Gestalt Inhibition Sequence: A Proposed Method of Immersion into Virtual Environments
Background: The project is a visualization of a proposed method of psychological immersion into virtual environments using audio-visual wave sequencing driven by biofeedback through the conversion of brainwave algorithms.
Objective: Target and induce specific states of consciousness by establishing a given state and accelerating or slowing to a target state to optimize suggestibility and deepen immersion into a virtual environment.
Background: This project began as an unconscious distraction and ultimately became a strategy for achieving immersion into virtual environments. I have been interested in understanding the creative process, motivation, and the relationship between conscious and unconscious states, and I was seeking to establish a quantifiable, reliable means of triggering a creative state, or a suggestible state. Are they one and the same? Certainly, imagination is the product of immersion or a highly focused state of attention. VR researchers at Georgia Tech scoffed at my notion of 'Digital Hypnosis', or at least they shunned the terminology because of the stigma - hence the name 'Gestalt Inhibition Sequence'.
Objective: Target and induce specific states of consciousness by establishing a given state and accelerating or slowing to a target state to optimize suggestibility and deepen immersion into a virtual environment.
Background: This project began as an unconscious distraction and ultimately became a strategy for achieving immersion into virtual environments. I have been interested in understanding the creative process, motivation, and the relationship between conscious and unconscious states, and I was seeking to establish a quantifiable, reliable means of triggering a creative state, or a suggestible state. Are they one and the same? Certainly, imagination is the product of immersion or a highly focused state of attention. VR researchers at Georgia Tech scoffed at my notion of 'Digital Hypnosis', or at least they shunned the terminology because of the stigma - hence the name 'Gestalt Inhibition Sequence'.
Outcome: Presented at Siggraph '98, featured in Computer Graphics World Magazine October 1998 and in the 25th Anniversary Retrospective January 2002.
Below: The original mock-up image that intrigued me to carry out the project.
![](https://cdn.myportfolio.com/bed5c08b-7040-4d0d-935c-8a2be0daf795/4e034d8f-0e3f-4624-9a6e-e3855a7a2025_rw_600.jpg?h=c6a934313af6c0ae27d4ffed22c35210)
Below: I created this textured form as a desktop icon, then began duplicating it.
![](https://cdn.myportfolio.com/bed5c08b-7040-4d0d-935c-8a2be0daf795/72cb998a-eb3e-4ae0-a026-7f61add789d7_rw_600.jpg?h=a18c3fca0e19682ab68ee1c628ac540d)
An early stage of "growth" at a close view; the red areas indicate the base from which the initial forms sprout. Created with Adobe After Effects.
Although the original component constantly changes, the process involved taking a unit of six components, building a new structure in the same pattern of 6 overlapping and offset units as the original structure, and applying a comprehensive 'mutation' to the new 'generation'. Each consecutive generation was arranged and affected uniquely - there were eight generations, which amounts to 1,296 of the original components.
Although the original component constantly changes, the process involved taking a unit of six components, building a new structure in the same pattern of 6 overlapping and offset units as the original structure, and applying a comprehensive 'mutation' to the new 'generation'. Each consecutive generation was arranged and affected uniquely - there were eight generations, which amounts to 1,296 of the original components.
![](https://cdn.myportfolio.com/bed5c08b-7040-4d0d-935c-8a2be0daf795/063a9550-ccbd-47f5-ad11-096c43b0814b_rw_600.jpg?h=31ef551e07529345b1d10d37b8427334)
Six variations, in order of progression. My strategy was to use abstraction to reward the viewer's tendency to seek out patterns governed by the viewer's biofeedback.
![](https://cdn.myportfolio.com/bed5c08b-7040-4d0d-935c-8a2be0daf795/3a686655-7bc1-4576-af8d-06b2f5f91517_rw_1200.jpg?h=98111f254e15a73b7584cb5fbbb6b80b)
![](https://cdn.myportfolio.com/bed5c08b-7040-4d0d-935c-8a2be0daf795/e776a526-ad4f-4a96-931b-bfd139ba8f57_rw_600.jpg?h=e82048fc9893315ae7aa877be4a13dcb)
At this stage, I used Alias Power Animator (now Maya) to solid-project each frame of the existing animation onto a piece of wavering geometry and convert each frame to a solid texture.
The wave of the geometry was created with offset clusters, creating a fluid cloth effect, (this was before the introduction of soft body dynamics). The method of cluster animation, animated shader, and conversion of solid-projected texture were three techniques I had focused on as potentials of organic modeling and animation. I then brought this component back into After Effects to complete the remaining generations.
Below: Animated color map on animated geometry.
![](https://cdn.myportfolio.com/bed5c08b-7040-4d0d-935c-8a2be0daf795/b5d1b976-e36d-4ef7-a668-73f1882a4bc1_rw_600.gif?h=e2c2d2f0aa91d00d4a982c92131bddb3)
Below: Beginning of the 37 second animated sequence.
![](https://cdn.myportfolio.com/bed5c08b-7040-4d0d-935c-8a2be0daf795/86ac5f20-1dac-43ad-a02c-a12979e2a2e2_rw_1200.jpg?h=85db600c35c00f41bd08407677ed4663)
Below: Final frame of the sequence.
![](https://cdn.myportfolio.com/bed5c08b-7040-4d0d-935c-8a2be0daf795/79b6f88a-86e4-4c13-b149-63b130cf01aa_rw_600.jpg?h=ed449498343af425cd233a81fc52a614)