[Locale] Final Work — Gallery!


‘Locale’ required us to pick a site to explore, quantitatively and qualitatively, its unique and interesting features. Part I of the project was to create a visually engaging presentation on our site, whereas Part II was to curate our materials to create a zine with abstract elements, about our location.

My choice of site was the Japanese Cemetery Park, an overlooked historical site in Singapore that was a site I often visited in JC for research. It houses Japanese tombs from the Japanese community that lived in Singapore before the war, as well as the Japanese war dead.


Continue reading “[Locale] Final Work — Gallery!”

[Image-Making Through Type] Final Works — Gallery


We were required to create 4 typographical portraits of our name (or variations of it, like nicknames) to describe our future job, with attention to type in particular, especially weight, style, size, and usage of upper or lowercase characters.

Since I tend to have a unifying theme for my Graphic Form/2D projects, I decided on the theme of stereotypical Asian expectations when it comes to stable, safe and high paying jobs — namely a doctor, lawyer, engineer and a journalist.


NAME: NIKKI (Please don’t ever spell my name like this though)


[Image-Making Through Type] Process.

Got called out by Shah for putting a weird replacement here before I finished my Process post HAHA.

[Glitch Singapore] Sonder — Final Project!

project brief

As a project inspired by the work of Blast Theory, in groups, we had to create a piece of public performance art that played “off of real interactions with each other, Singapore, public, and media”. The artwork had to be site-specific, and partially scripted, with enough room for accidents and glitches to occur. It also had to incorporate the elements of the different micro-projects that we had been creating throughout the semester — namely DIWO (Do-It-With-Others), the Glitch, and the Third Space.


Initially, some of our inspo material included:

  • The Shed at Dulwich: A fake restaurant that gained popularity through its eccentric menu items, fake online restaurant reviews and “experimental” dining experience that tricked people into believing it was real.
  • Big Brother: A survival gameshow in which people were locked into houses with other strangers, and interactions between them would be viewed by external audiences who could vote them off.
  • Butler CafesCafes where the ‘butlers’ would address customers as masters, and play along with fake narratives that the customers would be free to come up with.
initial ideas
  • Pillow Talk: People in a bunk hostel would talk to one another anonymously, in a sort of personal pillow fort that would create a sense of intimacy with one another.
  • Real Life RPG: We would become RPG characters that could be guided around a space by our audience based on their commands.
“Final idea”: labyrinth

So we finally agreed on a specific interactive game whose name in the works was “Labyrinth”.

  • Location: Bugis Street
  • Number of players: 6 people who are strangers to one another
  • Duration: Hopefully around 1 – 1.5h
  • What exactly was the game about
    • A sort of ‘catching game’: The 6 players are split into 3 pairs, and of each pair, one is designated the ‘Renegade AI’ and the other the ‘Guard/Chaser’.
    • They would start on two different levels in Bugis Street.
    • The Renegades’ task is to run away from the Guard (neither of them know who the other looks like).
    • Renegades will have personal access to an Instagram account (the Third Space aspect). While they run they are required to take a picture of the space around them every 10 minutes. All Renegades will upload to the same account, meaning pictures will be jumbled up. (The Glitch aspect)
    • The Guard is required to monitor the Instagram account to track down where the Renegades are — but they need to find their specific Renegade using a “Finish the sentence” passcode.
    • The Renegade will have access to a group chat with the facilitators (us), where we will give them clues to go to specific locations within Bugis Street to complete missions tailored to the location while they are running away. Their missions will be monitored by us as well.
    • The Guard will have access to a group chat with the other Guards at the same time. If ever they spot or catch another Guard’s Renegade, they are free to coordinate within themselves.
    • If the Guards catch the Renegades, the Guards win. If the Renegades manage to make their way to the final pitstop, they win. Interaction will take place at the end of the game when everyone is together.
test run — sat, 7 april 2018.

We were really scrabbling find players for our test run, so in the end we had to settle for 2 players only instead of 6. The 2 players were Sihui’s friend, Daniel, as the Guard/Catcher. The Renegade was Yinghui’s friend Zihan.

Instagram account that was set up by us

We actually came up with the clue ideas at the last minute, and went ahead with the test run. The four of us (excluding Maythu) were located at each station to monitor their whereabouts. I was located outside the Bugis tattoo parlour. Here’s a video of me trying to monitor Zihan and Daniel (who eventually got caught aaa). Zihan was the guy with the backpack whereas Daniel was wearing a checkered shirt!!

Basically!!! The run was pretty much a failure. Zihan got caught pretty fast in the middle of the third mission (out of five) in like 1.5h, Daniel managed to catch me as I was?? Super obvious in filming Zihan?? Help. Apparently the Instagram feed wasn’t helpful at all to Daniel, and the game just wasn’t interactive enough within payers. It was already a giant hassle trying to coordinate one pair, so three pairs was….wow…

The game just wasn’t fun if it was simply one person completing missions (even though they were meant to be funny) without any company that they were familiar with. There wasn’t the thrill of competing with someone you knew.

Basic, biggest problem: There was no objective in the game. Zihan was pretty confused as to why he was carrying out all the missions in the game. There wasn’t any solid motivation for him to finish the game.


We realised we had to come up with a fresh new idea that could be completed within the coming weekend as we only had 10 days to the deadline after our failed test run. AAAAA. So we went back to our original ideas about Pillow Talk. After a 2h 20min Skype call we finally came up with a simpler plan. Continue reading “[Glitch Singapore] Sonder — Final Project!”

[Kokopelli’s Soundshaper] Soundscape Sculptures

Good sound

Background sound from an installation in the ADM Gallery

Bad sound

Sound of the ADM handicapped lift moving

good sound sculpture
Top view of sculpture
Side view of the sculpture
Side view of the sculpture




We wanted to convey the swelling of the bass of the music, which occured twice, through the gentle swelling of the paper.







The husky saxophone sound gradually emerges into the foreground in the sound, which we depicted as a wave cutting over the swelling base.








There are twinkling bells sounds as well, which we depicted as a series of delicate cuts into the paper. They are repeated twice.





For the continuation of the analysis of the ‘Bad Sound’ sculpture, check out JJ’s post at this link:

Kokopelli’s Soundshaper – Soundscape Sculptures

[The Art of Networked Practice] Hyperessay

The Art of the Networked Practice Online Symposium started up on a weary Friday night. It was at that time that I did not realise that the Symposium would truly open my eyes to the ingenuity and complexity behind the ideas espoused by artists such as Blast Theory and Annie Abrahams, bringing me closer to the concept of warping time and space, and interacting over the digital broadband.

The first session I attended was one which hosted an online lecture by the experimental artist Maria X and included an online performance hosted by Annie Abrahams, both of which discussed the theme of telematics and interactive performances, albeit clearly in different manners. Maria X’s lecture brought us through the idea of Internationalism and the prominence in the concept of telematics. The insight in the concept of telematics being a ‘relational medium’ struck me, as it defined such a form of art as being about the relationship between systems, and between humans, like performers and artists. With the expansion of social broadcasting to become many-to-many, instead of one-to-many, one could say that based on this definition, the world of telematic art is being infused with more complex and intersecting relationships between the participants and systems in the artwork. For example, seminal works from the formulating years of telematic art that Maria X introduced in the Symposium included Nam June Paik’s Global Groove, and Kit Galloway and Rabinowitz’s Hole in Space, works that sought for a work conducted by many performers, to reach many viewers, with systems acting as a facilitating body for these interactions to be carried out.

Slide from Maria X’s lecture showing Kit Galloway and Rabinowitz’s Hole in Space performance.

However, a key difference between these works is another concept that Maria X brought up in the lecture — the aspects of live versus a recorded performance. As Maria quoted from Levinas, “Since the other looks at me, his responsibility is incumbent upon me.” There is an ethical responsibility to respond to a person once you invite them to look upon you, of which intensity is much higher within a live performance, with the corporeal presence of both performer and audience present, as opposed to a recorded performance that can be played, rewound and fast forwarded at any point in time today. As heard from Maria’s lecture, liveness is defined as a moment that is infinitely open to interaction, transformation and connection. Liveness creates a personal dynamic between the performer and audience, and in today’s socially broadcasted performances where the audience acts as the performer, ideas generated by these people bounce off one another to create artwork that is full of intricate connections and relationships that go beyond the capabilities of a single artist.

Screenshot of the online performance, where all the artists are sitting and closing their eyes.

Along that vein, the performance conducted by the artists within the Symposium serves as a stellar example of such interaction, and the element of ‘liveness’. The piece starts off powerfully with each artist reciting their latency numbers and status, made even more poignant by the fact that the audio that we hear from them is already subjected to such delays. It devolves into different objects being interacted with in front of the camera, and the artists reciting phrases that sound like they are derived from wildly different contexts. It changes to the artists then are shown sitting, closed-eye, in silence, until they gradually disappear from the screen.

Start of the performance, when all artists were reciting their latency numbers and status

I thought the post-performance discussion was interesting, as one of the performers, Helen Varley Jamieson, brought up that her connection was poor throughout almost all of her training sessions with the rest, but the actual day saw her with excellent connection. This brings to mind what Annie Abrahams espouses in her artwork — to embrace the presence of an error, the volatility of latency, within, I quote from her, “the entanglement of human and machine”. This closely relates to Maria X’s earlier reference to the telematic embracing of faults within digital technology, as these errors allow artists to exploit them to create new artwork, similar to what is discussed Rosa Menkman’s Glitch Studies Manifesto, where glitches create a ‘realm of new conditions’, a new playground for artists to explore and experiment within its confines until a new glitch arises.

What I personally felt about the performance was that it was somewhat a social study of the human mind. While the performance was ongoing, the audience was free to chat and speculate amongst themselves about the piece, and there were audience members giving input on what they thought the artists meant with the different objects. I feel as if the performance was a deliberate attempt to twist the human mind into finding a link as we are so often found doing in our lives — a pattern, and a cohesive narrative, to make sense of something that is placed in front of us, when in fact there could be absolutely none at all. (Or perhaps I missed a hugely important central theme ahahaha)

The second day saw Matt Adams, co-founder of Blast Theory, guiding us through the history of their works which proved to be hugely influential within the interactive media community. There was much talk of the transitioning of the perception of the Internet as a platform, when it first emerged, as a utopia of possibility, but through its privatisation and profit, it is now a zone where control is heavily exerted, and possibility has been whittled down to almost nothing. It has transitioned from a zone for the outlawed to a mainstream channel for dissemination of information. Works from Blast Theory that took place during such a transition that caught my eye were projects like My Neck of the Woods and Uncle Roy All Around You.

Screenshot from Matt Adam’s lecture on Blast Theory about Kidnap

The project Kidnap also interested me in how it toed a  line and exploited legal loopholes in order to carry out what seemed to be an immoral and illegal act, that others actively took part in despite the negative tone the artwork carried on the surface. Their works are truly inspiring in the way they use digital technology in revolutionary ways to connect people without relying on superficial questions, through the true push and pull of real conversations and interactions, or placing people within different hierarchies of control within the performance.

Screenshot from a video about Blast Theory’s My Neck of the Woods

Overall, the symposium has been an awe-inspiring insight into the world of professional interactive digital performances, and it is quite humbling to have renowned artists themselves dissecting their complex ideas and theories for us. The usage Adobe Connect and the chatroom function act as a alternative social dimension that truly evokes the concept of real-time interaction over space and time, and allowed us to make our thoughts known to the artists despite these differences. I thought it was an interesting how during a performance we could freely discuss in silence despite the geographical barriers, something that could not be done in real life because of the noise — which raises questions on the human perception of proximity relating to intimacy. Advancements in technology have led to us needing to re-evaluate our inherent perceptions and values, and this Symposium was an event where this was certainly done.

[Micro-Project 7] Video Selfie

Sup I’m Banksy. No one is around. There is no sound. It’s dark. Because I do mysterious art attacks at night. So no one knows what I look like, including the creator of this low-budget video.

No walls were actually graffiti-ed in the making of this video. Obey Singaporean law kids. And almost none of the cans were actually spray paint anyway, and creator was sweating like a doggo in the paper bag. FYI the bag is DIY-ed so impressive rite

  • Niki

[Kokopelli’s Sound Shaper] Research!

Sup guys!! I drew the body part ‘feet’ for Kokopelli’s body part so how now brown cow. It’s time to search the re!! Research. To be honest I think there’s a whole ton of stuff you can do with your feet! But when it comes to conforming to the shape of the foot I think that narrows down our options significantly because the sole gets in the way. But anyway, here’s some things I thought of when it came to the feet, other than the very basic actions of walking and running.

Anatomy of the bones of the feet. From www.webmd.com
Muscular anatomy of the foot. From www.anatomywarehouse.com

The movements the foot by itself can make:

1. Ankle Rotations

2. Toe movements:

feet in cultural dances

Cheryl had already shown some feet movements done in class with traditional Japanese ceremonies, with Japanese geisha making sweeping movements with her geta.

I also thought about marching ceremonies that have particular emphasis on the angularity of the legs in general, and suddenly recalled the most extreme version of it (HAHAHA tbh this video never fails to make me laugh):

There’s a lot of emphasis on the knees, and the soles of the foot stomping down on the ground.

I also thought of Irish tap dancing, with almost solely focuses on the foot and their shoes to generate a fast tapping and stomping rhythm (I LOVE IT ITS SO COOL HMMMMMMM):

The main parts of the foot that move would be the forefront of the sole that launches them off the ground in the dance, as well as an alternation between the forefront and back of the soles to generate the tapping noise with their shoes.

In the same vein of dancing (I’m prolly gonna be talking about dancing for quite some time) I also thought of the traditional Hawaiian hula dance which has really graceful, strong and slow footwork that involves a lot of sliding and placement, like shown in this video:

(I’ve watched it so many times) I really like what they say especially in the beginning concerning the spirit of the dance:

“And we tell our dancers, everything needs to dance. Your hair, your toenail, your eyelashes: it needs to dance.”

I think the part about braiding the leaves could also be used as a reference point for material!

And of course who could forget ballet hahahaha:

Much of the movements involve the tippy toes, like standing on them. There’s also the movement of placing the sole flat on the ground and then lifting the foot and body off the ground to stand on the toes. It’s really eye-opening to see how gruelling ballet is on a ballerina’s feet and how she casually mentions doing things like numbing the toes or taping them that seem so extreme to me when it comes to the feet. D:

If I continue to talk about the different kinds of dances I’ll probably end up with all of them though because almost all dance involves some sort of unique footwork!

From here on it’ll be about applying such motions to create sound ohno I hope it goes well ://

[In the Eyes of Kinetic Beasts] Research!

I’m paired up with Yinghui for this assignment, and the pair of creatures we got were the fire sea urchin (mine), and the urchin crab (Yinghui)!

Adorable. Image retrieved from http://www.alamy.com/stock-photo-carry-crab-holding-false-fire-sea-urchin-dorripe-frascone-astropyga-29607228.html

As there are a number of urchins who look like they’re on fire ahaha, I decided on the astropyga radiata, who are well-known for being ferried about by carrier crabs

range of motion and anatomy
This picture fills me with both disgust and fascination. Image retrieved from https://abiogenisis.deviantart.com/art/Sea-Urchin-Anatomy-271355683

Couldn’t find a diagram specifically for the species I’m researching on so here’s a general diagram. Urchins can’t be that different right.

So cute!! Image taken from

Astropyga radiata is a large urchin with a test diameter (diameter of it’s hard shell) of up to 20 cm, flattened or slightly concave on the upper side. The spines are up to 4 cm long and are grouped in five vertical clusters in between which are V-shaped areas with no spines corresponding to the interambulacral plates (like plates that are…bones..from what I understand).

These bare areas are red with lines of iridescent blue dots while the colour of the rest of the test and spines varies from reddish brown to purple, dark brown or nearly black. The spines are long and hollow; they are of two kinds, the shorter being venomous.

More of a black colour. Image taken from http://www.dejongmarinelife.nl/inverts/sea-urchins/astropyga-radiata/1

Astropyga radiata is mostly nocturnal and feeds by grazing on algae. The mouth is at the centre of its bottom surface where there are five powerful teeth in an arrangement known as an Aristotle’s lantern. It is surrounded by lips of softer tissue, with numerous small, embedded bony pieces. The jaw apparatus consists of five strong arrow-shaped plates known as pyramids, with a hard tooth pointing towards the centre of the mouth. Specialised muscles control the protrusion of the apparatus and the action of the teeth, and the animal can grasp, scrape, pull and tear very effectively.

This picture makes me want to cry from how gross it looks fug. Image taken from https://www.arkive.org/edible-sea-urchin/echinus-esculentus/image-A24576.html

This urchin is light sensitive and can angle its spines towards an approaching threatening object.

Generally, urchins move slowly through the use of their tube feet on it’s underside.

Watch from 0:41 to see the tube feet in action!! Like little suction cups that wave around.

two key senses for its survival
  • Its sense of touch for its tube feet in order to move around
  • ????? it cant see or hear or smell……maybe it can taste but its not necessary for survival……..

Relationship between the urchin and the crab

One of SYMBIOSIS! The crab’s scientific name is dorippe frascone, btw.

AAHAHAH I found this cute educational cartoon about their relationship. The song just summarises everything:

(The urchin is grossly small here compared to real life though)

Relationship  Symbiotic
How? The urchin crab sits on top of the carrier crab, who…carries..it..across the ocean floor like a good pal.
Benefits for the urchin Urchin gets to travel around faster, thus being transported to new feeding grounds. More food!! Mmmm 🙂
Benefits for the crab The urchin makes the crab look more predatory, and protects it from predators like fish, with its long and venomous spines. It also isn’t too heavy to carry!