Category Archives: Experimental Interaction – G5

Experimental Fashun

Our project involves the public on the streets and online. Bala and Felicia were the interviewers, while me and Yueling were the models.The interviewers’ jobs were to walk around Bugis, Sim lim square, NAFA and SMU.  The models’ jobs were to pick out 5 outfits/accessories from each category, and list them down as vague descriptors. Below is an example of the list:

While the interviewers walk around and find people, the models are on Facebook live with them. Since we had to be at home with our outfits, me and Yueling accompanied Bala and Felicia in the third space instead. Facebook live was to also to show the public on the street how we look like, so that in a way, they can gauge what looks(or sounds) good on us.

This experiment projects culture and identity through fashion. Since we were going to interview and ask people from different areas, age groups and ethnicities, we can see a stark contrast in the way they have chosen to put together an outfit. In our interview, we managed to get someone from Thailand and Malaysia. The outcome was funny. The outfits turned out whacky and fun. The colours don’t even match. But that was what made the whole project fun, the results were unexpected. It could be seen as a glitch in the ‘online shopping’ trends, where what seems or sounds nice online might not be true to reality.

The locations we went to had different demographics. For example, Sim Lim square is known as the ‘geeks’ place. When Bala went there there were mostly middle aged or older people. On the other hand, Felicia went to SMU, NAFA and Lasalle area, where there were more young adults and students.

Sim Lim Square
NAFA area

There are differences in the kind of outfits people chose. For example, the younger people would choose monochrome or ‘trendy’ clothing. The older generation, on the other hand, chose more colourful and decorative outfits, such as stripes or kebaya(a traditional Malay outfit).

After which, we collated the pictures of our outfits and posted them on Instagram. We used the story poll feature on Instagram to allow people to vote which outfit they preferred.

This is our Instagram page:

After which, we boiled the 4 most voted outfits down to 1, asking people to comment which outfit they preferred the most:

From my observation, people were more responsive and willing to participate online as compared to the public on the streets. It was difficult for Felicia and Bala to get people to participate in our project.

Overall, I found this project fun because it was an open concept. It was also interesting to see the public’s opinion being involved. The end results of the outfits were interesting to see.


Here’s the link to our video!

Social Broadcasting is amazing: gLobAL SyMp0siUm

“Social Broadcasting: A Communications Revolution,” the shift from one-to-many to many-to-many forms of live performance and creative dialogue. Social Broadcasting: An Unfinished Communications Revolution.

The three day symposium, titled ‘Art Of The Networked Practice’, involves critique and analysis of keynotes, live performances, and global roundtable discussions, all broadcasted live on Adobe Connect. They involve various performers and artists who collaborate together to create art. For this hyper essay, I will write about day 2(Keynote by Matt Adams, co-founder of Blast Theory) and day 3(Internet Performance by Jon Cates and collaborators). This essay will be about how projects involving Social Broadcasting has pushed further the boundaries of  normal broadcasting.


Social Broadcasting has now allowed for greater things, rather than just conveying knowledge. Social Broadcasting need not be merely a stream of texts or images being shared with  other people. Games can now run on the platform of social broadcasting. These games need the platform of social broadcast to work.  Take for example ‘Uncle Roy All Around'(2003), a game where both online and offline players are needed to play. It takes the form on the streets. Street players are given a handheld monitor to communicate with the system and the online player. Both online and offline players can play together to search for ‘Uncle Roy’, and online players can chat with street players to tell them where to go.

The game is set on the assumption that street players will co-operate with the online players, and follow instructions from the device. Online players have the advantage of scanning the whole area, and can tell the street players of their finding. The ability to gain more information than the street player suggests how powerful being online is, but at the same time they need the street player to physically find ‘Uncle Roy’. Both street and online players must lay hand in hand to complete the game, suggesting how social broadcasting has become very accessible to everyone that it can be manipulated in any situation and at any place.


Social Broadcasting has also revolutionised to the point that the lines between virtual and reality are obscured. The quality and procedure of how a broadcast takes place can affect how it is perceived. For example, ‘Kidnap’ is a performance-social experiment whereby 2 random people were ‘kidnapped’ and secretly brought to an office upstairs of ICA.

The location was not disclosed to the public, but the room was broadcasted live so everyone could see the ‘kidnapped victims’. The irony of keeping the location a secret and yet broadcasting the victims itself almost shows the whole performance as a document of the the whole kidnap. The whole process becomes almost real, acting out a power relationship, with one dominant(the kidnapper/media) and submissive role(kidnapped victims). In an interview with one of the kidnapped victim, Debra, she mentioned that “once {they} put a bag on your head it all becomes very real, it’s not a laughing matter anymore.” Though its only pretending, the line between reality and acting is blurred. Also, the fact that they did not announce whether it was a performance, for profit, or a social experiment at the beginning might have made the whole project very open to interpretations. It might have seemed real to some people. Another example would be Roberto Sifuentes‘s #exsanguination. The whole performance involved collaborator Aram Han Sifuentes cleansing his ‘bleeding’ body with leeches.

During the whole process, viewers are encouraged to move closer toward the performers, invading their private space. We, the viewers, are also given the opportunity to see Roberto Sifuente being made up. Despite seeing the process behind the performance, the whole work was documentary-like and real. It has a sci-fi quality, as if the audience are part of a crowd in the healing procedure. This blurs the line between reality and performance. The viewers are allowed to step into the performance space, giving the illusion of something real is happening in front of their eyes.


Social Broadcast has also revolutionised the way we carry ourselves, especially through technology. With technology we can now expand what we share and how we share it. For example, the performance ‘XXXtraPrincess’, the whole performance was done in snapchat filters and the performer’s bitmojis.

The performer’s faces, Janet Lin’s and Paula Pinho Martins Nacif’s,  are partly blocked by their phones, with snapchat filters covering their faces. The whole performance was presented in bitmojis and filters, showing how social media is now being presented in everyday life, even in social broadcasting. Presenting the performance as a snapchat theme makes the whole project more interesting, as the lines between reality and technology is now blurred and combined to make art. All while they were reading off a script from their phones, Arcángel Constantini‘s screen shows him drawing as the camera follows every stroke. This gives the illusion of the audience being the artist himself, as we get to see what he sees when he draws. Arcángel Constantini draws for the whole of the performances, streaming live drawings on petri dishes.

Nearing the end, Janet Lin and Paula Pinho Martins Nacif often change their snapchat filters. This suggests how easy it is for one to change their identity and appearance on the internet. It also portrays the fluidity and naturalness of social broadcasting, when they move forward to manually change their snapchat filters. There was another camera broadcasting them together, showing both performers with their backs against each other. The whole experience was very uncut and raw, both for the performers and the audience. Overall, the performance suggested how social broadcasting has allowed us different ways and methods to create a new experience for individuals and groups.


To conclude, communications have revolutionised thanks to social broadcasting. Social Broadcasting expands different avenues communication can take form in— be it in games, performances or social experiments.  The three day symposium has truly broadened my perspective on social broadcasting. I believe that social broadcasting has the potential to expand even more creatively and provide greater avenues for us to try.


Video selfie: Hello! Its not me

These days social media has forced us to comfort to a certain image that we think we should be. For example, women are expected to be pretty and wear makeup to be socially(or virtually) popular.  Men check to see if their hair is in place before they post a photo on Facebook or Instagram.

My video selfie is about conforming to the online expectations— by using heavy face filters and exaggerated photo filters. By covering my (natural) face at the beginning, it shows how youths are unwilling to ‘reveal’ their true self online. And I am guilty of that.

Enjoy(click the link below)

Farz’s Video selfie

Social Broadcasting // Social Art

Annie Abrahams is a Dutch performance artist specialising in video installations and internet based performances. As seen in Angry Women, her works are usually collective interaction. In her research article Trapped to Revealshe thinks that ‘performances also reveal ordinary, vulnerable and messy aspects of human communication’. I feel that her work Angry Women really resonates with that statement, and I will explain this further.

In Angry Women Take 5, there were 8 women in the video broadcast. The video started with a woman talking in French, then another woman screamed, continued by mother, and then another. Their screaming voices were merged together and you can no longer know whose scream is whose. The video continues with subsequent talking, but it is chaotic and unscripted, thus the scene was just screaming and angry women who wanted to talk at the same time.

Since the whole performance is based on social broadcasting, it can be said that social broadcasting has made it possible for Art to advance and be pushed for a greater meaning and cause. Angry Women is a work that perfectly suggests the messy and vulnerable side of the human communication, as seen from the emotionally vulnerable screaming women.

Annie Abrahams has described social broadcasting a perfect medium for live performance as it can ‘study human behaviour without interfering in it’. I agree with this method of social broadcasting as the internet has now become a common and daily thing in our lives. Using it as a medium for study won’t make it as much of a difference as we are so used to the internet. We will carry on what we normally do, as the internet has become a familiar  medium to us, despite knowing that it is for a performance piece, for example.

In conclusion, social broadcasting has further pushed the opportunities for art and its meaning, allowing us to make great social art.

Hello I am desktop

I try my best to organise my files. I actually have a lot of unwanted and old files that I don’t delete(but I should). I procrastinate deleting stuff that everything just piles up.

The wallpaper is taken using a new 50mm lens I just bought during that point of time. Which I excitedly used it straight after receiving it from the deliveryman.


Our identity is what makes us uniquely different. In today’s day and age though, we might choose to replicate or imitate someone else, especially with the flexibility and freedom of social media. We might choose to be ‘someone else’ by filtering out what we post, control what we share or use an overly-flattering selfie. As mentioned by Wittkower, ‘[t]his is what is so valuable about Facebook: the indeterminate meaning of so much of what it is, and what it does.’ I agree with this statement as social media has created a barrier that allows doubt. No matter what we post or share, there are multiple ideas conveyed.

Hasan Elahi is a Bangladeshi-born American interdisciplinary media artist with an emphasis on technology and media and their social implications. He is an associate Art professor at University of Maryland. In Tracking Transience 2.0, Hasan Elahi has been recording everything he does in picture or word form ever since FBI agents told him to report his whereabouts.

An interesting (and funny) video of Hasan Elahi in TED talks:

His work consists of pictures, some having a plain black background of just information of the places he’s been to, or some just empty pictures without words.

By doing this project, Hasan Elahi is subjecting himself to vulnerability. He exposes his daily routine, his location, his lifestyle. However, it is also ironic how the pictures tell nothing personal about him. There are no people or signs of himself, only plain objects or scenes of everyday life. The pictures seem like they can be easily taken off from google, they have a very surveillant-like quality. Like Hasan Elahi, billions of people are doing similar things as him everyday. Sharing certain content and filtering out only what is required. Linking this back to online identity, people portray themselves differently when they are on social media. Only certain material are shared, not everything.

I entirely agree with Hasan Elahi, how he states that even though he shares everything with us, simultaneously he does not share anything, as the photos are almost anonymous. I love the concept of his work! 🙂

Burn Media BURN

Ant Farm started in San Francisco in 1968 Chip Lord and Doug Michels. In the interview with Lord Chip, they sported ‘hippy’ culture along with their media van. An art work ‘A hundred TV sets’ is something similar to Media Burn(1975), where the TV sets were built in an architectural manner, instead of seen as mere entertainment boxes. It was conceived as an environmental sculpture, as if the sets were surfacing out of the swamp. In Media Burn, the TV sets used represented the media and propaganda.

Mentioned in the research critique,  Ant Farm pointed out that ‘Media Burn integrates performance, spectacle and media critique’. I couldn’t agree more wth this analysis and to add on, I feel that Media Burn is a work that richly blends political and social issues. The whole work is a performance, right from the start when the two ‘artist dummies’ appeared in front fo the audience, receiving applause from the crowd. Before they got into the car, they stood on top and had their hand over their heart, marking the performance as an important political ceremony.

This familiar act of waving to the crowd, the cameras, and the welcomes, almost as if the artist dummies were important people like the president, emphasises how the media is propaganda-like and enforced. The whole recording was done in a news coverage theme, which again reinforces the idea of how Media is so powerful to the extent that the performance itself had to be recorded in a prim-and-proper media method.

Doug Hall, who acted as John F. Kennedy, questioned “Who can deny that we are a nation addicted to television and the constant flow of media? Haven’t you ever wanted to put your foot through your television?” I quite like this in-your-face quote. The performance literally had a car smash into a pile of television sets.

The act of driving a ‘political car’ straight into a set of television might imply the control the government have over the media, and they have the ability to maintain, create, and destroy media content.


Collective Genius: DIWO!!

The Furtherfield community is a common space for individuals from all over the world to to collaborate, critique and share works. Connections in art is very important. When art is shared with and collaborated with others, the outcome and extent of the art can be further pushed.

‘As an artist-led group, Furtherfield has become progressively more interested in the cultural value of collaboratively developed visions as opposed to the supremacy of the vision of the individual artistic genius.’ Furtherfield acknowledges that the individual has the capacity to create amazing works and produce great ideas, but with collaboration works can be even more culturally intriguing. During the adobe connect session with Marc Garrett, he mentioned that individualism is important. Being special is something we need to have. However, we also need to work together to create art. The main outcome from these collaborated works is the rich presentation of culture, especially when you collaborate with many people and people from different areas. DIWO culture breaks individualism and speciality into something positive, and makes art more material.

One such artwork Marc Garrett discussed about a collaborative project using Blockchain, where the public sends in different instructions and characteristics for how a plant is going to look like. The artist then has no choice but to make the plant according to the set of instructions given. I find this work very intriguing as no one plant is the same, and the plant is basically a shared work by many.

The artist has no control over the end product, although he is the one constructing it.

For the past 5 micro-projects we were all doing art with others. I find it fun and interesting at the same time because our other modules are just individual projects and it gets bit boring, because you’re only stuck with your own ideas. But with others, you can share your efforts (and laughter!).

In micro-project 2, we were supposed to take a tele-stroll with a partner. The concept of DIWO comes in as you are making a strolling documentary with another person, you’re both at different locations. It was amazing to see how my other classmates actually had a story line and great concepts. I especially liked Felicia and Bala’s, where they made a video of ‘real life tinder’.

They weren’t only doing the tele-stroll by themselves, but also roping in the public. Similar to the Plantoid project, both Felicia and Bala’s work has the element of surprise, as both of them cannot fully take control of what the public will say or do.

The adobe connect session was beneficial and really emphasised the pros of working with others. I will now end this essay with a phrase that really provide thought:

“The genius is in others, not yourself— A collective genius”

-Marc Garrett during Adobe Connect, 2018






Project Glitchhhh

Adding on piles of glitch for a group collaboration in class. I really enjoyed editing the photos because you are supposed to screw up. I always feel stressed when I used photoshop and ‘command-Z’ would always be my emergency button whenever I screwed up but today in class I felt REAL freedom!! I didn’t have to think about what I was doing and screwing up has never felt this great.

I also loved how my (half-faced) selfie turned out. The final piece is amazing you can’t even tell it was a selfie to begin with. The progress pictures were great too and contributed to the work. It made the whole collaboration more interesting because you can really get to see how each of us contributed to the glitch.

Who’s talking?

The video starts with a zoomed in clip of a girl in a video talking. The camera slowly zooms out to reveal more videos of other individuals. Their voices start to merge and you cannot hear a single voice.

Hello World is ‘an immersive video installation featuring over 5000 video diaries found on the internet’, all framed on a big screen that towers over the viewer. The visuals and sounds are quite overbearing, but this work is more than it seems to offer.

Christopher Baker has successfully portrayed the concept of today in this work. The tiny videos organised in tiles, and the mashed up voices is almost a soothing experience to watch and hear. The world today is fascinatingly interconnected. Anyone can broadcast themselves and allow others to view it online. By collating multiple videos of individuals and placing it in a gallery setting where anyone can visit, Christopher Baker emphasises how easy it is for people to get connected.

Part of the title of the work itself, ‘how I learned to stop listening and love the noise’, to me, is what makes this work even more interesting. I love the play of words and the irony of it. It might also imply that the world has become too easy for anyone and everyone to share their thoughts, that nobody is even listening. This is further interpreted by the muffled voices, where then viewer cannot hear a lone voice or cannot even hear a proper sentence. The voices are just a muffled mess, and doesn’t sound like voices anymore,

The work, despite showing the video diaries of strangers, still gives off a sense of familiarity. Viewers can step up and watch the individuals closely. There is no barrier whatsoever, and a viewer can hover his/her hand over the projection and watch the videos over his/her hand.

Projections on hand

The individuals recorded in their visual diaries are all in a different setting, some personal like their bedrooms, houses and some in public places. Viewers get a sense of connection with these people, seeing their settings and familiarising with the way they talk, sit and carry themselves. When viewers step forward, a shadow is created. The shadow reminds one that the space between the virtual and reality is still there, and cannot be entirely diminished.

Shadows over the wall

Christopher Baker’s work revolves greatly around the concept of virtual and reality, and even psychology.  Are the people really there? Should they be seen as real individuals, or is this merely just a collective group of videos? His work intrigues the viewers through this concept that will definitely spur discussion.