Dongjun Park

Such Memories

I believe that using VR as a medium to recreate something within a virtual space is similar to recalling memories with our eyes closed. When we delve into the dimension of memory with closed eyes, we can freely play and witness scenes that even a camera can't capture. While we often rely on photos and videos to recall memories, memories are not just visual images; they are recorded in our minds in a more three-dimensional form, as experiences. That's why I wanted to use virtual space to reproduce the form of experiences we feel.

As with many media works, there have been times when I felt limited in expressing myself due to the constraints of equipment. So, through this creative support program, I aimed to overcome the limitations of limited equipment. My previous work, <SpaceLand>, was a project that created a space composed of objects of memory. However, in this work, I focused too much on the display's resolution, resulting in high-quality images but limited movement within the space of memory. It ended up being confined to viewing the virtual space as a three-dimensional image, lacking in the reproduction of experiences. Furthermore, as VR as a medium demands high-performance computer specifications, I wanted to expand my methods of expression beyond the limitations of my previous work by purchasing better VR equipment and hardware through this program. As an alternative to these issues, I chose to use HTC Vive, a widely used VR device in the current era. By utilizing HTC Vive's motion capture capabilities, I could allow the audience to experience the virtual space with greater immersion, and with improved computer hardware, I achieved higher image resolution.

Furthermore, nowadays, various artists are showcasing their works using VR in exhibition spaces. I wanted to explore methods in which VR, as a medium, can be deployed and presented within physical spaces, along with traditional approaches.

1. Work Process

1. Memory and Image Collection

The direction of the work began with recording objects of memory. Starting from things closely related to my current life, I progressed to objects that held childhood memories or had a significant impact on my personality and values. Some of these items were so common and ubiquitous that they have shared elements that can be discussed by anyone. On the other hand, there were objects  that evoke individual memories. In short, I created two categories of memory objects: short-term memory objects and long-term memory objects.

Short-term memory objects are objects that have influenced memory based on three conditions: 1. Objects that were there but are now gone, 2. Objects that didn't exist but were created, and 3. Objects that are everywhere. Some objects were always present in a particular place, disappearing from there, remaining only in my memory. Others are objects that appeared in a new location. Some objects can be easily found everywhere, evoking memories of various places. However, these objects float within memories as mere objects without constructing any special stories. They mainly consist of objects located within my activity radius in Euljiro or very close to my personal space.

In contrast, long-term memory objects are composed of highly personal items located within my personal space. They represent stories from past times and are always attached to me, deep within me. These objects represent my life but can also exist in someone else's memory, as they are familiar enough to evoke memories unique to each individual.

2. Implementation Method

I began by documenting the selected objects according to the conditions I set and created virtual objects through 3D scanning or modeling to reproduce them in a virtual environment. 3D scanning was a familiar technique I had been using since previous projects, but creating models based solely on photos and quantified data was an unfamiliar approach. I dedicated a lot of time to meticulously creating the objects to achieve high-quality results. To represent them realistically and create models, I received a lot of assistance from a program called Quixel. This program is widely used by designers in various game companies, and it's provided as a plugin that integrates easily with the software I had been using. It allowed me to create highly detailed models with minimal data size, an important factor for VR, and had good compatibility with Unity 3D, the program used for creating the VR experience.

Next, I contemplated how to arrange the created objects in a space. Initially, I considered placing the memory objects in a space similar to where they originally existed, but I realized this would limit the presentation of the work. I then thought about words closely related to memories and realized that flowing or floating words were intimately connected to the concept of memory. Influenced by the works of surrealists and Sigmund Freud's "The Interpretation of Dreams," which used an iceberg metaphor to describe the structure of consciousness and the unconscious mind, I decided to showcase the memory objects in a space called the "Sea of Memory." Within this space, the memory objects are arranged in a way that distances them from the viewer, with short-term memory objects closer and long-term memory objects further away from the viewer. Long-term memory objects are prominently visible and solid in structure due to differences in scale, while short-term memory objects are positioned closer to the viewer, allowing them to be easily seen. They float in the space of viewer, representing their form without a narrative.

To create and arrange the memory objects and the Sea of Memory, I used the Unity 3D program. It is a fundamental and widely used program for VR implementation, compatible with HTC Vive. This program allowed me to not only create the virtual space of memory but also express various characteristics of memory. Inspired by Leonard Mlodinow's book "The New Unconscious," which explains several characteristics of memory such as forgetting, misattribution, replaying, and storage, I created scripts in C# within the program. These scripts made certain objects within the work react to the viewer, causing short-term memory objects to move and be arranged as long-term memory objects, replaying scenes from memories, or creating imaginative situations that mislead memory. I aimed to show how the characteristics of memories, much like neurons in the brain, can react and send signals within the memory world I created.

3.  Implementation of the Work

Unlike exhibiting traditional paintings or sculptures, displaying VR presented its challenges, particularly in terms of safety. During my research on VR exhibition materials, I found that accidents occurred frequently due to limitations in visual perception when viewing VR content. Some viewers would not be aware of the physical boundaries of the exhibition space and could collide with walls, damaging the equipment and potentially injuring themselves. Others might stray too far from their designated activity area and trip over equipment cables or get hurt in some other way. To prevent these accidents, I placed carpets of the same size in both the virtual space and the exhibition space. This allowed viewers to perceive the area they needed to move within through tactile sensation. Simultaneously, it helped them recognize the boundary between the virtual and real spaces. Additionally, the carpets within the exhibition space filled the visual gap created by the VR experience.

After creating the virtual spaces, I pondered how to present them effectively. Initially, I considered placing VR headsets in the exhibition space for viewers to use, while also screening the VR content on a separate display for those who didn't want to wear the headset. This approach is commonly used in many exhibitions. However, because my work emphasized the importance of viewers actively participating in and experiencing my created virtual spaces, I questioned whether presenting these spaces in a two-dimensional format would be effective. This led me to create videos using the short-term memory objects to make the screening display a supportive element that aided viewers in understanding my work. The short-term memory objects would gradually flow from the Sea of Memory towards the viewers, immersing them in the virtual space. This allowed the viewers to feel my short-term memory objects in the same way as I did.

Through these processes, my work, titled <Such Memories>, with its ambiguous meaning of that "kind" of memories and "different" memories, was created.

Epilogue

Through this program, I had the opportunity to present my work twice, and each time, it greatly helped in shaping the direction of my work. As an artist, I prepared creative ideas for the presentations, but I also learned to question whether these ideas were feasible within the given media and current technology. In fact, while art as a medium may seem limitless, the process of bringing ideas to life can be complex and challenging. I learned how to control and make them achievable.

Moreover, within the process of creating the work, I received valuable advice on the differences between virtual and reality, as well as how the characteristics of memory could be effectively conveyed to the audience. Taking these insights into account, I plan to continue my work, focusing not only on invoking past memories through the virtual realm but also on fostering communication about how each individual remembers, the mechanisms of memory, and the various forms memory can take.

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