Exercise 2: Centuplanes


Done by Anam & Cher See


Suspend 100 paper planes of different sizes and at different heights in two different spaces – public space and a personal space.


To create a therapeutic and an almost meditative space for people to improve their stress levels, and stimulate better brain function. The plane is used as a metaphor for failure due to unrealistic dreams (the crashing of planes), overcoming obstacles and rising to a new level of prominence (taking off in planes), and an important transitional phase in your life (transferring of planes). This space hopes to offer a myriad, or even an amalgamation, of feelings which results in the realization of where one is in his/her life and to enable them to figure out their next course of actions.


We folded 50 A4-sized paper planes and 50 A5-sized ones and attached them to cotton strings of various lengths with a hot-glue gun. The lose ends of the strings were then pasted and distributed across the ceilings of the two spaces at different heights.




Personal Space (Anam’s Room):
Public Space (ADM Level 2 Lobby):



Research Critique: Second Front

“So for me, my avatar is embedded in my psyche, rather than an extension of myself.”

– Great Escape, Second Front

It is to no surprise that the open virtual world, Second Life, offers endless possibilities in its utility and how one may look at it as an outlet to create art as well as an avenue for the emergence of new ways to express oneself. But the activities and interactions that the members of Second Front engaged themselves in have surpassed the expectations of how this virtual world could be regarded as a stage, and the players as performers.

The members of Second Front took the roles of characters in a planned and rehearsed setting while they embodied these characters through their avatars in a spontaneous and improvised manner. In each performance and situation they were placed in, they were able to bring about a narrative that goes beyond uncanny representations of the real world. On top of that, they were able to carry out activities that they could only achieve in the virtual world. And given this advantage, more outrageous and bizarre narratives came about in their performances. I guess this is the quality they possess that enabled them to reach out to so many viewers in the real world.

“While we as Second Life avatars become more real in the virtual
world, so too, that we as human inhabitants of the real world become
more virtual.”

– Alise Iborg on ‘virtual leakage’

What I found most interesting about Second Front was that the virtual world began to seep into reality. Great Escape talked about how he had vivid dreams of himself and the other avatars in Second Life, and how it appears that the two worlds were no longer separate but converged through the characters that they portray in the virtual. The relationships they forged in the virtual does in a way reflect their relationships in real life. And in turn, the performances and the narrative they have planned in the real world are seen being executed in the game itself. This is how I see the two worlds influencing each other.

The Last Supper, Second Front

Another point that I find interesting was when Tran Spire mentioned how the script of their performance lies in “the code of the place or environment in which it is
situated” while the content is then being developed and influenced by the characteristics of the script. This is a key feature that I foresee being applied to our final assignment. How Second Front embraced the freedom and boundaries in their piece is essential to how we plan and execute our social broadcast approaching the end of the semester.

All in all, I am very impressed from watching and reading about Second Front. I feel that in online performances, it is important that we adopt the method of balancing the expected as well as the unexpected. There is beauty in this mode of storytelling, especially when we realize that we are the avatars of our own bodies, unraveling the surprises that life has to offer, planned or unplanned. And as much as we think we are the actors, we are the audience as well.

Research Critique: The World’s Longest Collaborative Sentence

“The 1s and 0s of digital art degrade far more rapidly than traditional visual art does, and the demands of upkeep are much higher.”

– Melena Ryzik in “When Artworks Crash: Restorers Face Digital Test”,
The New York Times

If there is one thing “The World’s Longest Collaborative Sentence”, an internet piece created by artist Douglas Davis in 1994, could teach us is that the preservation of any form of artwork or performance done in the cyber space is as equivalently important as, the preservation of traditional artwork such as paintings, sculptures and artifacts that we have up in museums.

The artwork, which began with “I DID NOT FEEL SEPARATED I FELT VERY CLOSE EVEN THOUGH WE WERE THOUSANDS OF MILES APART,” motivated users from all over the world to participate and have their inputs contributed into a never-ending chain of messages that varied in thoughts, motives and languages. It was a platform that encouraged communication and interaction between people coming from different remote spaces to be done in one collective space. The piece collated a total of 200,000 contributions in a matter of 5 years, before the shifting in computer servers put it to a complete stop.

“… a seemingly simple technology-based artwork can go very, very wrong when it is not properly cared for, or when parts of the work are not collected at all.”

– Michael Connor in “Restoring ‘The World’s First Collaborative Sentence”, Rhizome Blog

From the text above, we could see how fragile online artwork is especially with the advancement in new technology and how the ciphering of codes gets lost due to encoding damages. Take for example, backing up works on the computer is essential to ensure that we are still be able to access those files in the event that any unpredictable technical issues come into play.

When curators from Whitney Museum of American Art attempted their restoration efforts on “Sentence”, it is found that the change in servers has led to several technical problems in the artwork itself. Words that were typed in Korean in the Hangul text were degraded as indecipherable garbled text and to this day are left not able to be decoded. Sustaining online art is not only important, but also comes with its own challenges and difficulties.

However, Whitney Museum of American Art managed to resolve this issue by having the frozen original version exhibited as well as providing a new live version of “Sentence” to act as a platform for users who are still interested in contributing to the ongoing quest to create a never-ending collaborative sentence. I feel that this is a great way for Whitney Museum to sustain online art such as the one discussed above. With this a fast-moving technological world that we live in, we could raise our efforts in taking better care of online works, having precautionary measures taken into consideration, to ensure the preservation of great works like “Sentence”. Online artwork is starting to emerge to have similar significance to traditional artwork. We should also start preserving them like how we would to ancient artifacts and paintings.



Research Critique: Bold3RRR by Jon Cates

Bold3RRR is a performance piece by Jon Cates that “combines art with real-time rendering across international timezones in fragments, errors, and overlaps”. Jon managed to display what he deems as “dirty new media” using the space bounded within his desktop screen and design it in a way where it all comes together as a cohesive visual. In Bold3RRR, he toggles between his camera, websites, images, videos and type concurrently, with noise playing in the background, to show how glitches could be used in a broadcasted performance and be aesthetically pleasing to the viewers.

Bold3RRR adopts the use of Desktop as Mise-en-scene by stage designing the props (videos, pictures, web pages, music, windows, webcam images) in a position, area, and sequence, to create a new form of act in cyber space. The use of feedback loops and the organization of his desktop screen goes hand in hand with his intent of showing how glitches could directly associate to reality. The fragmented content that he receives and in return chose to exhibit plays into his idea of “dirty new media”.

In Randall’s conversation with Jon, he mentions how we are living in a techno-social culture and that technology could be socially performed. Our everyday performance with technology has made it more human and has made it part of our lives. I felt that he was blurring the lines between the virtual world and reality itself in a sense that machines are as capable of making mistakes as us humans do. That made these glitches, or so called imperfections, in his performance more acceptable and, perhaps, beautiful too.

“There is a non-neutrality of techno-social artifacts + contexts, that our technologies are not neutral, also that they are embedded, they are part of our lives, + that embeddedness has the word bed in there, we are in bed w/ them also, so they’re embedded in ways that are complex. they are not sterile, they’re imperfect, they are not clean, b/c they exist in the world, which is also imperfect.

– Jon Cates, “Glitch Expectations: A Conversation with jonCates”

I could see how the desktop could be portrayed as going beyond just screen space. It acts as a stage and it is a new avenue for us to create countless possibilities with the advances in technology.