synopsis: Rethinking what it is to be man, machine and everything in between

Rethinking what it is to be man, machine and everything in between is a project that explores how we can critically reorganize, redo and rethink how our relationships with machines and technology. The project aims to unlearn the typical conventions of on screen interactions such as swiping and tapping, and through this, explore how more intuitive, primal and instinctual habits can be reincorporated back into technology, in turn, reshaping and reverting society and humanity back to a more simpler state.

By utilizing the core sensorial concept for sight, movement and touch, humanity will be back in control of what and how they interact in society with technology.

MINIMALISM REVIEW

Untitled
Donald Judd

1969 – 1971
Aluminium and transparent synthetic polymer resin
Felton Bequest, 1974
Collection of National Gallery of Victoria, Melbourne

This was one of the longest pieces I’ve experienced in the whole show. There’s something about it that draws me to it. It’s endless void? It’s structureless configuration? The fact that it’s not another painting, nor does it seem very much like a traditional sculpture either. I found myself staring deeply into the inner surfaces of Untitled, mesmerised by how deep the reflections ran and the angle of which the edges seem like they run off into the infinities.

I was curious, have always been about mirrors, and I guess this was eye boggling enough for me to choose it to review. Upon research, I found more about Donald Judd, a philosophy and art history major that became an art critic turn artist, who was looking everywhere for his own unique spin on what art is to him. As most young artists in the 60s, Judd was mostly started with abstracted paintings. Even from his early works, it was clear Judd was unhappy with his medium. Creating depth in his paintings to break away from the traditional two dimensional surface. This two dimensionality led him to produce works specifically on walls and finally three dimensional structural art forms.

Judd coins the term Specific Objects that celebrates the unconventional, specifically the unconventional aesthetics and methodology that is common within paintings and sculpture during the 60s. By using industrial materials,

Judd removed he artist’s studio any hands-on art making…

This was an important step to pushing the conceptual artist movement. Judd would put up multiple exhibitions by MoMA and Whitney of his Specific Objects work and would eventually settle down in New York and Texas, where he built homes specifically with his permanent Specific Objects in mind.

In many of Judd’s works, he emphasises a lot on Space and how the Space in between is as important and is part of the artwork itself. This is an interesting concept that I’ve yet to hear of. Artists and painters spend years perfecting the use of negative space whilst Judd is applying this concept on three dimensional sculptures.

His concept of space when applied to this piece speaks volume of his methodologies. Thoughtful consideration has been put into the material and concept of Untitled. I can only assume the meaning of this piece stems from the reflection of reality, 2 sided, similar to the inner and outer sides of the structure and its materiality. The duality between the material itself and the anti-material, the space, would be part of this 2 sided concept. However, as per Judd’s artistic statement, it is clear that the space and material are one, the art work, and thus the 2 sides of a flipped reflection exists both together and not together at the same time.

To be featured prominently near the front of the exhibition, it is quite surprising most people would glance over this monolith. From my own perspective, Judd’s approach to art is neither binary nor non-binary, for it is the in between and nothings between these two terms.

Thoughtful Interaction Design

Chapter Review of Thoughtful Interaction Design by Jonas Löwgren, Chapter 1: Introduction

Having taken User Centred Design and User Experience & Interface Design while in exchange in the states, and Design Thinking now in ADM, it has become increasingly apparent that as Designers, we hold a kind a power and that power comes with responsibility.

The chapter is interesting as it not only touches on the possibility of human-machine interfacing but also how interaction can be traced into a multidisciplinary approach to design.

As the book describes more profoundly, “This leaves us with a situation where the designer wields significant power, and with such power comes responsibility.” Designers are essentially the creators, the guides and the craftsman of ideas that change the future but after reading the first chapter, it seems the author’s emphasis is not on what we wield or could possibly wield, but in the perhaps, more ethnical aspect of how we as Designers should approach our solutioning from a more thoughtful understanding.

Being thoughtful seems to resonate closely with the common design process of empathy for users, but I think without reading beyond the first chapter, it seems that being thoughtful is understand there is no right way or correct answer and that we need to always put our users in mind and accept feedback, critically.

To become thoughtful, it seems the author feels is something that is sensed, not taught or followed. As an advocate for the sprint rapid prototyping process by Google(even bought the book), I find this book sort of teasing me in sort of a Forbidden Fruit kind of way. I’m curious to purchase this book and continuing the read and see how prototyping methodologies, design thinking processes and the inherent ability to hone a design sense differs.

(Also found myself enjoying the read a lot more after knowing the author of the book is from MIT, my dream graduate school. Kind of stuck in the Roland Barthes theory.)

Pistoletto VS ADM

The Third Paradise is a symbol, a philosophy and some might argue, a way of life. I will be discussing three instances of his work showcased in NTU School of Art, Design & Media.

Brilliant Ideas: Michelangelo Pistolleto (Oct 4 2017), Bloomberg
iDome, ADM Library

The documentary talks about Pistolleto’s rise to artistry, his craft, his inspirations and his final manifesto. The documentary was informative in showing us his past which I found intriguing especially his connection to his father and how we was one of the first artist that was inspired to use play in his work in the post modern art scene. His Arte Povera was an interesting idea on how art can be made for anybody which I advocate strongly, even starting the term HDB Artist with a few of young artists in Singapore during my practice. However, I did find that the Documentary being show cased at the iDome was a terrible idea. Having created multiple works for the dome, it was preached multiple times to us about the intricacies of handling such a fragile and immersive medium. The documentary was clearly not optimized for the dome and as a result, took away the experience for many who were not in the “sweet spot” and hindered the information delivery.

SCIENCE MEETS ART: HOW TO SHAPE THE FUTURE OF HUMANITY: Panel dialogue between Maestro Michelangelo Pistoletto and Nobel Laureate Ben Feringa – moderated by Prof. Em. Helga Nowotny, Nanyang Visiting Professor
ADM Auditorium

The panel discussion was skewed, not because of what was discussed but because of the nature of my work. I am in the arts industry, arguably the computer science and engineering field too, but I was very much more interested when Pistoletto was taking the mic. The moderator had difficulties transitioning out of Pistoletto’s deep philosophies and that made me feel that the talk was rushed and became a buzzkill a lot of time. I understood the limitations of time but it would’ve been more fruitful to hear about what Pistoletto had to say about the Third Paradise implanted above our building. Overall the talk gave insight into some philosophies that Pistoletto wanted the Third Paradise to uphold and the values of it. I would have liked to ask about how the Third Paradise has changed the world and how it can change the world moving forward from now.

The Third Paradise
ADM Rooftop

Pistoletto’s work carved into the roof protecting us in our educational institution. Clearly it has received some controversy from the residents, mainly citing it’s out of the world foreign appearance, the lack of understanding of it and the pure and simple reason that humans are usually not very happy with change. After the talk, I decided to see the Third Paradise from the perspective that Pistoletto preaches. Upon further research, the symbol to me, is no different from a religious or scientific icon to represent something. For now, it’s belief and philosophy has not resonated with mine and I choose to respect it for what it is. I do hope that through this, we will be more open to allowing landscaping art be approved on campus grounds and as residents of this space, be more respectful of iconography, art and philosophies even if we do not understand them.

Biography

BIO

Jake’s dream is to be part machine, part artist. A self taught programmer that came from a media background who eventually wound up in an Art school(NTU, School of Art, Design & Media). Most of his works consist of his design practice of applying user’s experience first whilst his passion lies within creating art with mini computers, external and web based sensors and artificial intelligence. There is something intrinsic about machines imitating humans and humans imitating machines. Perhaps there is a middle ground where we can coexist?

WORK

www.jxke.co

www.behance.net/jaketan

RESUME

JAKE TAN_CURRICULUM VITAE
(Also available at www.jxke.co/about)

INSPIRATION

Portrait of Nam June Paik-by Lim Young-kyun-1981.jpg

My lord and savior, Nam June Paik. His use of Televisions(not so retro at that point of time), was revolutionary and impacted many of my works. Studied his works thoroughly in the beginning of 2018 when I was developing one of my works that went for 2 shows; Analogue is Dead. His ability to create a sentient life from odd home appliances made me think about how the analogue TV would feel when it would go obsolete in a year’s time. This understanding has also been passed down to my latest work, Aistronaut, that will debut in 2019 where I explore if and what a machine dreams about when they are turned off, providing viewers a perspective from a machine’s side. The work also draws references of how Humanity and Machines are not so different after all.

While going on exchange, I went to New York twice to view 3 of Nam’s work that was showcased at the Whitney Museum; Programmed: Rules, Codes, and Choreographies in Art, 1965–2018. Nam’s work, Fin de Siècle II, 1989, was a marvel to see in real life. I was awestruck by the wonder of scale and technological and technical aspects that were pushed for this piece, especially since it was 30 years ago! The visuals were rarely seen and pushed what can be done visually and technically. Nam’s Magnet TV was also a marvel to witness in real life. Both works I’ve spent much time debating how it could’ve been done at that time period and I wonder if artists these days are pushing the technical boundaries of our generation.