Body Storming

 

After our short dicussion, En Cui and I have decided to combine the ideas of the talking door and the concept of gaps between multiple conersations to create an interactive hat. The idea of the hat was to create both a visual (Different coloured LEDs for different pitch and/or volume) and audio output whenever someone spoke. The idea was that it would let out a different sound depending on the pitch and volume it sensed from the surroundings, meaning that it will consider the environmental sound as a whole.

Watch the video here:

 

What did you learn from the process?

From this process we have learnt that our concept is hard to connect with the audience, so we should make it more diresct. Though the idea of using the object is fairly simple as it is what it is, which means the idea of a found object is really strong enough to have the audience interact with it without giving much instructions. The reactions can be learnt along the way. We should also make it such that what ever the reaction is should be within the view of the participant, as the lights are on top of the hat. Also our project is very context driven as it relies a crowded, noisy area to link to our concept of the gaps in between conversations.

What surprised you while going through the process?

Shout out to our Tester who is especially cooperative :3c. There was a lot of confusion trying to link the project to its concept, it is not directly understood as an individual or group concept, but I guess that is what happens when you only have one tester and your project responds to them whether in a group or not. The idea of the hat was for portability but we have the idea that it will react to its environment no matter if it is worn or not, this results in some comments that we might want to change the shape it takes. We are also worried about how to convince the audience whether they can grab the object freely.

How can your apply what you have discovered to the designing of your installation?

So we might consider changing the appearance of the artwork. We might tweak the message a bit, and maybe have multiple small things instead of one big thing, to make it less intimidating. Also Lei said we can use P5.js  to do speech to text, we are kind of bombarded with endless possibilities now lol.

Project Idea Development — Be Gentle with Door-chan, She is VERY Sensitive.

I had discussed with En Cui of two projects, and while she is expanding on the idea of the bilboard, I’m expanding on the idea of the talking door.

At first I had talked to Celine about a few ideas, and this one took on a concept that is very similar to hers, revolving around the idea of the door. However, this interstices revolves around the space between your hand and the door, and how you touch something.

The idea was mainly have the door react to your touch according to how you open it.

There will be a sensor attached to the handle, that would sense the vibrations along the door handle, and it would let out a response accordingly. The idea is to have the door say rather accusatory things, like “Who gave you the right to touch me!?”, mostly to give the people who touch the door a shock, let go of the door, and hopefully not enter the room at all :3

 

I Light Critique

I managed to catch a few of the interactive works when I went for I Light. The first being ‘Facey Thing’ by Uji Studios which was a sort of satirical take on the selfie culture amongst the masses in this day and age.

Fig 1. Facey Thing by Uji Studios, 2019, I Light, Singapore.
pictures screenshot from video taken by: En Cui

When you first encounter it, ‘Facey Thing’ is a bright huge screen that is twice the height of an ordinary human.

Diagram 1, mock up of Facey Thing

So the set up is simple, consisting of a screen which is hooked up to a single camera that captures the passerbys that are oving in front of the work. The code that runs this work is set to capture the faces of the people who are standing in front of it.

Fig 2. Facey Thing by Uji Studios, 2019, I Light, Singapore.
pictures screenshot from video taken by: En Cui

Fig 3. Facey Thing by Uji Studios, 2019, I Light, Singapore.
pictures screenshot from video taken by: En Cui

When your face is recognised by the screen it is boxed up as seen in fig 2 above and would later evolve to fig 3. In Fig 3, the faces of the passerbys are blown up and dragged upward almost as though painting the canvas with their face. So in this case the images on the screen are temporarily changed by the people who interact with it, if not it is no more then an ordinary close circuit video recording. It warps the initial intention of Selfies to be one that portray one self as ‘glam’ to being very ‘unglam’ instead by warping the passerby’s faces. 

Fig 4. Facey Thing by Uji Studios, 2019, I Light, Singapore.
pictures screenshot from video taken by: En Cui

The people that decided to interact it were waving their hands of moving about oddly to try and get their face recognised by the system.

Subsequently I caught “Shades of Temporality” by SWEATSHOPPE – Blake Shaw and Bruno Levy.

Fig 5. Shades of Temporality by SweatShoppe, 2019, I Light Singapore
Text: 你好 Lei <3
Written by: En Cui, Christine and Elizabeth

This work has two elements to it, the first being the visualiser projecting the ‘painted image’ on to the wall, and the second being the paint rollers.

Diagram 2, Mock up of the painting brushes used in Shades of Temporarity

Diagram 3, Mock up of the set up of Shades of Temporarity

When the button in diagram 2 is pressed the paint brush head up turns green. this is then sensed by the camera and the visualiser will send an out put of light that will corespond to the area where the paint brush touched, projecting a loop of graphical illustrations of Singapore.

In this case the audience are encouraged to make temporary graffity designs on the wall, hence creating art. the audience is given the ability to write what ever they want to express themselves in anyway they see fit.

A Critique on Interactivity

Crystal Universe by teamLab, Future World,Art Science Museum, Singapore
picture taken from: https://faithjoyhope.blogspot.com/2016/03/new-what-you-can-expect-artscience.html

 

The first art work that I chose for this critique is ‘Crystal Universe’ by teamLab. What I find intriguing about this work is the way entering the space is like entering a different realm. It is an aesthetic work, if you want to classify it, but what makes it so effective is that because it is so ‘instagram worthy’ it draws crowds of people easily. The work is described as a ‘galaxy of hanging leds’ by vice.com. True enough the LEDs light up like a galaxy of stars in the dark room, and one is allowed to travel through the path created, experiencing the LEDs from different perspectives.  The interactive element comes in two forms, the first being immersing ones self in the atmosphere created by the twinkling LEDs and the subsequent one being actually changing the LEDs programming through your smartphone. By doing so the viewers control the way the LEDs shine, creating a reflective space that suit them. As such the viewer becomes both the audience as well as the artist who shapes their experience of the space.

However, on a more realistic note, the experience of creating your own experience is not always a pleasant one, considering that the number of people that visited the space, and the lack of limitation of the people walking through the work at all times which hinders the viewers experience of the work.

PageImage-498094-4251949-girl2.png

The Treachery of Sanctuary 2012, by Chris Milk, Fort Mason Center, San Francisco
Picture taken from:http://milk.co/treachery

The second piece i chose was Chris Milk’s “The Treachery of Sanctuary”. The piece consists of three monolithic screens that are shone with light. When a person moves in front of the screens their ‘shadow’ is shone over it, triggereing the art to react. What I found interesting about this piece is how it took the image of the person and warped/disinitegrated it. The wor

The work is a representation of its own creative process, which I find hilarious.

The first panel represents “the genesis of the idea, when you finally have a breakthrough.”

The participants then notice a flock of birds above them– as they reach out, their body begins to break down and birds begin to emerge.

this represents the viewers becoming the idea behind the work, and later in the secon panel, the flock continues to rain down on their ‘shadow’ pecking what is left of the shadow. This the artists says represents the hardships faced during the project. Finally, the last panel is the triumph where you become a bird yourself.

The entire work is coded to act in a certain way, but will not be able to do so without the audience interacting with it. Hence in this situation the audience is still sort of the artist shaping what is viewed on the screen.

For this project the audience still plays a huge role in the artwork by interacting with it and creating the visual imagery. However as always the artist has created the code which limits the reaction of the work, meaning they have set the narrative and setting of the art work, everything else is free to be influenced and changed by the audience.

Questions:

  • Interactivity and aesthetics, how do you attract people to your work without prompt
  • Viewer experience and will a large audience affect the experience of the work compared to a small audience

 

References:

Crystal Universe:

  • https://www.vice.com/en_au/article/yp555v/enter-a-real-life-matrix-in-teamlabs-crystal-universe
  • https://www.teamlab.art/w/crystaluniverse/

The Treachery of Sanctuary:

  • https://www.vice.com/en_uk/article/53wbw8/chris-milks-the-treachery-of-sanctuary-unveiled-at-londons-digital-revolution
  • https://www.wired.co.uk/article/chris-milk-installation
  • http://milk.co/treachery

Manifesto: I live like I am____

When I was creating a manifesto, I thought about what could and could not be said in the academic setting, and thought this was a great opportunity to just let it out.

‘I live like I am ________’ you fill in the words, how do you want to live? how do you think I live? I wanted to live like a censored world, where your mind just automatically fill in the blanks that dictate what I believe in. it could be anything under the sun, but for the sake of saying what I wanted to say i created a version that is only partially blanked out by a blacked box.

 

Key Work Selection: ‘For the Guggenheim’ by Jenny Holzer

Words projected on the outside of the Solomon R. Guggenheim Museum

(image taken from: https://www.guggenheim.org/exhibition/jenny-holzers-for-the-guggenheim)

I chose the work ‘For the Guggenheim’ by Jenny Holzer.

Jenny Holzer is well known for her aphorism and condense narratives on LED billboards, engraved in plaques or projected on buildings.  They generally are condensed into the various series of ‘laments’, ‘truisms’ and ‘Inflammatory Essays’

Holzer’s work ‘For the Guggenheim’ is a large scale projection of various aphorisms and condense narratives over the Guggenheim museum. The building was overlaid with scrolling bold, white texts that ranged from one liners and short narratives.  They pull various emotions and intrigue the audience to think upon the words of advice flashing on the Guggenheim, some almost haunting drawing one to think of past memories. An example of such quotes, “the little soul roams among, those landscapes, disappear, returns, draws near, moves away, evasive…” it somehow intrigues one to imagine, wander and maybe reflect on what these words mean to them.

Holzer believes in both message and the medium used, as such her words are a call to the general public to make them think Critically. One of her most famous sentences, ‘Protect Me from What I Want’ and ‘Abuse of Power Comes as No Surprise’ are used to draw people to social injustice.

References:

  • The Art Story. (2018). Jenny Holzer Overview and Analysis. [online] Available at: https://www.theartstory.org/artist-holzer-jenny.htm [Accessed 9 Sep. 2018].
  • Guggenheim. (2018). Jenny Holzer: For the Guggenheim. [online] Available at: https://www.guggenheim.org/exhibition/jenny-holzers-for-the-guggenheim [Accessed 9 Sep. 2018].
  • Smith, R. (2018). Review/Art; Holzer Makes the Guggenheim a Museum of Many Messages. [online] Nytimes.com. Available at: https://www.nytimes.com/1989/12/13/arts/review-art-holzer-makes-the-guggenheim-a-museum-of-many-messages.html [Accessed 9 Sep. 2018].

Telok Ayer publishing a Zine

Finally with all the illustrations in place, I decided to compile them and add some of my thoughts onto the pages.

Page one was given a title. Looking back at it now, maybe i should not have put my name there, kind of ruins the effect of the cover page. I wanted the title for this Zine to reflect how confused I am to describe Telok Ayer uniquely.

The second page reflects the food that you get there, I wanted to put it in a sort of menu like setting, hence added the borders.

Page 3 i felt was quite self explanatory, how there are random statues placed around like tourist attraction, and everyone does just that in its presence.

Page 4-5, I left it be.

Page 6, I remembered looking at the shop houses during one of my trips there and wondering what the definition of preservation is. Whilst i believe it is good to re purpose these old shop houses, I think the area of Telok Ayer also begins to lose its uniqueness as it houses more modern shops now.

I let page 7 be as well.

page 8, this was a statue as well, I remembered looking at it ad saying this was probably something iconic to Telok ayer in the past. Now they can only use it as an odd tourist attraction, hence this sort of cynical reply at the end.

I did not have much time to print as I spent a lot of time redesigning the illustrations on Illustrator, but i ended up printing it on art card. Which i felt was sturdy and reflected the sold colours and lines of my Graphics well.

   

Though maybe i could have explored more on printing.

Telok Ayer, developing a zine

After touring Telok Ayer for two days, I really wanted to base my zine either on the old and new architecture in Telok Ayer, or the ornamental nature of the Temples and shop houses.

However, it soon became quite prominent that those ideas were more common then I thought. Hence, I decided on my second trip that i would start looking around the surrounding areas of Telok Ayer, specifically Amoy Street as it still has the ‘old historic’ look that echos Telok Ayer.

It became even more prominent that the harder I looked for something unique to echo Telok Ayer street, the more difficult it became. There is not much left of the Historical Dock that used to be there. Rather, the iconic shop houses were made new, painted in various shades of colour, the shops now catered international food like Korean barbecue, Thai food, western, and various bars. The temples had self inserted gift shops and some became museums, or hotel fronts in attempt to preserve the building.

In its own way it is interesting, to see how much has changed. However, with the brief in mind, to ‘portray the essence of the street’ it seems my street is giving me a run for my money. Everything that makes Telok Ayer Iconic, I feel, is the same thing that makes another place iconic. I see shop houses along Chinatown and Little India. I see Ann Siang hill and Telok Ayer green, as small inserts of green spaces common found in every other place. Bars are iconic for places like Clarke Quay, and the restaurants there are no longer serving local food.

I would describe the place as commercialized, or a Hodge-Podge of things put together in an attempt to make use of the space.

Hence I went about thinking about making a Zine that reflects this confusion that I felt for Telok Ayer, and an idea that revolved around the temple narrative. Ultimately the temple narrative got rejected, because i felt that it might be too in literal.

I still wanted to insert the intricate designs of the temples and shop houses, but to keep the graphic element of the illustration, I decided to minimalise the style into flat planes with a single coloured shading.

I made a list of what elements I wanted in the art work:

  • Telok Ayer Green, the randomly inserted park, with statues of fisherman of the past. It feels like a tourism spot, but a tourism spot to chance upon? it is honestly not very well known place. I asked my friends if they knew where Telok Ayer is, only one response came back positive, and he said he went there to drink.
  • Ann Siang Hill, actually placed at the corner of Amoy Street, it feels a bit colonial walking up the hill. It felt out of place when you think of this unchanging place called Telok Ayer
  • The surrounding Temples how they are still being preserved
  • Fuk Tak Chi Temple which became a museum or door front for Amoy Street Hotel, coexistence of old and new.
  •  The food revolves mostly around bars and restaurants for internationl food. It rarely reflects the traditional food that Telok Ayer had in the past.
  • The shop houses which are so iconic to Telok Ayer, we see almost everywhere else like in Chinatown, Little India, etc. They were also modernised and upgraded with aircon vents and elecrical boxes, which makes for quite an interesting sight.
  • There is a mosque, Al Abrar Mosque, which I felt was very isolated. I went there close to chinese new year, hence the temples were bustling with people, compared to that the mosque was quite and quite isolated. I wanted to go in but did not. It did not feel right of me to enter. i want to illustrate that sort of quiet, isolated feeling.
  • There was also a heritage center there that was closed, i like the aesthetic of it though. It was a very interesting contrast in comparison to the temples.

I began to sketch what I felt represented these aspects of Telok Ayer digitally.

I managed to get a really good shot of the pagoda that I felt reflects how Telok Ayer is. Its buildings rarely change, as it is being preserved for the culture aspect, but its surroundings does. hence i created this sort of digital aesthetic to the skyscrapers, which look as though it has been edited into old ‘Telok Ayer’.

I also wanted to illustrate the food in Telok Ayer.

I had realised, walking down the streets of Telok Ayer is that most eateries there are either Cafes, Bars or restaurants that cater Korean food, Thai Food, International food, basically it no longer reflects ‘traditional Singapore’.

Image result for mc escher tessellations

(Source is taken from: https://www.wikiart.org/en/m-c-escher/bird-fish)

I wanted to create a sort of food patter which encompasses the variety of the street, like what M.C Escher does with his textiles as seen above. I wanted this sort of overwhelmingly compact illustration.

However, it was ultimately ruled out due to the difference in style. So I went with a more food wallpaper style, with cute illustrations of food on it.

 

Image result for food wallpaper

(Source taken from: https://www.pinterest.com/pin/540572761507280597/)

However, it did not tie with the cover image as well. So I made a compromise.

Following the previous image, I had the ‘newer’ products drawn with lines, as though it were digitally add into the environment. That way there is this somewhat cohesiveness to the art style. Meanwhile the ‘traditional treats’ or food items that were used in the past but maybe not in that way are coloured in, showing that they had existed already.

Related image

(Source taken from:  https://commons.wikimedia.org/wiki/File:Ann_Siang_Hill_Park_2,_Dec_05.JPG)

I also had the chance to wander around the streets nearby, and I was quite amazed by how the image of a place can change so easily from one street to another. Walking about Ann Siang hill was like walking in a colonial inspired park like Fort Canning, which would not have been place here till recently, seeing as Telok Ayer was more a Chinese settlement in the past, or a place for docking. Thus i wanted to show how the place seemed to new aesthetic wise, among the traditional shop house structures.

Following the similar aesthetic of the previous images I came up with this.

Subsequently, I started looking at Telok Ayer green which is like a self insert modern park in a small part of history. Though it was more of an attempt of tourist attraction with all these statues of the Chinese migrants of that time.

From there I created two illustrations:

 

I attempted to stay close to the geometric lines as a connecting theme in my work, but i felt maybe i did not do too good of a job at that.

Subsequently, i moved onto the shop houses, wanting to illustrate them in an ‘upgraded’ manner, with the glass windows and air con vents.

Finally came the temple, where we see even less of the geometric lines.

I think this image was the most interesting to work with, despite having one of the least cohesiveness to its image. I liked the interesting cropping, and so did many of my classmates when they gave me feedback.

Overall, I think I could have done better aesthetic wise if I had more time, because right now, the illustrations look as though they had more potential to be even more cohesive.

Playing Stranger Things

The Final Project

For our final project for Experimental interaction we are asked to create a social project that will allow us to interact with others. We formed small groups and began brainstorming what we could do for the interaction portion. Mostly our project revolves around ‘playing games’ with strangers that we meet on the streets, in a way to see how willing people are to interact with other strangers. The end result is ‘Play Stranger Things’.

Play Stranger Things

‘Play Stranger Things’ is a collaborative art piece where strangers become the artist and is tasked to draw a human face. The only catch is that each stranger can only draw a single feature of the human face, and each feature is dictated by the coloured sheet that they draw from our ‘box of features’.

The point of the game is to get as many people to play as possible, and document the developement of the image on an instgram page, @letsplaystrangerthings (https://www.instagram.com/letsplaystrangerthings/). Also each time we are rejected by a stranger we record it in the form of a black screen, indicating a glitch our collaborative work which referenced Glitch art. Subsequently, the final picture is placed side by side by a character or person a stranger said it looks like.

 

(Screenshot taken from our instagram)

(Screenshot taken from our instagram)

Creating the project

Initially, the project took the direction of drawing a well known person, for example ‘Amos Yee’. However after a quick test run, we realised that even as art students, interpreting a facial feature like ‘long curly hair’ would take form in many different ways, and the resulting image will not look exactly like the human.

Hence, we scrapped the idea of creating a known person, and researched variations of each facial features, example ‘eyes’, ‘nose’ and ‘ears’ and have someone guess who they are at the end of the drawing.

The features colour coded:

Yellow: face shape

Red: Eyebrows

Purple: Ears

Green: Hair

Pink: Mouth

Orange: Nose

Blue: Eyes

We then put them in box and went out to Northspine NTU to conduct our project.

Reviewing the project

The point of the game is as mentioned before, the test the willingness of strangers to play and interact with other strangers, and so far, most of the people we approach are quite willing to be approached and contribute to the art.

Of course there was quite a fair bit of rejection as well, and we were intimidated by how busy everyone seemed to look, and sometimes did not want to intrude in their time. We also approached a lot of groups of people after awhile, as they seem more keen to play the game with their friends. Overall the interaction seemed to be more positive when in the presence of their friends.

We also ran into a group of sponsers at the Humanties and Social sciences building, which we had a trade with. We do their survey and they played games with us.

In Conclusion

I feel that our project is like Blast Theory in the way that we let pur audience take control of the project, and we let them interpret the instructions that we give them and react in the way that they want.

The Online World

Hyperessay

The third space network is a live video broadcast, which focus on broadcasting creative dialogue all over the world.

At the start, what becomes prominent in the broadcast is the various technical issues that appear in the broadcast. Glitches with the sound system, where the poor keynote speaker could not hear everyone else. Glitches in film, where the video would pause but the sound would run on. The speakers would sometime speak out of the microphone and no one can hear them. The intresting thing is how people adapt and make do in this highly connected world, where something goes wrong, there are a few other devices that can be made use of to keep the symposium afloat.

(An image of the group chat slightly after the first symposium started. The Key note speaker could not hear anyone speaking, so cues were given through the group chat.)

Day 1, 29 March 2018, 8pm-11pm

The first day starts of with Keynote speaker Dr Maria Chatzichristodoulou who talked about the telematics art.

From Google, the definition of Telematic is the branch of information technology which deals with the long-distance transmission of computerized information. More simply put Dr Chatzichistodoulo describes Telematic to be live/liveness and interactivity.

She says, ” It transform the screen into a live encounter, in that sense it joins the space of the live performance and the audience, making them co-performers.”

This ability to link people in real time, gives the audience, once only silent witnesses to an art form, a chance to interject their opinions and ideas into the work, influencing the views of their fellow audience, and sometimes the work itself.  In a way this form of art embraces the connection between interaction and the media. Once, the media had only carried the recordings of art works. The media then could not influence the its audience in that contemporary moment and time, however, through telematics communication technology, everything is brought into the now, no matter where you are, so long as there is a screen before you.

Image result for hole in space

(Source taken from: http://www.medienkunstnetz.de/works/hole-in-space/)

 

Dr Chatzichristodoulou brings in works like ‘Hole in Space’ by Kit Galloway and Sherrie Rabinowitz, to emphasis the potential that interactivity gives performance art. As we explored in a previous essay, ‘Hole in Space’ is a satelite connected projection of two areas in USA, one in Los Angeles and the other in New York City.  The projection had first invoked curosity from the people of these separate states, before they started to make use of the opportunity to ‘meet’ each other, on screen for the first time in many years, for some. It creates a sort of unpredictability as various people come together with different intentions in mind. As such this experience, would result in very different reactions which creates a unique shared experience and can influence the audience better as it involves them. 

(Screen shot of Dr Maria Chatzichristodoulou explaining the work ‘Telematic Dreaming’)

Subsequently she mentions this work ‘Telematic Dreaming’ by Paul Sermon. ‘Telematic Dreaming’ is done in two locations, the first with the artist and the other location has the audience. The work features a projection on a bed, and the audience and the artist can interact with each other on the bed through this live video projection. What was interesting about this work was a scenario Dr Chatzichristodoulou had pointed out, where a memeber of the audience had abused the artist projection on the bed. Dr  Chatzichristodoulou had then begun to question the idea of ethics of such actions, whether this abuse would be considered as such, just because the artist was not physically harmed.

It  made me consider the power of the third space. How in this day and age, how millenials spend so much time on the third space that it almost seem as though we could be physically in it. This kind of abuse, we label it as Cyber bullying, where one would spout or post various threats online to ‘hurt’ others but not really.

Subsequently, Annie Abrahams had done a live performance. she had collabed with a few other people who were from different parts on the world, relating to the idea of politics.

What i fould most interesting was the various voices and statements that were said, “excellent”, “status”, “3.961”, “144”, “excellent” “300,000 milliseconds”, it is like a computer comming online. Also, alongside the various images above, they would say various sentences, that they believe were something related to politics. It just brings across the point that in this day and age, it is so easy to connect and bring people of various backgrounds together to collaborate and make art.

Day 2, 30 April 2018, 8pm-11pm

The speaker Matt Adam’s had spoken of Blast Theory. Blast Theory is a pioneering artist group creating interactive art to explore social and political questions, placing audience members at the centre of their work.

(screenshot of Matt Adams explaining ‘Kidnap’)

His First example was ‘Kidnap’ which revolves around two voluntary members of the public winning a lottery to be “kidnapped’. Subsequently they were kidnapped and taken away to a safe house for 48 hours, with the video recording streaming them live for the entire 48 hours.

“Once you put on the bag, it feels very real” says one of the volunteers, “Like you are not in control of anything.” and it is true to an extent, handing all control to strangers, and trusting that everything is an act, when they do actually have the ability to make you feel vulnerable, to harm you.

(Screenshot of Matt Adams explaining ‘Uncle Roy’)

Subsequently there is ‘Uncle Roy’ which has two roles to play, the first being the people off the street with only 60 minutes to find the missing uncle Roy, through clues provided by a hand held computer. The second being the people online, whom can moniter the progress of the street player, and guide them by giving them instructions to where uncle Roy could be.

It brings across this idea of team work, and bring people of different communities together. It is almost as though they looking for Uncle Roy together in the same place. In the end they were made to answer a few questions regarding stranges, ‘whether they would help a stranger in a crisis’. I find this quite interesting, as it does reflect how connected the person is to society, how willing they are to help each other. It makes me realised sometimes, despite being so well connected, and willing to connect with strangers online, it makes some people reserved when meeting face to face.

Conclusion:

I feel that the idea of collaborating with others through online platforms has a larger potential to influence more people across various countries, so long they have the internet. The third space, that we have constantly talked about also has a various platforms and tools that can be explored to make art works more engagine and interactive. We consider them playful, and almost whimsical as collaboraters can create contrasting images, or interact in a certain way that goes beyond the boundaries of the physical plane.