Experimental Interaction – G4 – Page 2

Posted by Bryan Leow on Wednesday, 31 January 2018

Samantha and I are grouped to create our own third space in this micro project. Our theme is the uses of cup noodles, so we had an idea on calling each other through the gap between our screens, and so we linked both our screens together to form the third space where we can connect with each other with the cup noodles telephone. This third space exists because even though we are not connected physically, but we still can talk to each other through the ‘telephone’ as we can hear each other on the live stream. We have made the distance between us tangible using this third space. This performance therefore works. The intimacy created in our third space is the conversation between us.

We then continued the performance by cooking our own ‘telephone’. We went on merge our bodies together with the split screen, and cooked the cup noodles together by (almost) coordinating our movement with the ‘third body’.

Due to time constraints, we did not have time to practice, and so we are uncoordinated during the cooking of cup noodles. There was also another sequence which we wanted to try out but didn’t due to time constraint, which is to run from one screen to the other, before we go to cook our cup noodles. There was also an interruption of the performance as someone else wanted to use my water dispenser during the cooking sequence. That is one problem that may happen to a performance like this, the third space may be interrupted by another person of the public.

For our DIWO assignment, my team: Reuben, Joel, and I have decided to create a whole new instagram account (@reubryjo) as a form of collaborative art platform. The account details are then given out to mostly our friends. The rule for using this account is simple: log in and take a photo of something in the colour you like. With this rule, we intend to collect as many photos as possible contributed by our audience through this account, and compile them into a spectrum of colours.

Our audience will be given complete freedom to the account, as they get to take as many photos as they wish. Our audience becomes the artist, and their photos are not just part of the artwork, but are also by itself, the artwork. The outcome of the artwork will be dependent on the audience’s posts, but we will also be curating it. This makes us, the creators, uncertain of what is going to happen.

As mentioned by Marc Garrett in his article on DIWO:

“the process (of DIWO) is as important as the outcome, forming relationally aware peer enactments. It is a living art, exploiting contemporary forms of digital and physical networks as a mode of open praxis.”

Embracing the process of DIWO where our audiences continue to add on to the artwork to add complexity to it, our artwork becomes alive.

We have arranged the photos into a colour spectrum, which is visible from afar; but from up close, we get to see the contents of the photos posted by the audience. The audience’s posts have affected the outcome, and the outcome shows the intentions from both the audience and the creator. The resulting artwork shows the relationship between the creator and audience, its body and its soul. This, I believe, is the very reflection of DIWO.

As much as there are similarities between our artwork and the Humanclock.com by Craig D. Giffen, where everyone can contribute a photo to create an entirely new outcome of an artwork (in this case, a photo of numbers that tells the time to create a database of times), our work is more representative of the audience where the artwork expresses more of what our audiences want to show.

Screenshot taken from https://www.humanclock.com/

The openness and freedom of our rules allowed our audience to do what they want with their posts, rather than making sure that there is a content to it. That is what sets our work different from the Humanclock.com project.

Category: Experimental Interaction – G4

Micro-Project III – Teledrift Communication

Experimentation & Interaction – DIWO and Micro Project II