Erkki Huhtamo – Challenges for an Archaeology of the Screen

I sure wished I read this before embarking on my final year project about rethinking screen based interactions. What an amazing read. Huhtamo effectively summarized how modern to post modern common day screens evolved from what they were pre technology to what we have at least 2 on our desks right now.

I’d like to discuss 2 of Huhtamo’s findings; the culture of interacting with screens and the idea of smart wearables.

Early inception of screens being developed from puppet play was an interesting and bold move to make. It was, technically, a media piece, for its time but it was nothing more than entertainment. I guess that’s where cinema drew its roots and inspirations from. As a budding interaction designer, I wonder what kinds of interactions can be drawn out from the puppetry, immersive paintings and pano–dio–rama days.

I’ve always thought of screens as a means to an end of an output in the chain of interaction, our senses, usually being the input. In the case of live puppetry, the puppets could improvise in real time, creating distinct interactions. However, dioramas and 360 paintings are but still. The act of looking is interaction, perhaps. The shifting perceptives as you move around a space where time stands still, or peaking into a small hole to view moving imagery, it pulls you out of your usual sensorial environment and flings you into a new world. Is this what interaction is? Or is that fleeting feeling of amazement a by product of what interaction can do?

Culture shifts along with technological advancements. The society shifts with the shifting culture. As we approach the modernity of society, efficiency becomes invaluable. Every second that ticks away is another dollar we could’ve earned. Drawing from the example of how society phased out the pocket watch, gave rise to the then exclusively feminine wrist watch, all from a little shift in branding. Now because we wear clocks on our wrist and carry them in our pockets, we are governed by time.

Time, a mere construct, holds us responsible for improper management, lost of finances and making loved ones mad. In the past, time was merely an indicator of when to go to sleep or wake up or the part of the year to harvest your crops.

Carrying around small media devices that contain a universally agreed time changes the culture of a society and how that society interacts. In the cases provided above, we have to think, not only about displacing our audiences, spatially and sensorially, but also through time. Or maybe interaction has always been about these three aspects, made more prominent with the culture we are in.

The discussion about Google Glass got me a little rattled up. Nerdy and arrogant? There’s definitely a better way to phrase that. People are not ready for the unfamiliar. To merely disregard the glass’ technological advancements and to pinpoint its failure on the product is everything opposite of self critical. The audience was simply not ready for a device like this.

Having been published in 2016, Huhtamo probably didn’t realize the direction Apple would’ve went with the Apple Watch. Almost none of did to be honest. Apple took a 180 degree turn and marketed the product to be not only a lifestyle product, but also a sports and wellness device. It was set out to prove it’s place in the market place by not being just another screen. It encompasses functionality over functionality whilst maintaining and improving on its form.

In the latest rendition of the Apple Watch, the Watch 4 in 2018, it made strides in the water proof functionality, making it a go to swim and diving watch and included medically certified ECG features that has already helped people self diagnose probable heart illnesses. Similar to the situation with the pocket watch and wrist watch, it is time to acknowledge that smart watches are the next generation of wearables. They are more than, as Huhtamo put it, a screen and a knob.

Call me an optimist, I am all for our machine overlords to dictate the most efficient path to save the earth and humanity. But until then, any form of innovation, in my opinion, is progress. We live and we learn, so do big organizations. They are pushing boundaries in fields we don’t even know of as of now. But until then, I am convinced that screens are nearing the end of it’s life. Or rather, the current generation of OLED UHD 4K 8K screens. The next wave is upon us.

Scott McQuire – Media Cities

McQuire’s readings is radically different from what I remembered from Emergent Visions. Through the hour read, McQuire brought me through concepts of how powerful people with agendas reshaped, essentially, humanity and behaviours. Similar to Wodiczko’s reading, it speaks of, but indirectly, of how the architecture shapes our social hierarchy and how we behave in a certain society. McQuire elaborates deeply on these minute changes that snowball into the culture and society we have today.

I would like to reflect on his observations and parallel it to possibilities of how the same will come to pass in the present for the future, and perhaps how we can be more critical when it comes to being part of the masses.

An important part of the timeline in McQuire’s reading is that the introduction of certain technological or ideological advancements. From the capitalistic ideals of bringing together strangers to a certain area that later on allows for architectures to segment them could be similar to the advent of the internet. Through the world wide web, we brought together people from different villages, more than any movement of creation of cities ever could. The internet, without bodies, is the most populated global city out there. I was surprised that McQuire, who was drawing media as a reference, did not pick this parallel up.

The invention of vehicles that commodotized speed was something I would have never phantomed, as much as it was obvious, it was something that was specifically produced to make speed accessible to all, or rather, those who could afford it. Perhaps an era similar to this would be economical uprising of China. Through government intervention, China shifted its economical focus to more of a production stand point and was able to grab market share and this led to a boom in all industries, particularly the IT and media industries. With China leading the fray on speedy production lines, it was an obvious choice to create infrastructure to support this new modern media city. Now, China is one of the top economical giants and will now start to shift its economical stance in the global market. This is similar to what the Situationist preached in McQuire’s reading

We shouldn’t be changing for the vehicles. Transport should change for us.

China’s active stance, now that it is in a position of power, is starting to shift gears because of what it needs to be. In a way, the management of their economy is in a way, similar to Responsive Architecture. As mentioned in McQuire’s reading, is about real time anticipation. This ability to change will be the fundamental of many countries, infrastructures and systems in the near future.

Through my exchange in America, I was able to meet many Chinese international students. We discussed that China is some what, a modern city with people who are not adept with city life. The idea of a modern city is that strangers remain strangers, but through technology, are able to still coexist and cohabit a similar space. This space is shared through the laymen, the middle class, and the rich, who tower above all on their ivory glass buildings. The future, even though bleak to think of in this manner, would probably mean data or speed restriction of the information from the world wide web that favours the privilege.

Active global events are evidence that we are not ready for a global city, both physically and digitally. Through the election of current President of the United States, Donald Trump and the democratic vote of Brexit, it is evident that we are moving away from this idealogical global city.

This would mean the free and open internet we have would be threatened by external, more powerful forces. Perhaps it is only a matter of time before the media city, both digitally and physically reverts back to the times of old, a village of simpler times.

Krzysztof Wodiczko – Critical Vehicles

I remember a year ago when Wodiczko came to ADM for the Emergent Visions workshop. His talk wasn’t something I was particularly interested in but I have a vague recollection of the point he was making; make the voice of the people heard. That to me, stood out.

Having been part of the group that presented on Wodiczko’s Critical Vehicles, I want to highlight a few points of my interest that may not be directly linked to the reading, but an inference from my point of view.

Homeless Vehicles

As part of his practice, Wodiczko created a line of devices that were given to the Homeless to engage and facilitate conversations between the Homeless and the others. Homeless Vehicles is part of the larger discussion from his Critical Vehicles which talks about how we need to be more self-aware and self-critical through these mediums. In a way, this project, much like his others, is disruptive to societal norms, attempting to drive an idea towards to majority on these extreme users.

I do wonder from Wodiczko’s standpoint, what he was trying to say, beyond these. Was he really creating something to facilitate conversation or could it be used against him, as a driving force to tear deeper into this open wound, further distancing the norm to these homeless?

Having been to New York to witness it for myself, even though not Poland where Wodiczko comes from, the homeless problem is a real pandemic. A pandemic caused by capitalism and corruption, meritocracy and a facade of a striving nation or city. The homeless, expelled and condemned from the system branded as bums that did not work as hard as we did, and so we justify the state they are in. We did not consider their circumstances, of birth, of finances and or of race or gender. Wodiczko’s other pieces such as PROJECTION ON THE MONUMENT TO FRIEDRICH II, KASSEL (1987) emulate the disparity between the rich and the poor and the how tos that led to this widespread problem.

However, I do believe that Homeless Vehicles, even though a good initiative and art piece, needs to be more self critical and aware of what it is. It is a tool, a home, for discussion and shelter, but also for further discrimination and nothing more than a prison cell. Wodiczko claims the Homeless rather sleep in the streets under shelter, because the living condition in public housing is practically a prison cell. What’s the difference then? Moving from one prison cell to another. They carry now, a monument to signify their social status; to be used for or against them.

My point? I don’t know either. It’s a good conversational starter, it gives the Homeless a choice; a choice where and when to sleep, wherever. But they also carry a badge with them, telling people who they are. This is the difference between some of his works; some shed light on a situation, some cast a shadow to further contrast views and agendas.

The City of Quantified Quantified Visions

The City of Quantified Quantified Visions. It’s not a typo. During the entire talk, when the idea of quantified visions was brought up, it was mostly about efficiency and the idea of a small country with big dreams. My idea of a quantified quantified vision is about the steps leaders of our country had to make in the past to sustain and develop a small island into a first world country; and in turn, how that ideology and culture making has breed a different kind of human and how these human would interact, react and act amongst art, and in our case specifically, urban media art.

Singapore, independent from 1955 after leaving the Malaysia, was governed by a no funny business, efficiency driven government that had big dreams and visions for the country. Everything had to count, time was ticking and all Singapore had was people and these people became his quantified vision of the country. We are numbers generating numbers and from birth, taught to grow up to fit a specific mould if we were to get these benefits, which are actual fundamental necessities.

The THIAN HOCK KENG MURAL 天福宫壁画, done not long ago in 2017, that we encountered during our research field trip is a testament to how much Singapore is trying to preserve its past whilst focusing on the future. The mural, evidently an art work, is commissioned by a government agency and that alone shows the nature of art making in Singapore. Most art, not specifically urban or media art, has funding backed by government led ministries and initiatives. That is not, in the least, a bad thing. However, it does become a known issue if almost all art projects in Singapore is state funded because it becomes a situation where only art works or artists that are affiliated or endorsed by the government can see the light of day.

Citing an older local work is The Art of Charlie Chan Hock Chye by Sonny Liew, a local illustrator. He was awarded a grant to produce this book by the National Art Council. This grant was later revoked nearing the launch of the book because it contained political messages that did not align itself with the government. This book later went on to win numerous awards, locally and internationally.

Beyond the issue of filtering from third parties with agendas, there is also the issue mentioned before, that Singaporeans are not ready for contemporary art. This may be a bold statement and this definitely is not the case for all Singaporeans, but with recent exhibits that put Instagram at the forefront that Singaporeans are flocking to, that does say something about the society that we are making art for.

TeamLab’s exhibition at the Art Science Museum is amazing, I have to admit. It’s interactive, it’s for all ages and it’s entertaining. But it is also a spectacle that numbs us, temporarily, from this oppressive society that we live in. Funny enough, Yaoi Kusama’s work that happened last year garnered record high social media interactions and with our National Gallery being tagged as the location, it creates imprints an impression and a false perception of what modern day contemporary art really is. Social media being in the fore front for almost every aspect of our lives now, it does seem it would be easier to create art that produces uncanny photorealistic moments than works that provoke thought and emotion.

The art situation that Singaporean artists are facing is that we need to make art to please 1. the government and 2. the people, both of which have no idea what art is and truly could be. We have to align our artistic values and practice to suit the needs of the many to have funds and views. Ironically, it does seem more and more like a design challenge than art.

In the Urban Media context, I believe we are midway through the infancy of the i Light art movement. Being the first light art festival in Singapore that has slowly gained popularity and traction over the years, Singaporeans are heading out of their comfort zones to view these landscape changing works. However, as the issues discussed before, all urban media festivals are still tightly curated by government agencies and go through multiple rounds of vetting from the art work to the artist, to the fact that most Singaporeans are still viewing these works as just a Instagram moment. The situation however is getting better. With the introduction of foreign artists and private grants, we can educate local audiences about the value of art and create bolder artists willing to let their messages be heard.

Urban Media Art in Singapore is still not a quantified vision. It is now, still, a mere annual distraction of putting LEDs in rivers or hung around trees to have people take pictures. Its value is merely to help control an oppressive society. For us to venture beyond the quantified visions set out for us, perhaps we need to discuss about the quantified value beyond these quantified visions that we, as artist, can provide in our art making.

Telok Ayer: From Growth to Sustainability

We start with what Growth and Sustainability is to Singapore.

Late 1800s, everything beyond the street is Singapura’s shoreline. Which is crazy to think how far we have come. These buildings were literally made on man-made land.

With the traditional shophouses with rounding staircases in the back alleys, narrow frontage and sheltered corridors right next to towering sky scrappers.

In a way, these people are growing their muscles. Contradicting the people exercising in a public urban environment, is a local pondering about perhaps where to go on his futuristic eScooter.

Singapore has no horizontal land so naturally the visions of growth naturally led to a more vertical approach with gigantic cranes building our urban infrastructure. In a city like this, we see the growth that has happened, also the growth that is happening at the same time.

However we kind of want to question our growth. Is this vertical upward growth sustainable? This is a garang guni trolley. Karang Guni literally being translated to the rag and bone man. Karang Gunis go around door-to-door to collect recyclable materials to earn a living. Most of these remaining Karang Gunis are part of the pioneer and Merdeka generation that built Singapore from the ground up.

So behind the scenes of all these magnificent growth is perhaps an unsustainable growth model where perhaps the people suffer from it.

Or maybe we don’t suffer, with the rapid growth comes rapid industrialisation. To make people comfortable, we start to integrate technology into our lifestyle. Evident from the multiple air conditioning cooling units for a single traditional shophouse.

Singapore has a problem. With this rapid growth and lack of land, we have made unsustainable choices to meet the ends of our efficiency and growth models. We wonder how this quantified vision by our government will cost to nature and the people?

ZARA: Upcycle Initiative

Spatial Design Proposal

Include an upcycle booth next to cashiers and allow users to deposit their unused clothing to receive a free lunch box in return.

By utilizing a common and noteworthy space in the retailer, ZARA is able to guide and market the campaign to a wider audience. ZARA can also consider holding a public urban campaign with similar branding and spatial design in mind. This upholds their original branding and also the campaign’s branding.

4th Dimension(1st Edition)

Proper Formatting Available at: https://jxke.co/4th-Dimension-1-1

4th DIMENSION
(1st Edition)
Clarita Saslim, Jake Tan
Nanyang Technological University
March 2019, Singapore

The 4th dimension is an analogue site specific sculpture tackling the themes of
/ our university’s space before, now and after
/ time-space compression through our altercations of a familiar space and perception of time
/ human interference with nature

The fourth dimension is usually associated with time but we found it interesting how the first three dimensions are usually used in a spatial context, through a singular point, line or plane.

The mirror, a medium to another reality, is how we are modifying a space and dimensions. The mirror exists on our three dimensional reality, perceived as a two dimensional plane reflecting what is infront of it infinitely based on different angles users perceive it from.

Nanyang Technological University, founded in 1955, is built on 200-hectare of land and is the largest university in Singapore with 26 in-campus residence halls and 8 different schools. From it’s inception in the 50s, the heart of Nanyang University(1955-1980) is the Yunnan Garden, a chinese themed heritage park that has been preserved to reflect the identity of the Nanyang people who arrived in Singapore as early settlers and traders.

With such expansion plans, the rural forested areas of Jurong West started to flurish to become the biggest campus in Singapore. This also meant that the once lush forests of Jurong West are now slowly culled to make way for high rise residencies for the 34,000 students and sustainable architectonics.

Part of our exploration into the 4th dimension is how we are situated literally in the remainings of a once dense forest, yet we are oblivious. Everywhere you turn within the campus, you’d be greeted with pockets of forestation that will perhaps turn into the next research center.

We want to probe and question what it is that we are culling away for the sake of the future. A mirror, a medium that presents and alters space and time through its own perspective.

PROCESS

We decided to create a mirror instead of procuring it, first of all due to affordability, and second, doing so gave our sculpture a human touch. By getting ourselves involved in the creation of the mirror, it is not only a representation of humans building on nature, but at the same time the process personifies our reflection process. Furthermore, installing the mirror on the site, we are altering the present natural landscape in real time.

While scouting for our location, we came across a dumpster where we found a decently-sized panel of glass by good fortune.

After peeling off the frosted glass sticker, we cleaned and sprayed multiple coats of mirror spray paint on the panel. When it has sufficiently dried off, we used acetone and afterwards, a mixture of vinegar and baking powder to melt and clean away the extensive adhesive marks from the sticker sheets.

Lastly we transported our glass panel to our site, propped it up accordingly and secured it. We nestled it against the foliage as close as possible, almost as if the mirror was now part of that particular section of the forest.

Through the process of art making as a form of labour, we were able to understand the technical and conceptual aspect of our work even further. From the research of material testing to understanding how the art can be outstanding yet not a disturbance to nature and urban life, we were able to discover another side of our project through these analogous methodologies.

2nd Edition/Installment

In the next part of our exploration, we will be employing digital media and technology to help us amplify the scale of the installation and expand on the idea of future human interference in our natural environment.

Weighing in feasibility and budget, we will be experimenting on using other materials and methods to generate the 2nd edition of the 4th Dimension. To create a spectacle in order to capture residents’ attention, we are aiming to scale up size-wise as much as possible. Therefore, instead of obtaining an actual mirror, which isn’t affordable and has low transportability, we are looking to explore screens and projection. We are also looking to explore different ways to add on to and/or manipulate the image to further communicate our message.

Tools Used:
Glass Panel
Krylon Looking Glass Spray Paint
Rustoleum Speciality Metallic Spray Paint
Vinegar, Baking Soda