[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.

[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 ://

[Pandora Revisited] Technical Drawings and Mould Casting!

Hey guys!! Here’s the first post for Form and Visualisation in Sem 1.2!!!

For this project, we focus on rectilinear forms while trying to align them with three keywords. As I am literally starving for time because of hall stuff I’m just gonna dive in without the usual drivel that I usually post ahahahahaha :’)

theme words
  • Fracture
  • Shift
  • Array


Module 1 (Clay painted with acrylic)
Isometric drawing (Module 1)
Plans, Sections and Elevation (Module 1)

module 2
Module 3 (Clay)
Plan and Section (Module 2)
Section (Module 2)
Isometric drawing (Module 2)


(Unfortunately I don’t have time to do additional orthographic drawings for this last one sorry Cheryl hope it’s okay D: )

Module 3 (Clay painted with acrylic)

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Ego in Different Settings: Final Work

Hello! Project 3 is finally over and 2D is finally done with! 🙂 It was a tedious and scary project because it seemed to involve so much within a small timeframe but we all pulled through! Here’s a runthrough of my process and final result.


Art direction was something I pretty much struggled with as I wasn’t comfortable with my usual art style. Normally its pretty sketchy so I didn’t think it would go together with colours well. So I thought about simplifying shapes to make the colours stand out, and I drew inspiration from Dorris McComics, who is the artist behind the Blobby series!!

My main idea is that each figure takes the form of a blob, including me, while I shift colours every row. Each row has a singular main colour as I wanted it to have a uniform feel. Here’s my final presentation to get a gist of it:

Final Presentation, Ego.

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Impossibilities of Being: Final Work

Hey there friendos!!! Here is my final work for our third 4D project. ‘Impossibilities of Being’ required us to create a minute-long video about our first encounter with a certain place, and the place that I chose was the Night Safari!! Because my time is a scarce resource I decided to do a video that was entirely drawn out (also after our first consult Lei wanted me to do that so!!) instead of trying out cinematography (don’t think that’s my thing but idk).

Here’s the final video:


The visual parts of the project were the most heavily emphasised in my work. It was the starting point of the entire video and there was not a lot of change from the Lo-Fi storyboard to the Hi-Fi storyboard (which was basically my video). Here’s my Lo-Fi storyboard:

Honestly I have nothing much to say other than the fact that it involved a LOT of drawing, probably around 10-13 hours of drawing. Idk actually that’s a rough estimate, but each key frame for the final video took maybe 30 minutes to an hour on average, and I have 69 frames in total. :’)

All frames for the project, The Night Safari.

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Poetics of Time: Research

Hey my dudes!!! This is a research post for our final 4D project for this semester, which will be an installation that is centered around time and its different forms. Sounds tough. Will also probably be damn tough. 🙁 And I’m so clueless hohoho!! Better take this research seriously whoop.


Time-based art is a cluster of units dealing with the complex multiplicity of artistic forms, which use the passage of and the manipulation of time as the essential element.

Time-based media on the other hand, is more of a limited spectrum. Contemporary timed-based media include video, film, slide, audio, or computer technologies, because they have duration as a dimension and unfold to the viewer over time.


Measured time Time quantitatively measured by regularly recurring events or intervals.

1. Linear time: Where there is a beginning and an end/a past, present and future. Time is always moving forward.

2. Circular time: A repeating process that create continuous and infinite outcomes.

Experienced time This is the perception of time passing that can be influenced by the viewer’s psychological disposition and attention.

Edited time

Time that has been cut up and rearranged.

1. Linear time: Events in order of past, present and future.

2. Non-linear time: No required order of events.

Biological time

Biological time is a measure of time related to bodily functions, such as when we feel awake, tired, or hungry.


1. Vito Acconci, Following Piece, 1969

Vito Acconci, Following Piece (1969). Image taken from www.vitoacconci.org
Subject Acconci himself, and random passerbys on the streets of NYC.
Form The nature of the artwork where he traces the steps of strangers, everyday, in real life is a form of measured time.
Context Took place everyday on the streets of New York, between October 3rd and 25th, 1969. It was part of other performance and conceptual events sponsored by the Architectural League of New York that occurred during those three week, and the terms of the exhibition “Street Works IV” was to use a street in New York City.
Content  Following Piece was concerned with the language of our bodies, not so much in a private manner, but in a unusually public manner. By selecting a passer-by at random until they entered a private space, Acconci submitted his own movements to the movements of others, showing how our bodies are themselves always subject to external forces that we may or may not be able to control. Acconci himself wrote that the piece was meant to make use of the time and space in New York City. The time intervals varied widely, from a few minutes to a few hours when the strangers went to restaurants or theatres.
Vito Acconci, Following Piece (1969). Image taken from www.khanacademy.com
Vito Acconci, Following Piece (1969). Image taken from www.glasstire.com
Notes by Vito Acconci, Following Piece (1969). Image taken from www.khanacademy.com

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間 MA’s Obscure City of Voids: Modular Structures Research

Hey guise!! This is my post on researching modular structures for Project 4 of Foundation 3D. :-)))

In general, modularity refers to the degree to which a system’s components may be separated and recombined. This concept is found in many aspects in the world, but I’ll be focusing on nature and built environment.


When it comes to nature, what the module is exactly can be seen in a number of different ways.

1. It may be used to refer to organisms that have an indeterminate structure wherein modules of various complexity may be assembled without strict limits on their number or placement. This is shown clearly in plants, who have different components like leaves or twigs that are arranged to form a whole plant.

Image taken from www.blog.wolfire.com

2.  The term has also been used in a broader sense in biology to refer to the reuse of homologous structures across individuals and species. It can refer to how organs and bones act as modules to make up the entire organism, whereas some prefer to look at more basic units of life, like the cell or genes, as modules that form organisms.

Image taken from www.futureistech.info
this could be a good meme. Image taken from www. new.homeschoolmarketplace.com


Architecture can be split into two types:

  INTEGRAL Architecture in which the number of functions is considerably larger than the number of components, which implies that some components are involved in delivering multiple functions.
  MODULAR  A system composed of separate components that can be connected together. You can replace or add any one component (module) without affecting the rest of the system.

GOOD: Modularity in architecture is more practical and cost-saving as the designs are maximised from a limited number of components, resulting in more productive building.

NOT SO GOOD: However, over-doing it may result in inefficient performance and the repetition leading to a loss of design identity.


1. Charles De Gaulle International Airport – Terminal 2E, Paris, France

Image taken from www.arch2O.com

The road infrastructure is part of the site’s entire composition as roads and viaducts come together and converge at the center of the terminal, flanked by two modules on each side.

All these modules, located at the heart of the aircraft area, form four narrow 60 meter-wide buildings where travelers can see aircrafts from the road. Each module is covered with trapezoidal shells forming four radiating arcs when seen from the sky.

2. Traditional Japanese rooms

Image taken from www.sinonomesou.com
Image taken from www.wabisabidesign.co.uk

The usage of standard tatami mats to plan out the sizes of rooms is considered a way of using modules. However, apart from that, the rooms are also divided into different parts that can be seen as different modules as well. Apart from the tatami, there is also the fusuma, the sliding doors in a room, and the shoji, the translucent sliding doors. The tokonoma refers to the alcove of the room, and the chigaidana  are the built-in shelves.

Ego in Different Settings: Colour Harmony Research

henlo friends here is Big Wheel of Colours:


Occurs when the colours of a monochromatic palette all share a single hue, but vary in brightness and saturation.

Image taken from www.xboxhut.com
this is so pretty but there were no credits to the artist!! 🙁 make sure to credit artists pls Image taken from https://www.pinterest.com/pin/506021708124150955/
By Jenny Wichman. Image taken from www.jennywichman.com

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Forrest Gump: Final Work!

Hey guys!! Here’s my final write up on my final work for Foundation 2D Project 2: Forrest Gump. So far this was the longest project we’ve had and I think it really shows haha. Here’s the earlier post that detailed my research and brainstorming for quotes:

Forrest Gump: Research

Anyway no more rambling, let’s get straight into it!!

[ T H E M E  :  S C I E N C E   F I C T I O N   F I L M S ]

dunzi dunzi dunzi dunzi

In my previous post I did mention that I had like a sci-fi theme in mind, so I just went with that because the sci-fi genre is the genre that I’m the most fascinated (and confused) by and I just really love them. I actually was also considering doing a series starring quotes from Quentin Tarantino films instead because I’m a really big fan of his film direction and aesthetic, but in the end that was more limiting so I decided on the sci-fi theme instead.

I decided to go with a more serious and sullen vibe for the pieces, and wanted to bring in the reoccurring theme across many sci-fi movies of human nature, and ‘what does it mean to be human’. (I suddenly thought of Ex Machina and now I’m sad I didn’t research on it help) I also wanted to involve the design principle of unity and variety, so I decided to use hands as a motif across all my pieces. My general approach for formulating the visual interpretation of the quotes was to draw upon the themes of the movies and at the same time, look at the literal aspects of the quote.

was not supposed to put this in but i legit love LOVE harrison ford yall

[ G A T T A C A ]

“You want to know how I did it? This is how I did it Anton; I never saved anything for the swim back.” – Vincent Freeman, Gattaca (1997)

Forrest Gump: Gattaca print, Niki Koh

This was the first print that I did for the project. To be honest I spent way too much time on it – almost 7 hours?? After that I decided to reduce the intensity in the designs for my subsequent compositions cos I honestly didn’t (and still don’t) have a lot of time HAHAA.

Plan for Gattaca print

The literal aspect of the quote that was in the final print was the usage of water as a nod to the word ‘swim’, in the form of a stormy, dark sea. The original hands were supposed to be cupped, but none of the cupped hands I found online looked good when in threshold, so I substituted them for a pair that looked like they were praying or giving something up, as a reference to the phrase ‘I never saved anything’. The themes I drew from the film to put into the print was the theme of intergalactic travel, as the film’s plot is about a man who is genetically disabled, but still dreams of pursuing a career in space due to his extreme passion for it. Hence, the numerous mythical representation of constellations located within the circle of stars in the print.

Gattaca (1997). Image taken from www.joshldavis.com

Initially I also wanted to place a rocket within the cupped hands but I figured that would result in too many elements within the print.

Initially, the print was like this:

First draft of Gattaca print

The feedback that I had gotten was that there were too many cluttered figures in the circle and it was hard to figure out what they were. (Also I forgot about following the dimensions and it was really big LOL) However because I didn’t have time to edit the print before silkscreening, I decided to just silk screen this original print on the bag, which I will go into detail about later!!

Yup but for the final presentation I decided to put less figures into the circle and increased their scale so they would be more obvious. The difference isn’t very big though so maybe my efforts were futile?? :’)

Nevertheless, this print is the one which I liked a lot as well as a bunch of other classmates too so I’m glad about that!! (A friend told me it looked very bengz though lmao she’s not my friend anymore humph)

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