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https://github.com/somecho/tanbone-app-documentation


https://github.com/somecho/tanbone-app-documentation

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README 

          
# Tan Bone Application 

## Development



The development of the companion web application to the Tan Bone installation

took place, for the most part, independently from the that of the installation

itself. In fact, the initial intention was not to develop a companion

application at all, but to provide a platform for engaging with the field

recordings LiLi (KSA) made from the protests in Myanmar. 



On the 3rd of February, LiLi (KSA) sent recording made from his mobile phone to

Sam Tsao, with the idea that it could "be use(d) as art". The recordings from

this period were of the nightly 8 P.M. sound protests, with various kitchenwares

and utensils. Tsao suggested the creation of a site (the web application) to

engage with these recordings. 



On the 5th of February, Tsao sent LiLi (KSA) a video demonstrating a prototype

of their idea. In the video, Tsao shakes their mobile phone. As the phone

shakes, a field recording plays. At this point in time, a UI (user interface)

had not yet been designed. Tsao shared an initial design and there were also

plans to work with a Myanmar designer. This idea was eventually abandoned. 







First design of the web application





On the 7th of February, LiLi (KSA) notified Tsao of a possible exhibition of

Tan Bone, which he had been working together with Joshua Weitzel. This marked

the beginning of LiLi (KSA), Joshua Weitzel and Sam Tsao's collaboration as a

small collective. 



## First Iteration



The version of the web application that was used for the first exhibition of Tan

Bone was created with a design by French designer Louziness, who lived in

Myanmar at the time. 







First iteration of the web application





The web application was a mobile only website, where, upon loading, the user was

prompted to unsilent the phone and click start before the recordings could be

accessed via shaking the phone. This mode of interacting with the field

recordings was chosen deliberately as a conscious mode of interaction with sound

material on the internet. The act of shaking the phone, possibly in close

proximity to the users ear for the recordings to be audible, puts the user in a

stance somewhat similar to the stance of someone in rage. It is also a conscious

decision on the part of the user to symbolically show solidarity, either in

public at an exhibition or in the privacy of their own homes, to the people

protesting in Myanmar.



The first iteration of the web application also featured a short introductory

text written by Thun Bohn Naing, photographs by Hae That Htet and Emily Fishbein

and a page with links that was to be constantly updated with the latest mediao

coverage of the situation in Myanmar. This version acted as a hub of media and

information for users and is still online as of the time of this writing with

the link: 

https://tanbonev1.soch.cc. The page with links is, however, no longer

kept up to date. 



## Second Iteration



For the second version, Tsao redesigned the user interface from scratch. This

time, they opted for a design that could be accessed from both mobile and

desktop devices. It featured a responsive web layout with a realtime artwork as

the centerpiece. The centerpiece was inspired by traditional Myanmar textile

patterns and is a minimal representation of them, using colors associated with

the ongoing protests.







Mobile view of the second iteration





This iteration of the web application kept the short introductory text by Thun

Bohn Naing but forgoed the page with links in favor of a dedicated page

documenting the lives of the martyrs, who used the pots at the protests in

Myanmar. It was designed to identify more with the Tan Bone installation and

truly function as a companion application.



Unlike its predecessor, the field recordings are already accessible via shaking directly

upon loading the application. There was no need for the user to click on any

button to activate it. The played recording was also chosen randomly upon the

loading the page, so that the chance of multiple viewers engaging with the same

recording at the same time was reduced. The idea was that, with enough willing

participants, the viewers could provide an additional dimension of sound to the

installation, one which they themselves actively contributed to.



## Considerations



With the development of this project having started out as an ad hoc project to

give the sounds of the protests in Myanmar presence in Europe, little

conscious thought was given to the choice of medium for achieving this. 



In retrospect, Tsao felt that it was the right medium. With mobile devices being

ubiquitous and access to the internet just as much so, the web application

tested whether solidarity through such a medium and mode of interaction was

possible. Ultimately, the level of solidarity and compassion shown fluctuates

depending on various factors, and it is not exactly possible to measure viewer

response with regards to this.