What is Psychological Interactive Play?

Inquiry into the adaptive human psychology based on pattern perception and interactive participation within the notion of play.

Automation has been governing our natural instincts since the launch of the technology. Architecture is amongst the prominent domain industries which associates itself with the recognized notion of automation. However, introduction of technology may not necessarily justify the conception of psychological interaction. Assessing our tangible environment is a constant essential requirement. This impulse leads to presenting the idea of interactive play in art and architecture. Interactive play iscoarsely built up on an individual’s ability to recognize patterns which is directly dependent on the cognitive psychology of a person. Scrutinizing pattern perception is one attribute to comprehend the psychology behind designed environments. Deciphering patterns from all over can be challenging. Hence, it is coherent to study one particular predominant pattern from history. Here the pattern addressed belongs to the classical Greek era. Following the analysis of the pattern directs us to understand it in the sector of architecture, exploring the architecture of the Labyrinth. Association of Labyrinth with impression of play is not novel. This characteristic feature of interactive play is further decrypted in the study. Pioneering designers have been investigating the concept of play and active participation through designing interactive environments. The work of these celebrated specialists underline the thought process for the project. Objects and spaces capable of performing an array of pragmatic functions fall under the shadow of process oriented guide adopted as interactive architecture. Application of outcomes of the study reveal the project to be esemplastic in nature, hinged on the notion of interactive playful environs.

Rational perception of the world is a massive task for any individual and yet it is something that we begin to do at a very early age. Evaluation of progress, dynamics, and circumstances and their consequences are the basics of our reasoning and explanation. Our thinking is filled with assessment of quantity, an approximate or exact sense of number, amount, size and scale. We perceive objects in our everyday life based on our memory. Squire, (1987:03), suggests that, “The adaptive capacity of brain gives organism’s the ability to learn and to remember.” (Squire, 1987:03). The subsequent thesis examines and evaluates specific human psychology related to memorising and adapting patterns. It will assess the importance of pattern perception and pattern recognition in conventional activities and additionally decipher the notion of interactive paly. Exploration and interaction can become a medium for assimilating experiences which in turn will facilitate us in acquiring better knowledge of our environment. Interactive play enhances our social, emotional, psychical and intellectual prosperity. The research question addressed here is; how can interactive architecture facilitate the development of our emotional sensibility towards empathetic playful environment? Predominant research is based on understanding the psychology behind the originally existing ornamental Greek patterns, their significance in the field of interactive play and the use of ideology of play as design strategy. For better understanding of the subject the thesis is divided into five sections. The first section is based on the history and analysis of the theory of pattern recognition and the physical patterns. It elaborates on the mental process through which human beings process information. The section focuses on the concept of evolution in pattern perception from the genesis. The second section deals with the pattern perception and pattern recognition through psychological evidence.

The third section is further divided into three sections, the Greek key, labyrinth or the maze and the final being paly and interaction. This section primarily deals with the literature study, research and analysis adopted for evolvement of the project. The initial section with the Greek key announces the importance and detail study of the Greek key or the Greek fret and the worldly profound meander pattern. It analyses the significance of the pattern in the ancient times as well as in the modern era. The next section labyrinth or the maze comprises of, evaluating the outstanding architecture of the labyrinth pattern. This section outlines the importance of the labyrinth in pattern history, its origins and the mythology. And the final section play and interaction emphasises on the significance and implication of play in art and architecture. It also deals with the aspects related to interaction between the user and the designed product. The fourth section of the thesis provides insight on case studies executed by conceptual artist Sol LeWitt along with understanding projects based on the idea of interactive paly by Bartlett school of architecture and Skylar Tibbits. Further to support the idea of interactive play, other project is examined. The final and the fifth section narrates the profile of the studio project undertaken based on the above analysis and establishment of the project contemplating the thesis.

Section I:History of pattern perception and recognition.

Our world is developed on patterns. Inevitably it is apparent, weather we look at it at macro-level or micro level of understanding that; everything around us is always thriving on some predictable cycle or rhythm or pattern. For example our solar system shows the pattern of predictable rotations. Likewise the protons and neutrons in an atom show similar patterns. The basic ecological cycle is based on a particular pattern. For instance the water cycle. Even our social, economic and political histories move around in semi- predictable patterns that shape our society. (Goldstein, 2004). Pallasmaa, (2012) argues that, “Our bodies and movements are in constant reaction with the environment; the world and the self-inform redefine each other constantly.” (Pallasmaa, 2012:44-45). Human body is built on biological patterns that help us in function our body. Same is true for the psychology. Our psychological patterns have the ability to trap us in predictable behaviour, habits and decisions that together form our actions. There has been an extensive study about human mind through philosophy, psychology, religion and cognitive science to develop an understanding of our mind.

I.I Arbitrary beginnings

Darwin (1859), theorized that, “Natural selection is the process by which organisms change over time as a result of change in heritable, physical or behavioural traits.”(Bynum, w., cited in ‘on the origin of species’ ed. 2009). Let us take a look at a picture millions of years ago, where our ancestors started to manipulate objects in their environment. When they discovered that objects such as stones and sticks could be used for several purposes like scratching, digging, etc.; they introduced the process by which environment would change in a way that no other species had ever done. It is reasonable to assume that ever since our ancestor developed the use of their hands and realised that they could grab; they started picking up things from nature and exploring their use. Some turned out to be useful and went on to becoming recognizable patterns and others disappeared.

The other link to pattern recognition observed in our ancestors leads to us recognizing the behavioural patterns of wild animals. When humans learnt to predict the behaviours of animals they started hunting them for food and clothing. The later stage involves the pattern recognition of the sun and moon cycles which led us to understanding the seasons. The information of the changing seasons prompted us to develop farm land, hence finding another source for food and eventually leading to the human settlements and creation of sense of society. (Hearst, 1979).

I.II The manmade environment

As the world became known with traces of human activity, people started producing layers of patterns on the already existing patterns. Pallasmaa, (2012) argues that, “We have an innate capacity for remembering and imagining places.” (Pallasmaa, 2012:72-75). The development in the sensory system allowed human beings to identify and differentiate between the things in the world that were out there because of them or built by their kind and the things that were a part of the existing nature. They started recognizing patterns of new categories; the remains of camp sites or a used coconut shell, any kind of activity that indicated human behaviour. Observation suggest that patterns are everywhere and it is these patterns that laydown the foundation for the evolution in any category. Individuals have propensity for pattern recognition and fabrication. Since mankind has discovered shelter as means to protect themselves, an advancement has been noticed in the field of architecture. History of architectural patterns is comprehensive, hence we will be looking at specific pattern development in the design industry throughout the timeline. We have contemplated that man began developing patterns during the primitive age. The first kinds of patterns were drawn on cave walls but were not significantly preserved, hence they are scarcely acknowledged. Patterns developed in the later on stages are more significant and have been a fundamental part of art and architecture. For example the Greek key or the Greek fret patterns, which are being used even in the modern art forms. Other cultures have also been using pattern recognitions in the field of architecture. For instance the carvings on the Indian temples, the roman maze patterns, the Islamic windows etc.

Section II: Pattern perception and pattern recognition.

Heidegger, (1958:01), states that, “The provisional aim is the interpretation of time as the possible horizon for any understanding of being.” (Heidegger, 1958:01). All creatures have the ability to sense their surroundings, but each one has a way and a level of degree to do so. As we have monitored in the previous chapter human psychology has the propensity to observe, remember and replicate patterns. This is denoted as pattern perception and pattern recognition. Our eyes and brain work in cohesion to find patterns in our daily life. Since a very early age we are known to recognize voices, faces, colours, animals, fruits etc. In our later years we are able to identify more complex patterns that may not depend on our sensory system. (Heidegger, 1958).

Intelligence is just a matter of being able to store more and more information. Pattern recognition is a primary stage in object identification. The incoming images are stored, combine and compared in our long term memory. This also widely depends on how we react to our sensory system. The sensory memory holds the incoming information for further processing following their initial detection. In spite of complex object recognition we can go beyond simply identifying objects in visual environment. There are four components to pattern recognition; data acquisition and collection, extraction and representation, similarity detection and performance evaluation. (Heidegger, 1958).

II.I Cognitive psychology.

As discussed in earlier topic mind has the potential to perform miraculous things. Our perception of things is derived from our way of thought process. The process in which the human mind acquires information or knowledge is known as cognition. Cognitive process is also related to how mind understands thoughts, emotions, senses, etc. Psychology is referred to as the mental characteristics of human mind. Therefore, cognitive psychology denotes the mental study of processes such as attention, language, problem solving, memory and perception. (Kaye, 2010). For example, the figure bellow shows the three pac man symbols arranged in a specific arrangement so that the invisible triangle is clearly visible. It focuses on the part of the brain that processes information. Cognitive psychology and interactive paly are interconnected. Interactive play environment evokes the part of our memory that deals with understanding and reasoning (Kaye, 2010).

Section III: (A) The Greek key, (B) Play and Interaction.

I (A) The Greek key. The Greek key pattern has been used throughout the history. It is primarily a decorative border. According to historians the border was first observed in the Greek mythology. It is known as the Greek key because the spiral turns that stand out resembles a key. There are a certain set of rules set to design a Greek key. Meander is one of the most complicated patterns created based on the Greek keys. Another theoretical belief is, the island of Crete was a land of irrigated farming and the pattern formed by the gardeners during harvesting referred to the now know meander pattern. (Kerenyl, 1977).

Originally the Greek key patterns were used only as decorative borders on ancient Greek elements and were mostly liner in pattern. As the pattern is extremely sophisticated to be repeated it has been carried forward through the history and is being used in the modern times. The significant change that has been added to the basic linear pattern is that now they are also developed in circular and triangular patterns. (Kerenyl, 1977).

II (A) Meander pattern.

The word meander is derived from the Greek word ‘Meandros’. Meander pattern as discussed has abundant significance in the Greek pattern history. Meander pattern is recognized to have several symbolic meanings. Some believe that, the twists and turns in the meander patterns symbolise the endless flow of life, the other meanings include infinity and unity. Ancient Greeks adorned the pattern on almost all their elements.One of the most representative use of the pattern was made on the helmets of the worriers which gave them personal identifications and ranks. Kerenyl, (1977) quotes, “The meander is the most linear form of the labyrinth.”(Kerenyl, 1977). It is not known if the meander pattern was first discovered or the labyrinth, but they are interconnected to each other through form and pattern.

III (A) Interpretation of the Greek fret. The simplest form of the Greek fret is made of linear horizontal and vertical lines. The Greek fret is basically designed using two variations. The first type of pattern designed is by using the generators. Capital generators used in the

Greek fret are single generator, double generator, ‘T’ generator and the cross generator. These basic generators can be elaborated by adding segments and other shapes to them such as bars and ‘U’ and square shapes.

Other method to develop the design is by introducing process of reverse, mirror and edge. Combination of more than one type of generator is also sometimes noticed. Once we have created the design of the secondary generator using the above mentioned guidelines, we create our own style of the Greek fret. (http://gwydir.demon.co.uk.html ).

This unique style can be used to collaborate the desired design pattern. The second aspect of the Greek key is the inception of turns. Each design can be introduced with turns and the number of turns determines the complexity of the design.

Since the pattern is designed to be in linear format the generators are repeated as the design progresses. In recent times the pattern has been adopted not only in linear format but also in spiral, circular, square and triangular designs.

This line of the pattern provides a sense of complete loop for the rather continuous traditional Greek design. The final design is usually completed by adding one or two horizontal bars on the top and bottom of the linear pattern design. (http://gwydir .demon.co.uk.html ).

I (B) Play and Interaction.

Interactive participation in play can be addressed as a total physical and psychological activity. Play and interaction are pursuits that help in manipulation of objects and collaboration within the designated area. (Zimna, 2014)

II (B) Play.

Zimna (2014) states, “Play is a concept belonging to many fields of theoretical discourse: from biology to theology, aesthetics and politics among others.” (Zimna, 2014:05). Imagination and innovation are the backbones of the dynamic procedure that involves playful environment. Addressing to the notion of play, creative energy and free-stream thinking are the features that are initially taken under consideration. It can be classified as an extremely inventive procedure, utilizing both body and brain. If the behaviour of an individual is studied in the comfort of play, a lot of adult activities can be better perceived. Hendricks (2001), mentions “asking why we play is like asking why we breathe. Both are essential activities that satisfy needs.”(Hendricks, 2001:09).

III (B) Ludic element of design.

Acknowledging a child’s perception of the world, immediate reference diverts our attention to the fact that artists and architects are among those individuals who deal with similar perception of the world. Artists depend on their instinct and their senses to land at some new understanding of their general surroundings and express the message in their manifestations. Architects play with control of words, shapes, frames, hues, musical notes, materials and thoughts until such time that all the parts make the composition that the architect is looking for. They achieve so through the mediums such as testing, sketching and modelling. .”(Hendricks, 2001:09).

Designers don't limit their creative efforts, however apply their thoughts to regular life. Play is more than an insignificant physiological wonder or a mental reflex. It goes past the restrictions simply physical or absolutely natural action. By playing we understand to recognise patterns, to collaborate with other individuals, to create and solve inventive conflicts and to develop a statement of knowledge of our own. Huizinga (1992), argues, “Play is central to our understanding of culture and to the kinds of activities that we dedicate our time to.”(Huizinga, 1992).

IV (B) Interaction.

Interaction can simply be defined as the secondary action that occurs by the implication of primary actions between two or more bodies. When we describe the word interaction we usually refer to a conversation between two individuals. However, the word interaction can have wider meaning to it. All individuals have the ability to communicate with the art around them. Introduction of interactivity in the form of play in your work can bring out new results. (Zimna, 2014.)

V (B) Concept of interactive play element.

Interaction between components in any alliance designates, the act of trading information by the means of monologue. The concept of interaction between two or more people is very commonly known to us. However, it is necessary for us to interact in correspondence to our surrounding. Although this idea is not foreign to us it has not been explored either. For instance, an art admirer can appreciate the significance of an art piece in a gallery but at the same moment it may be difficult for a common man to express his or her opinion. Hence they may not show any interest in the art piece. However, if people were given an opportunity to participate in the creation of the art work they might be more aware of their likes or dislikes. . (Zimna, 2014.) Lewitt (1967), states, “In terms of idea the artist is free even to surprise himself. Ideas are discovered by intuition.” (Garrels, 2000).

Interactive play assists in making connections by developing meaning from their experiences and is inextricably linked to cognitive development. (Zimna, 2014.). It immensely depends on the structure in terms of how and where it is located, the expectations of the outcome and the time and pace of the interaction. The independent experience of interactive play as our memory serves is joyful and non-serious. However, interactive play can be regarded as a functional cognitive tool- a path to have a reasonable perception of the world. (Zimna, 2014:06).

VI (B) Co-relation between organiser and the object.

Cooperation hypothesis is a way to deal with inquiries regarding social comprehension, or how one comprehends other individuals that spotlights on real practices and ecological settings instead of on mental procedures. We unconsciously have the ability to co-operate and interact with our surroundings. (Haque, 2007). However, not much thought is given to how we interact with the elements around us. Our mind has the power to create and control objects.

Lewitt (1969), quotes, “Once the idea of the piece is established in the artists mind and the final form is decided, the process is carried out blindly.”(Garrels, 2000). Like it is mentioned previously if the art piece is created by the participation of the people interested in it, the art will be more appealing. Therefore, public participation is necessary in project development. Public participation and interaction with the project provides a distinctive insight for the user and the observer. It helps in understanding the aspects of the project in much simplified manner .

VII (B) Rules or guidelines.

Rule or guidelines are like the stepping stones relating to the field of play. All games are made up of rules. They may be tangible or intangible. When speaking about interactive play, the question that ascends here is, do we really require rules for interactive play? Rule sets are generally applied to playful environment to create a sense of discipline. Without guidelines the idea of play might be incomplete. Rules form a vital segment in any design strategy. Hence we can deduce that guidelines or rules are essential for any category involving play. (Salen, 2003).

Section IV: Ideology of play as design strategy.

In the previous chapters we have studied various kinds of concepts related to play. Play being one of the epitomic factor of the entire study, we can conclude that ideology of play can be interesting to apply as design strategy. When we acknowledge design as a concept, we come across different processes that are involved in it. (Haque, 2007). Design in architecture usually implies designing of structures, but if we look at it from a wider perspective design in architecture can also be collaborated with play of art. Play in modern world design industry may signify acclimation towards the process, experimentation, and moving into different realities or changing identities. Although play has been used in art, it is not very often acknowledged as a ‘key concept’. Despite being meticulously associated with creativity, it seems to be a marginalized notion in the field of art and aesthetics (Zimna, 2014:01).

Previously we have briefly presented the modern perspectives on play in human and natural science. Zimna (2014), states, “The distinction between rational and pre- rational perspectives or narratives is useful in systemizing modern interpretation of play within the fields of art and aesthetics.” (Zimna, 2014:21). We can classify these modern interpretations into assorted factors. However, the compelling aspect that connects design to play is interactive participation. Introduction of playful character in design can enhance the interactivity between the user and the art piece. Zimna (2014), argues that, “interaction with the environment occurs through the sense and it consists of the process of ‘doing and undergoing’. In the situation of art the viewer should then be seen as the receiver as well as the producer of the experience and meaning.” (Zimna, 2014:81). The common agenda in an interactive project is to develop an experience that is not just the art form but also life like to the producer which presents things and not just represents them. (Zimna, 2014:78).

Prologue for the project.

This project is based on identical concepts regarding the introduction of playful character in the field of design and architecture. Initially the idea of developing a project with the element of play was immensely associated with understanding the ancient Greek meander pattern and the psychological gimmick of different individuals. These were the two most important factors for the establishment of the project. Contemplating the history, origin and the design of the Greek patterns is the basic research behind this project. Deciphering the meaning of the Greek fret along with acknowledging the mathematics of creating the pattern was the elementary aim.

Based on these new found facts a set of design guidelines were created. The rules were basically the prime priority for the project. Since the project is an interactive study, different individuals were given the task to use these guidelines to create a design with a single piece of wire. The format of the rules was in flow chart where the individual had to make a few decisions along with some segments that provide the user with his or her choice. As they made their decisions, they were asked to draw the path that they flowed in the guidelines. This is where the psychological part of the project was introduced. Utilizing these paths the psychology of the people was mapped. The study concluded how a single set of rules can guide us to make different designs even if the path followed would remain the same.

Establishment of the project.

The project is initialized by designing geometric shapes such as circle, triangle and square. Simple mechanism used for connecting the shape to one another is by providing them with niches. Number of niches may vary. Moving further from the geometric shapes, design of the shapes becomes free flowing. Random shapes create more organic structures compared to the rigid structures made by the geometric forms. Characteristic feature of all shapes is, they are designed in a way so the structures created can be dismantled and mantled at users will.

Some designs are made by using more than one shape. Others are built by using two shapes, where one shape is the primary segment and one is the connecter which provides flexibility. However, all the shapes used to invent a model have a common component of fixture. It is observed that each individual constructs a different design using the same shape.

Design of the structures can have various directions. Although most commonly observed patterns are ‘the loop’ or ‘the branch’. In a loop structure the shapes can go in any direction but will compete in a loop making the structure look uniform. However, in a branched structure the shapes may move randomly branching out from each other giving the feel of incomplete configuration. Assembling the elements of the design is done based on the guidelines provided to the user. However, there are areas where the user can make his/her choice and manipulate the design to make it more interesting and enhancing.

Conclusion.

Principal intention behind the above study was to track and apprehend the growth in perspective on interactive play which could be successfully applied in the context of art and architecture. (Zimna, 2014). With the support of this fresh notion on play, the study is further progressed on the framework for psychologically based interactive play. The idea of psychological interactive play is used as a way to stimulate the audience from their normal passive roles, by extending an invitation to become an active participant in installation art. The aspects touched to attain this goal are understanding the history of the patterns in our environment, psychology behind them, deciphering the Greek fret intervening in the field of interaction in play.

History in general teaches us about the origin and evolution in our prevailing ancestry. Human mind is inevitably known as one of the extensively developed organs. Intellectual capacity of individuals is measured based on the cognitive psychology which is directly related to memory and interpreting information. Our mind has the aptitude to acknowledge and decipher patterns. We usually recognize patterns without any efforts and sometimes do it unconsciously. (Zimna, 2014). Amongst the renowned patterns documented in history, the Meander pattern or the Greek fret is utmost famous. Significantly used in all fields of art and architecture, this pattern is noticed immensely in the Greek classical era.

Documenting and analysing the information acquired from the above research, the ideology of interactive play was applied to the final project. The art action in general is designed for all age groups since the psychology of understanding differs depending upon the age. Hence the project can be utilized in education, psychological creativity and play promoting architecture. (Zimna, 2014). Instead of using one feature of the play character that fits into ones predetermined outlook, I preferred to approach interactive play as a concept based on contradictions. This view proved substantial for my project since it assisted me to detect sequence of events involving exchange of different perspectives and the method of using the idea of interactive play in art theory and architecture to enhance our senses towards empathetic playful environment.