Virus v/s Vaccines


Project by Achal, Jamie, Krishnokoli, Simran


As the COVID pandemic rages across the globe, the only thing humanity currently yearns for is just a simple vaccine. Like a miracle, it is supposed to radically cure the ailment, and bring us back to our normal lives. While Pfizer and BioNtech are swiftly developing the golden elixir, the world can’t wait enough to get back on its feet. Sitting in isolation, often times away from friends, family and loved ones, we develop feelings of loneliness and lose touch with our social identity and being. In this context, we have tried to build a four-player game, which involves creating the first COVID vaccine. Each player is needed to load the liquid from the bottles to the syringe, by clicking on their individual syringes. The player who manages to complete this activity first will be declared the winner of the vaccine race.











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players-11Player 1 • edit • present

players-12Player 2 • edit  • present

players-13Player 3 • edit • present

players-14Player 4 • edit • present


Social media and multiplayer games have proved to be extremely effective in connecting people, building a shared digital space for everyone, who wish to connect from the safe space of their homes. In this context we were looking forward to build a shared interactive digital environment for people to try out as they spend their time in isolation.

While working on this experiment we came up with multiple different ideas. Some of us thought about expressing emotion through graphics to interact with other people; others thought about making an online jam room or dance party controlled by individual body tracking; we also ideated about creating an online multi-user painting platform and making a landscape design stimulator. Unfortunately, most of these ideas dwindled down because of a lack of clarity or technical feasibility.

While endlessly ideating, drawing, and configuring a workable idea, we were finally inspired by Nicholas Puckett’s Pubnub class example which involved voting, where there are two areas for users to click and the numbers increase when it is clicked.

This example reminds us of some website-based games. When user is clicking the certain area, the number accumulates, and this function could be transferred to other features, for example, colours. And the accumulation of colour, similar to progress bar, reminds us of some racing games such as Road Rash and Need for Speed. Although these racing games are in 3d, we can make our project a 2d games with p5.js.

As for the background of the game, we decided to choose the COVID-19. At the beginning we thought of making an actually racing game; then we got an idea of the injection and vaccine after looking up a variety of covid-19 related news. The accumulation of colour stands for the liquid of vaccine, and this game is about filling the injection of vaccine as users press a certain key on keyboard.

To make this game more fun, more actions were added to the game. For game design there should be system of rewards and penalties () to make gamers motivated. So, there would be a congratulation effect for gamers to reward the winners. To add more interactions between gamers as well as to enrich the game, some disturbing actions are added to the game.

As for the technical methods of the project, PubNub is used for collection and feedback of different users of the game. The whole game is organised by keyPressed and if/else function (). By clicking different keys users can either increase the liquid in their injection or disturb other users by several effects. In a certain period of time, when someone’s injection has the most liquid, he/she wins, and here come the “congratulation” effects.


  1. Katie Salen et al., “Rules of Play: Game Design Fundamentals”
  2. Lauren McCarthy et al., “Getting Started with p5.js”

Air Band


Band Members:  

Mairead Stewart- Synth

Bernice Lai- Accordian

Kristjan Buckingham- Drums

Clinton Akomea-Agyin- Guitar

Abhishek Nishu- Saxophone

Project Description:

AirBand is a networked series of digital ‘instruments’ that can be played through physical movement. To participate in AirBand, a player opens the p5 web editor and chooses to play one of the five instrument options: guitar, drums, saxophone, accordion, or synth. These instrument choices are flexible, allowing for any number of players on each instrument at a time. Next, the player is encouraged to dance around their space while the PoseNet face tracking library registers their position. A player moves from one side of the screen to the other to choose from a set of pre-loaded audio tracks of their chosen instrument, then claps their hands to make that track play. As more players join the band, their music can be heard by everyone else, meaning that though players may be on the other side of the world, they can still dance and play music with one another. While many aspects of the AirBand experience are the same for each instrument, the visual elements have been personalised so that players will see a different art experience on their screen for each instrument they play.

AirBand is not only a tool for creative expression, it is a real-time collaborative experience. As our social interaction increasingly moves to virtual spaces, experiences like these give participants an enjoyable alternative to the virtual meetings they are accustomed to. Rather than passively joining a video call, AirBand encourages participants to become active members of the group, physically contributing to a joint creative project.

Experience Video:

Behind the scenes:

Network Diagram:network-2

Final Project Images: 











Development images: 






Link to the code:

Kristjan’s Edit Link:

Kristjan’s Present Link:


Mairead’s Edit Link:

Mairead’s Present Link:


Bernice’s Edit Link

Bernice’s Present Link:


Nishu’s Edit Link

Nishu’s Present Link:


Clinton’s Edit Link

Clinton’s Present Link:


Project Context:

AirBand is based on a number of projects that aim to create a shared space for remote musical collaboration. Although the challenge of connecting musicians virtually is hardly new, the pandemic has drastically increased demand for such a service.

Latency seems to be the primary issue most commonly addressed. With a reliable high-speed internet connection and direct input from an ethernet cable in favor of WiFi, some platforms such as Jamkazam are able to reduce latency to an acceptable degree, but it is not currently possible to achieve synchronous real-time playback (BandMix). The most popular workaround is to use a base track that each musician can play along to separately, then all of the recordings are layered together manually, rather than actually playing live (Pogue).

For those who do choose to navigate the latency issues to play together live remotely, another challenge that is less commonly addressed is access to instruments. It is often assumed that most musicians will have their instruments at home, but that is not always the case. The Shared Piano from Google Creative Lab, which was the main inspiration for this project, addressed this issue by allowing users to play music by inputting an electronic piano or by using the keyboard on their computer (Google Creative Lab).

21 Swings, created by Mouna Andraos & Melissa Mongiat and exhibited yearly in Montréal, does not connect users remotely, but it does allow various users to contribute to a shared musical experience in a physical way without the use of traditional instruments. Instead, a series of swings trigger distinct notes, prompting users to work together to create a composition (“21 Balançoires (21 Swings)”).

AirBand attempts to expand on the Shared Piano and 21 Swings by allowing each user to “play different instruments” by triggering distinct sounds remotely. PoseNet was incorporated in order to introduce more physicality to the experience, encouraging participants to dance and move around. Unique corresponding visuals can also be customized by each collaborator, creating a more tailored experience.

Whether playing over base tracks to simulate live jams, using technology to simulate instruments, or finding other ways to work around the lag, people are determined to find ways to come together and collaborate on music remotely (Randles). This endeavor is leading to some amazing innovations and many impressive creative solutions.

Works Cited

 “21 Balançoires (21 Swings).” Vimeo, uploaded by Daily tous les jours, 24 Apr. 2012,

Google Creative Lab. “Shared Piano.” Experiments with Google, June 2020,

Pogue, David. “How to Make Your Virtual Jam Session Sound—and Look—Good.” Wired, 4 Jun. 2020, Accessed 18 Nov. 2020.

Randles, Clint. “Making music at a distance – how to come together online to spark your creativity.” The Conversation, 13 Apr. 2020, Accessed 18 Nov. 2020.

“Virtual Jamming Tips.” BandMix, Accessed 18 Nov. 2020.


Simon Says ‘Message Received’: Light The Beacons

Group 04 Members: Candide Uyanze, Greg Martin, Jay Cooper, Patricia Mwenda


Simon says: Light the beacons is an interactive sequential multiplayer game that uses a series of patterns which includes shapes, sounds and colours. The first player starts off a level by creating a short 3 pattern message which each player must then replicate and add a single new input. Players score points for successfully replicating the pattern, but getting the pattern wrong disqualifies the player and causes the game to restart a new level increasing the difficulty of each new level.

The game has 4 rounds and 4 different prompt messages to demonstrate the level of difficulty, the first round starts off with a warning message that has calm ambience and blue monotones to give a sense of calmness and least urgency. The next levels message is urgent and uses orange monotones with the shapes sides increased to send a message of more urgency. The third level has spiky shapes with yellow monotones that rotate and has a danger message, and the last level is the most difficult with a critical message that has red monotone shapes that are very spiky and rotate rapidly to give a sense of alertness and extreme urgency.








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Initial Game Ideas


Initial Communication Idea

8f0cde9e-e3b3-4696-9b78-45dc9cd3110cInitial Sketch Ideas


First Iteration and Testing


Second Code Iteration and Testing


Third Iteration and Testing


Present Link:

                                                                                                                                              PROJECT CONTEXT
Early into ideation, we realized that we wanted to find a fun way of incorporating real-world communication methods, as it could work well with the shared spaces of play theme for this experiment. We determined that traditional methods of communication, especially those used across vast distances, would likely provide innovative ideas for the experiment. In seeking inspiration, African communication particularly dominated the discussion with its wealth of methods employed by different groups across the continent. Examining African traditional communication as a form of mass communication, Delta State scholar Elo Ibagere notes that, “it has served the African’s purpose effectively in various capacities… there remains an African communication system with a distinct character, fashion to suit Africans which may not be identified in any other place in the world” (4, 2020). In this same paper, Ibagere notes that: The effect of Westernization which has now translated to globalization is quite devastating to Africa in the sense of a lamentable and, sometimes, deliberate alteration or outright destruction of values and norms of African people and societies. Such impact has affected the communication system to the extent of almost obliterating it in the urban areas, with only vestiges of the system left in the cities. However, the system continues to remain paramount in rural areas where the population relies on the system to satisfy their communication needs. (4, 2020)

The revelation that these traditional models are both dying out and still heavily relied upon cemented their use within our experiment. From the plethora of communication methods before us, the talking drums stood out as the most captivating. Talking drums have their own method of communicating through rhythm and tone, typically using phrases to express an idea (Gleick, 18, 2011). Talking drums, such as the doodo, are employed primarily in forested areas, especially in the West African region, as their rhythms can travel far through hollow environments (Adeola, 2019). These drums could be used for a wide variety of purposes, from announcing a birth to warning of invaders. We decided to take the rhythmic percussion of the drums to create our own language of shapes, strung together to create messages.

Further research revealed that these drums were often used to send messages from village to village. Author James Gleick explains in the Talking Drums chapter of his book, The Information, “through the still night air over a river, the thump of the drum could carry six or seven miles. Relayed from village to village, messages could rumble a hundred miles or more in a matter of an hour” (19, 2011). This presented us with the gameplay element of communication: the importance of being able to replicate the pattern heard, to then be passed off to the next drummer, in what would play like a game of Simon Says (or variants such as Follow the Leader). Furthermore, Gleick explains the uniqueness of each pattern, as: “only some people learned to communicate by drum, [but] almost anyone could understand the messages in the drumbeats. Some people drummed rapidly and some slowly. Set phrases would recur again and again, virtually unchanged, yet different drummers would send the same message with different wording” (20, 2011). This allowed us to add an extra dimension of difficulty and customization by having each player add a beat to the message after replicating it, mimicking the variance in message from drummer to drummer.

Lastly, we did not want to ignore the digital aspect of this experiment, so we decided to augment the traditional communication method with digital elements, specifically communication through the colours and shapes of the screen-based objects. While colour psychology is perhaps more art than science, “researchers and experts have made a few important discoveries and observations about the psychology of color and the effect it has on moods, feelings, and behaviors” (Cherry, 2020). Cooler colours like blue and purple are associated with feelings of calm, whereas warmer colours like red and orange evoke feelings of aggression, danger, and excitement. These principles were applied to our level progression, building up in urgency towards the end. Additionally, we begin to adjust the shapes to match this progression. As the levels become increasingly urgent, the shapes transform their sides into protrusions that resemble spikes —intended to signify danger— and speed up, creating more visual information to process. These elements were added to increase the player’s stress, much how they might feel if they were really propagating an urgent message.


Adeola, N. B. (2019, July 24). How ancient Africans communicated over long distances way before the telephone. Face2Face Africa.

Cherry, K. (2020, May 28). Can Color Affect Your Mood and Behavior? Verywell Mind.

Gleick, J. (2012). Drums That Talk. In The Information: A History, a Theory, a Flood. Fourth Estate.

Ibagere, E. (2010). Introduction. In Introduction to African traditional communication system. University Printing Press, Delta State University.





Splash of Greens By Group 2



Group 2 Members: Xin Zhang, Jie Guan, Unnikrishnan Kalidas, Grace Yuan

Project Description

Splash of Greens is a remote multi-user digital experience that lets users remotely water a plant-specific to them, while it grows in a virtual garden in real-time. All users with access to the desktop listener link can access the virtual garden and view the garden grow as each remote player waters their respective plant. A control bar regulates the amount of water poured onto the plant, which can be visible on the individual control screens of users. Upon repeatedly touching the ‘Water’ button provided, a green portion within the bar reduces signifying the maximum limit to which the plant can be watered, further visualized by a full-grown plant, visible on the user control screen and the desktop listener screen. In our project we have chosen four different plants namely, Blackberry, Snake plant, Coral Cactus, and a Monstera plant, all visualized finally to grow within the same virtual garden, but remotely watered by different users. In these tough times of the COVID – 19 people interact very often on screen; our project is a reminder to people about the earthly and humane things in life, as basic as watering a plant.

Final Images

listener phone-screen

Experience  Video 

How it works video 


Development Images

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Code Links

Desktop Listener:



Controller 1 – Snake Plant:



Controller 2 – Monstera:



Controller 3 – Euphorbia lactea:



Controller 4 – Blackberry:



Project context

Morpheus, a character in a scientist fiction movie The Matrix, addresses that “The Matrix is everywhere. It is all around us. …” (1999). As humans, we can be considered as part of the Matrix, to interact with information, each other, and the Context. We think the presentation of interaction between humans and information on the Internet is similar to Matrix’s concept, encoding the physical and material touch on the screen to share over the Internet and decode to present on the computer-generated environment. Internet affects multifaced of human’s life, as Steyerl said, “Never before have more people been dependent on, embedded into, surveilled by, and exploited by the web. It seems overwhelming, bedazzling, and without an immediate alternative. The Internet is probably not dead. It has rather gone all-out. Or more precisely: it is all over!” (1). We noticed that during the pandemic in 2020, an increasing number of people depend on the Internet for working, studying, and shopping. The Internet has already “enter” every aspect of human life; it is everywhere in our space and all around us. ‘Splash of Greens’ provides a virtual collaboration space for users to grow plants through the Internet, with multiple controllers in different locations to send messages to the virtual garden on the webpage. The project shows how we transformed the materialized gardening behaviors into screens and information in virtuality, presenting communication over the Internet similar to the Matrix.

Teleporting An Unknown State is a project created by Eduardo Kac in 1994, providing the Internet’s experience as a life-supporting system. In a very dark room, a pedestal with earth serves as a nursery for a living plant. Through a video projector suspended above and facing the pedestal, remote participants send light from the sky of remote cities via the Internet, in real-time, to enable this plant to photosynthesize and grow in total darkness. Our project can also consider as a telepresent experiment with plants. Rather than project the physical sky to the plant, we teleoperate virtual water for the plant growing on the screen.

Moon is an online creating art experiment by Chinese artist Ai Weiwei and Danish-Icelandic artist Olafur Eliasson. Moon is a web-based artwork to invite users to leave their mark, drawn or written, on a virtual moon’s surface as a shared platform. Moon’s open call for creative input is a powerful statement about the potential for ideas to connect people across the world of breaking distance, political, social, and geographical boundaries in the Internet age. Although our work does not ask uses to leave a mark on the virtual space, it provides a controller for the users to grow the plants from various locations in the virtual space.

 Works Cited

“Moon • Artwork • Studio Olafur Eliasson.” Studio Olafur Eliasson, 

Steyerl, Hito. “Too much world: Is the Internet dead?.” E-flux journal 49 (2013): 1-10. 

Teleporting An Unknown State, an_unknown_state.html. 

Wachowski, Lana, and Lilly Wachowski. The Matrix. Warner Bros., 1999.