Of the many methods of writing and printing that were introduced in class, I was most interested in Gutenberg’s movable type which used the punch and matrix method that revolutionized the way of printing. Previously, printers had to carve letter by letter into woodblocks and then using a press to create printings for books which were tedious and very time-consuming. By using the movable metal type, the printing time was significantly cut and took less effort, which meant that more books can be published to educate the public as information is more accessible to all compared to the past when only the higher class were able to have books.
Gutenberg Bible
The type used in the Gutenberg Bible was modeled after handwritten letters, which then led to printers creating their own type for printing (as explained in the video).
Linotype Machine
Linotype Machine
After using the movable type for three centuries, the Linotype Machine was invented by Ottmar Mergenthaler between 1883 to 1885 to further improve the printing methods. Instead of placing the matrixes by hand, the machine automated the process and made printing much faster by producing and composing complete lines of type, or slugs. Linotype was first used in newspaper print production, where speed in producing frequent daily editions was required.
Printing methods today
Today, there are many different printing methods catered to different purposes or different aesthetics. For example, letterpress printing, digital printing like laser printing, inkjet or toner printing, and also 3D printing!
Reflection
The invention of different printing methods has enabled typographers and graphic designers to focus on their craft as printing time has significantly been reduced since the invention of printmaking. It has also helped society as a whole as books and prints have since been more accessible to the public which helps in their education. New types are also invented because of better printing methods. As we have moved into a digital age, I do hope that the printing methods we have today do not become obsolete as we rely more on our screens than prints to obtain information.
Disappearance, Bar in the Gallery with INTER—MISSION is a collaborative audiovisual performance of the collective INTER—MISSION’s “Life Circuit: I/O” that inhabits Lee Kang-So’s “Disappearance” or “Disappearance, Bar in the Gallery” (1973). According to the event page, Life Circuit is an ongoing project that is experimental and explores intersections between video art, music and performance. This performance also features dancers on both on-site and online presence, in collaborations with Norhaizad Adam and Syimah Sabtu from P7:1SMA in Singapore and Chiharu Kuronuma who live-streamed from Tokyo.
Disappearance, Bar in the Gallery is a restage of Lee Kang-So’s work in 1973, where he bought the entire tables and chairs of his favourite pub at that time and moved them all into the exhibition hall at Myeongdong Gallery Solo Exhibition. He transformed it into a gathering place where participants can have a glass of Makgeolli (Rice Wine) and chat freely at a time where South Korea was under an authoritarian regime.
In an interview conducted with Lee, he stated that the goal of the work was to provide the audience with an opportunity to re-experience and reflect on our own situation that we had been mindlessly experiencing by separating an aspect of our everyday life into the gallery. Lee only provided the tables and chairs. The audience will be free to participate in the work, the content comprising the visitor’s engagement and experiences, and have time for one’s own experience that others will never know.
Artist Statement – Life Circuit is conceived as a series of video demonstrations with wearable gadgets reconstructed from industrial safety equipment — welding goggles, a gas mask and earmuffs, which the I nicknamed as “Video Goggles” for video channeling, “Sound Mask” and “Amp Muffs” for audio and amplification. The modified gadgets become the extensions of my being and body that is now unable to see, speak or hear, but able to stream out video and audio feeds to the audience. The images and sounds link to other devices and displays captured from the immediate audience and space. Altering human functionality and interactivity, a “circuit” is formed between the audiences, the various media, moving images and sounds that replace human perceptions and expressions. Erasing my identity to the audience by donning the full mask, the work plays on the illusion of an invisible dialogue in an era of post-digital connectivity.
During the ending of the performance, the “Video Goggles” were projecting a live stream of the audience, the stream from Japan, and Teow Yue Han’s face as seen below.
Artist Teow Yue Han uses a self-projection device to project his face on people’s clothes/faces.Artist Teow Yue Han projecting his face on the audience’s shirt.
Reflection and Thoughts
To be honest, I had no idea what was going on during the performance. Despite that, after researching and knowing more about the context and reasoning for both artworks, I think I have my own interpretation. The tables and chairs by Lee Kang-So serve as a medium for people to sit down and have their own experiences, or to be “in the moment”. Urich mentioned in his artist statement that the gadgets were just an extension of himself (which replaced his perceptions and expressions), and the projection of the audience on his “Video Goggles” and the sounds (noise he created in the background) formed a “circuit” between the audiences (noise from conversations) and the various media. Combining both artworks together may form a different meaning altogether.
My own experience of INTER-MISSION’s work is only unique to myself, and me participating as an audience looking at Urich’s gadgets is completing the circuit with the media/gadgets “looking” and “hearing” sounds from us. Similarly, everyone’s experience during the performance is only unique to them, and their perspective and interpretations are different from mine. While Urich was performing the last segment when he wore his “Video Goggles”, many of the audience took out their phones to take a picture or a video of him, while looking through their phone screens. I guess the “circuit” of technology is also completed when technology meets technology. As for those who watched without looking through their phone screens, the “circuit” is completed with their participation as an audience. Although I still don’t entirely get what was going on, I do think that the technology and equipment that INTER-MISSION used were interesting and intriguing.
Connected Worlds is an immersive, large scale installation of an ecosystem located at the New York Hall of Science by Design I/O. It is composed of six interactive walls of ecosystems that are connected together by a 3000 sqft interactive floor and a 14m high waterfall. Participants are involved in growing and sustaining the ecosystem through the actions they make. One way of sustaining the ecosystem is to direct the stream on the floor from the waterfall to the ecosystems by using logs to block and direct the water flow. They are also able to plant seeds to grow the ecosystems.
According to Theo Watson, the co-founder of Design I/O, the purpose of this installation is for the kids to interact not only in one environment but in a world where everything is connected. The idea where one local action can lead to another that may cause global implications is what they wanted to convey through this installation.
Reflection & Thoughts
If I were a child at Connected Worlds, I will be fully immersed in the installation! I would imagine my senses to be engaged with the installations, whether it is seeing how my seed will grow into a tree by using my hands, or just admiring how colourful the made-up animals and plants are. A child’s development is often paired or combined with play, where they are able to learn cognitive, linguistics, and social skills. They are also starting to make sense of the world around them by learning from the experiences that they have gone through while playing. I feel that this installation is a good example of a guided play, where the adult is able to target specific areas of development for the child. In this case, the child is learning to be conscious of their own decisions and actions that lead to different outcomes.
The installation is very engaging as the participant is able to see an almost immediate response to their actions. The tracking system that they have used is well thought of which shows in the seamless response that the participants get when interacting with the walls and the floor. In the real world, we are not able to see the implications of our choices immediately. (E.g. using plastic takeaway cups are convenient, but it contributes to the ever-increasing landfill that is harmful to the environment.) In contrast, this installation enables a child to understand the importance of thinking through their actions for the environment as they are able to see a response to their actions almost immediately.
While I feel that this installation helps a child to understand our world a little better, I do believe that having an outdoor excursion that exposes them to elements of nature in the learning process will also aid in the child’s development and understanding of sustainability better. Although this installation teaches a child to be conscious of their actions, I believe that the outdoor excursion will give them a real feel to how nature is like, that it’s not always clean and immediate like the exhibition that they experienced.
Lastly, I am very impressed with how seamless the whole process of tracking the input and showing the results is. Connected Worlds intrigued me on learning more about interactive devices, and to take note of every single aspect of a participant’s interaction to make the experience as smooth and engaging as possible.
