Kokopelli’s Sound Shaper: Body Part Research & Textures


Pleasant: Water Cooler in ADM (Flowy)

Unpleasant: Security Alarm in ADM (Resembles water droplets)

Sound Waves on Audacity

Audacity file on water cooler

Audacity file on alarm

Body Parts



  • Elbow is the joint connecting the proper arm to the forearm
  • Marked on the upper limb by the medial and lateral epicondyles and the olecranon process
  • Classified as a synovial joint, functionally as a simple hinge joint that allows for flexion and extension.
  • Occurs at the junction of the humerus or upper arm bone
  • The humerus forms the upper part of the point and widens near the end to form the medial and lateral epicondyles (two bony processes felt either side of the elbow joint)
  • Made up of three bones: humerus, ulna and radius.

Bones in the elbow

  • The ulna is a cup-shaped structure that is situated on the inside of the joint which allows articulation (state of being jointed) with the humerus
  • Three distinct joints in the elbow – hinge joint, the humeroradial joint and the pivot joint
  • Hinge joint allows the elbow to bend and straighten
  • Humeroradial joint allows for flexion and extension
  • Pivot joint allows for rotation of the forearm


-important ligament of the elbow are the medial collateral ligament (inside of the elbow) and the lateral collateral ligament (outside of the elbow)

Angular Movement at the Elbow


Movement Angular Range (Degrees)
Flexion / Extension 145
Pronation 75
Supination 80


Movement   Definition
Flexion A movement decreasing the angle between articulating bones
Pronation A movement that can be performed by the lower-arm/ wrist and also by the ankle/foot

Pronation of a forearm is the rotation of the forearm turning the palm of the hand inwards towards the body.

Supination A movement that can occur at the lower-arm and wrist.

Supination of the forearm is the rotation of the forearm turning the hand outwards away from the body


The ankle joint is a synovial joint located in the lower limb. It is divided into the upper ankle joint (tibiotarsal articulation) and lower ankle joint (talotarsal articulation).


Upper ankle joint

  • Is a hinge joint.
  • Main task is to enable dorsiflexion (stretching) and plantar flexion (bending).


Dorsiflexion (Flexion) Produced by the muscles in the anterior (nearer the front)  compartment of the leg.
Plantarflexion (Extension) Produced by the muscles in the posterior (nearer the rear/hind end) compartment of the leg.


  • Composes of the three bones: Tibia (Shin bone), Fibula (Calf bone) & Talus (Ankle bone).
  • The tibia and fibula form the “ankle mortise” which consists of the medial and lateral malleoli. In the distal end of the ankle mortise sits the trochlea tali, the upper surface of the talus.
  • This allows the articular surfaces to glide upon each other and assures the cartilage surfaces to move freely.

Dorsiflexion | Flexion Is the movement by which the dorsal (top) aspect of the foot and the anterior (front) aspect of the tibia (shin) move closer together.  (E.g. up and down – sitting and standing or walking up and down stairs).
Plantarflexion | Extension Is the opposite movement that departs the dorsal aspect of the foot away from the tibia.
Abduction Is moving the distal end of the foot away from midline, or away from the center of the body.
Supination Appears when the medial edge of the foot is lifted off the grounds.
Pronation Is the reverse movement of supination, when the lateral edge of the foot is lifted off the ground.


References for elbow:








Functions of A Hinge

A Hinge is a moveable joint or mechanical bearing that connects two solid objects, typically allowing only a limited angle of rotation between them.


Texture for water cooler (pleasant)

Texture for beeping of the automated security alarm

Texture for beeping of the automated security alarm

Texture for beeping of the automated security alarm

Check out the full PDF on Jiayi’s site here!

A Pitstop: DIWO & Experimental Interaction

Experimental Interaction – A Summary, awaiting a Sequel

DIWO, otherwise known as, Do It With Others, is a concept created by Marc Garrett, the founder of Furtherfield. A new perspective brought forward to encourage collaboration, this has shifted creative production from being top-down to being collaborated. In the first half of the semester, Experimental Interaction class has emphasized on the idea of Doing It With Others (DIWO), The Third Space, Collective Narrative and the idea of collaborative art. Moving from The Tele-stroll to glitching up images, every project has an essence of collaboration and or using The Third Space as a medium. Each project has opened up my perspective on the realm we can work with for artistic productions, living up to its name of being experimental and bringing engagement to an interactive manner.

Same Vision, Different Approach – A Breakthrough

The founding fathers of Open Source and Furtherfield both have the same vision – inculcating openness in the sharing and learning of knowledge, tapping on the idea of collaborating with relevant counterparts to produce a much greater good for the society. Each has a bold statement that pushes for the once conservative playing field of talented individuals. Founded between the 1950s to the 1960s, Open Source allowed the virtual sharing of content on the World Wide Web, stripping its monetary value. Opening the gate to progress and the advancement of the society through the sharing of knowledge, I would boldly say that their initiatives have played a huge part in shaping the world today. Take Steve Jobs’ Apple for instance, it is undoubtedly seen everywhere. (In fact I am using one right now.) Steve Jobs started Apple with open source components and then creating a closed source operating system called the Mac Os X then produced personal computers for home that revolutionized the usage of computers and thereafter our mobile phones and tablets. Dare I say, such radical moves advances the world, creating a different social culture altogether, a breakthrough.

Furtherfield, breaking the Conservative Culture

Taking a leap of faith to break the stereotypes of art culture in 1996, Furtherfield is  a pioneer that broke the conservative culture. The emergence of Furtherfield created a more competitive and varied art scene to the one that was once flooded with elite artists. Going beyond just the four walls of a gallery, Furtherfield also created a platform that can host greater audience and boost viewership for artists on their humble first start-up website hosted at Backspace. Transforming the interaction to a two-way one, Furtherfield is a platform that allowed for conversations between the artists and the audience, a different approach in the appreciation of art. Besides, the Netbehaviour email list has encouraged people of the same interests to be connected through opportunities for dialogues, bringing people together.

As a dynamic art organization that is very involved with grass-root and ecology projects, Furtherfield is like no other. Creating a platform for the arts, technology and an advocate for social change, this perfect hybrid is indeed an exemplary addition to the art scene.

Micro-projects, in-class projects & the Third Space

Exploring the Third Space through The Tele-stroll and social broadcasting, the first micro-project involved a live-stream broadcasting with synchronization with our partners. Using the split-screen nature of the live broadcasting, we met our partners at the Third Space and produced “telepathic” moves as a form of performance.

A screenshot from The Tele-stroll – Two screens, as if we are opening a single door

Moving a step ahead, The Telematic Embrace, an exercise we did in class emphasized on collaboration and corporation as a social practice.

A screenshot of The Telematic Embrace, an exercise did in class

DIWO at the Third Space can be clearly seen. Moving interaction to the Third Space, we unleashed the playfulness of the medium by making use of the nature of the split screens placed in neat rows. Creating different ways we can be playful with it, finger touching, to finding items of the same colour, this collaborative project creates a form of collaborative art.

A screenshot of the Collective Body on Flickr page

The Collaborative Body, a-photo-a-day project of our body parts pieced together is one that demonstrate a collective artwork. Different photos pieced together forms a collective body of oneself, as if the body is malleable enough to be placed in a random position, altering the conventional viewpoint of the body.

An image of a collective glitch done in class by our classmates for The Exquisite Glitch

The Exquisite Glitch is a compilation of the different modifications that was made to the image, passing it down from one classmate to another. The final product is like an outcome by a computer virus, glitched, unrecognizable, nothing like its original. This is also a collective artwork that requires the input of more than one person to fully create.

DIWO, a term that involves the contribution of a mass looks at a more unpredictable, more unscripted form of art production. With the involvement of a group, no one person can predict what the outcome will be since the final product is the summation of all individual efforts through a collaborative technique.


Dissecting the projects we have done thus far, it is of no doubt that the DIWO concept is one of the main focus. Using the Third Space as a medium and the Collective Narrative as the the main way of production, DIWO the underlying concept behind is brought forth. As the generation that will rise up, this overarching idea of DIWO will be one that will expand in greater in depth and in width. Standing on the shoulders of our giants, we hope for a brighter tomorrow.


Additional Readings:

Steve Jobs: an open source pioneer? You bet.

Do It With Others (DIWO): Participatory Media in the Furtherfield Neighbourhood


Pandora Revisited

For the first project for Form and Visualization, we got to look back and revisit the Pandora project we did back in Semester 1. For Pandora Revisited, the words I received were pack, skew and reflect.

Below are some images of my module and how it reflects the words:-

*foam version of the module in exact dimensions*


Making my mould for my module, I used the silicon method.

Preparing for the pouring of the silicon.

After the pouring of the silicon for the making of the ice-tray.

After the silicon dries. Hot glue added to the top because there were holes.


There are many combinations of arrangement for my module that I find amusing! Below are some combinations:-



Isometric – Individual

Isometric – Combined

ive 90t g1itch-ed.

I’ve Got G1iTch


Original Picture

Touch up by Rei

Touch up by Bala

Touch up by Shu (Final)

In class today, we learnt and discovered about collective art and glitch. For in class project, we took images of our classmates and used photoshop to glitch them up!

Glitch, disturbing, provoking and horrifying. Beautifully Dangerous.

I echo Rosa Menkman’s description of glitch. It is noise compiled together, piles of neon colours, the mismatch of colours that draws our attention solely because of its oddly satisfying destruction. Looking at my final piece finished up by Shu, although I can no longer easily sift out my facial features, the final product is as Rosa Menkman would describe as “a creation of something original”.

When embarking on this glitch experiment in class, I have no idea how the final products will look like, but looking at all of them in class and on OSS, I understood the uncertainty in glitch art, in creating them.

..fight genres and expectations

Moving away from standard photo editing applications, we were challenged to go onto Photoshop to glitch up each other photos then passing it on for another make over. As I was handling my friends’ photos, I had no agenda. No motive of making it look aesthetically pleasing, or whatsoever. I went with my gut feeling, go as the cursor goes and tried on any filter, any action button that could modify the image. As it got passed on, from one classmate to another, the modifications piled up, glitching the entire image, some still recognizable, some were beyond recognition.


Afterall, the experience taught me the non-default, random, constantly changing nature of glitch. Embracing the flaws, just like Wabi-sabi, a Japanese philosophy of accepting imperfections, and going beyond the conventional, cookie-cutter filters, to explore the unlimited possibilities of a new paradigm of aesthetic.

Telegarden // A Change in Perspective

When we hear the word “gardening”, it usually involves physical soil space, a hand trowel, seeds, watering can. What the Telegarden team have created in 1995 has totally changed our perspective of gardening, replacing our hands with cursors and mouse clicks. Each action in the Telegarden, totally controllable at the comfort of your home, through a screen.

This web-interface allows netizens to control a robotic arm to manoeuvre around the soil area of the Telegarden through the lens of a camera attached onto the arms of the robots. Netizens are able to plant seeds, water the plants and observe the growth of the plants.

Below is a brief overview of the entire Telegarden project:-

The Ultimate Contrast

What the entire Telegarden experience gives its users is the stark contrast of speed using the internet and gardening. On the internet, it is almost immediate that your demand is made, merely with a click on the mouse. On retrospect, the act of planting a seed does not guarantee the sprouting of leaves and stem the next moment. It takes real, human time, days, and weeks, even months. You simply cannot rush gardening, not even when it is done online.

“Gardening” Attachment

It is beyond absurd to know that “gardeners” over the internet do get attached to their plants planted in the Telegarden especially when they might never get to see them in real lifeAs seen in the video attached above, some got a little over-protective when another “gardeners” started planting their seeds near their plants. I would have thought that “gardening” in the Telegarden was merely another form of play and side activity for the netizens.

“Il faut cultiver notre jardin.” Voltaire

We must cultivate our garden.

Telegarden-ing fulfilled the paradox of online gardening created by two different activities – surfing the internet and gardening. One stagnant and idle, another that requires physical strength and patience, this experience is fresh. With the rise of internet users, Telegarden is a subtext for people to not neglect what we used to do without the internet. It is a Third Space for the social interaction of the “gardeners” who go online to check out on the plants at the Telegarden, while “gardening” together on an online platform.

“The Telegarden creates a physical garden as an environment to stage social interaction and community in virtual space. The Telegarden is a metaphor for the care and feeding of the delicate social ecology of the net.” — Randall Packer, San Jose Museum of Art, April 1998.

Almost like a mass gathering of green fingers from all across the world, Telegarden not just created a totally different experience of gardening, but also gave a different outlook on the internet. Like what Randall Packer said, “a metaphor for the care and feeding of the delicate social ecology of the net”.

Additional Readings

The Distant Gardener: What Conversations in the Telegarden Reveal About Human-Telerobotic Interaction

The Telegarden

Let’s Hang Out Together, Alone! // The Telematic Embrace

Connected to Adobe Connect together as a class, we were all immersed in our devices, busying signing up and starting up the application. That marks the end of our human contact. Migrating all forms of contact to the Adobe Connect application, this is the beginning of us hanging out together, while being alone!

Let’s Finger Touch!

Our attempt at letting our index finger touch with the person beside us.

The get-together as a class at the Third Space brought us closer as individuals than merely seating in class learning about the Third Space and not experiencing it ourselves. The following two tasks we have to do allowed us to have interactions with our classmates without physically being close to them.

The totally arbitrary line-up of the screens gave us all a partner to work with to have a complete Index Finger Touch as a class. For me, I worked with Jocelyn with the Index Finger Touch! In fact we were seated a few seats away for that particular lesson itself. We might not necessarily be the closest in the class, yet we experienced a closer connection in class through the activity in the Third Space.

Our attempt at making our fingers touch with the person above or below us.

Similarly, for the second task, we attempted at making our index fingers touch with the person above or below us on the screen. I was paired with Felicia. Although we were actually seated beside each other for that particular lesson itself, the experience was different altogether.

Let’s Find Something Pink/Blue!

Our attempt at finding a pink object.

Our attempt at finding a blue object.

As a team effort, we all had to find an object that is pink then blue and attempt to make the entire screen pink and blue the next. We all had to find an object of the colour or risk being left out. When given the task, we all frantically tried to find an object of that chrome.

For these two tasks to be executed well, we had to find commonalities between all of us. We went playful with it, and had to negotiate on a colour more common that we can work with. The Third Space has allowed us to DIWO (Do It With Others), creating a new platform for play to happen. Ostensibly extending the area of play from brick and mortar to the virtual Third Space.

Let’s Embrace Telematic-ally

All in all, this micro-project done in class showed me a new paradigm of collaboration on the Third Space and creating a new platform of play for this technologically savvy generation of ours. With such platforms, no doubt our quality and quantity of communication has increased, with more human connection without the physical touch.


The Third Space, a technological illusion of real life//Telematic Dreaming

The Third Space, a concept common people might find it hard to digest, but in fact, it has become an integral part of our everyday life in the technologically advanced 21st century. But has it messed up our minds? A technological illusion of real life?

The Third Space as defined by Randall Packer in his article on The Third Space is a space that “represents the fusion of physical (first space) and the remote (second space) into a third space that can be inhabited by remote users simultaneously or asynchronously”.

The Third Space, a virtual yet real realm we often come in and out of has no doubt become part of our everyday life. From a simple phone call to a short text message, the Third Space is activated in almost all parts of our lives. What is almost as startling is the fact that the distinct difference between the real and virtual world is almost blur and grey. The virtual world is part of our real world.

In this particular piece called Telematic dreaming by Paul Sermon, it explores deeper into the idea of the Third Space, stretching the potential experience we can gain from it. Telematic Dreaming is a live telematic video installation that uses a 2MB ISDN telephone line to link two locations. The bed has projected screen that enhances the entire telepresence.

The choice of site for Telematic Dreaming is intriguing for me. The bed is an intimate, private place, yet it is used for the interactive video installation. It is an interesting choice, to take advantage of the nature of the setting, a place to let your guard down to enhance the experience of the video installation. It brings the audience experiencing the entire experience closer and more intimate with the artist, even without physical contact.

This piece eliminates the subconscious existence of the Third Space bringing in reality into the virtual world. The addition to what technology can provide is the perceived haptic engagement. Telematic Dreaming incorporated the illusion of the sense of touch, a step closer to bringing the virtual world into the real world. I quote from the synopsis of Telematic Dreaming

“When the user reaches out with their hand they interact, not in the local space, but in the distant one, and when they cause an effect to another physical body in the distant location it is evidence that is where their consciousness resides.”

In this case, the consciousness of the user is in the Third Space where the projected screen on the bed enables the sight of the happenings of the other person in another location. The combined engagement of the two person concludes that their consciousness are located in the Third Space, a virtual world, in real time. Our fascinating and dare I say almost foolish brain connected everything seen on the projected screen to be perceived as real, as in in real life. Yet, the Third Space is the fundamental of human engagement these days with the ease of technology and the luxury of mobile phone devices. The Third Space, a virtual place we come in and out of, a place we interact with our loved ones, a place we communicate when all else fails.

Additional Input

A piece I thought is worth mentioning is an episode on Black Mirror called Be Right Back, that uses artificial intelligence to communicate to the deceased using information of them online to imitate their style of communication.

Below is a trailer of Be Right Back:-

This shows the potential of the Third Space interaction and how much it can impact us physically, emotionally and mentally. The episode goes about showing how Martha, the widow, goes about her life trying to accept the fact that her husband is dead by constantly communicating with “him” through phone calls and text messages. What stretches the limit was the possibility of a silicon made “human” of her husband to replace his physical being.

The virtual world has become such an important part of our life. It aids human communication and interaction. Technology has eased our form of communication, could it also mess up our minds?

Additional Readings

Telematic Dreaming – Synopsis

Defining Virtual Reality: Dimensions Determining Telepresence

Telematic Dreaming, University of Brighton