simulates our own fragmented way of building our realities. Our brain captures only fragments, sparse physiological outputs that are interpreted by the brain to become emotion become belief only through context.

From these sparse inputs we improvise reason, improvise our beliefs. We build our realities from improvisations, of improvisations, of improvisations.

Prints available to buy from the RCA 2022 shop, here.


Medium:

Print

Size:

100cm by 24-46cm

With their release of MetaHuman Creator, Unreal Engine creators Epic allow creatives to quickly produce increasingly realistic-looking digital humans.

In addition to the use of various material layers such as normal and texture maps, roughness is a property that will frequently be mapped on digital objects in order to add the most physical variation to the surface.

Are these the unreal parameters that will convince us that these individuals could be real?

Medium:

Augmented Reality Filter

Can digital public spaces be transformed into places of empathy, learning and future building through the application of design thinking?

Access to knowledge is controlled via marketing algorithms built for commercial purposes rather than knowledge building and understanding. This work investigates whether digital social spaces can become places of empathy, learning and future building through the application of design thinking.

Based on literature and other research sources across speculative futures, technology, sustainable design, education, philosphy, psychology and neuroscience, I examine the relationship between postcapitalist futures, design of digital public spaces, visible/hidden digital identities and the decolonisation of design, asking: Can the public access the knowledge, tools and will to participate in designing sustainable postcapitalist futures through the design of digital public spaces?

Buy at RCA 2022 Shop, here.

Scott Jones is a creative practitioner based in the UK.

Working as a creative director across print, digital, social and film for over 20 years, Scott returned to academia to refine his theoretical rigour and design methodology. He is engaged in independent practice, producing and performing immersive projects as well as undertaking various commercial commissions and collaborations.

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Recent Activity

Producer for AR content of Power project with Hilary Powel and Dan Edelstyn, June 2022. link

Co-designer for Fugitive Voices lecture series started by Eleni Ikoniadou, with Anya Landholt, Saba Mundlay, Rafa Zugliani, Andrea Sisó, Shannan Hu, Junyi Yan, Oct 2021 - Present.

Web design for ARC: Proxyerotics, RCA Creative Writing, 2021.

Experimental Realism, speculative spatial design project. link

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Workshops

A Resonant Cave, May 2022, Futureyard, Birkenhead.

Muxed Messages: Hunting for Microsonics, March 2022, Royal College of Art.

Future Music Formats: January 2014, Victoria and Albert Museum.

DIY Single Sleeves: October 2013, Victoria and Albert Museum.

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My commercial work has been published in Creative Review, Design Week and various books and journals.