OSS Hyperessay 2

Research

  • Bob Pagani

Bob Pagani, is an old man on Periscope, sleeping. Calling the project “Bob is Sleeping”, he broadcasts himself sleeping from 4 am every morning.  And he doesn’t know why, but every week THOUSANDS of people love to watch him sleep. His guess: “they probably can’t afford Netflix.”

He then started to broadcast his number inviting viewers to leave him voicemails which he would then play them on loop the next day as he sleeps. The voicemails presented many characters including a guy pretending to be a pharmacist and a woman pretending to be Pagani’s “baby mama” asking for child support. How odd.

Pagani also sets up his sleeping scene, decorating it with a VCR, a rubber ducky, some creepy dolls, an LED light. He even has ambient music playing like Frank Zappa album or the live police scanner.

When asked, one loyal fan referred to Pagani as “uncle Bob” and says she finds it relaxing and stops feeling lonely.  Apparently, Pagani fills the void of loneliness and makes dreadful days, better ones – like an old friend talking to you after a shitty day.

  • #SleepingSquad

This sleeping squad is a hashtag movement on YouNow of largely teens, sleeping, getting ready for bed or lounging before bed. An article has been written about how parents should be worrying about their children participating in such activity, as one would think that #SleepingSquad is a peeping tom’s heaven.

In an article written about this, it talked about vanity and how in a weird way, broadcasting yourself sleeping is oddly vain. Simply because, “who would care?” But what kind of vanity would that be inviting predatory viewers to come watch you? What kind of vanity would that be to be putting the most unpolished version of yourself?

These teens actually put themselves out there in risk of potential pedophiles to gain more experience and level up – how creepy.

  • Ice Poisedon

Ice Poisedon was the first twitch livestream I watched, who broadcasted himself sleeping to make money. Apparently, he is not the only one who has the same idea…

He does this by getting his viewers to wake him up. With every “donation”, the livestream makes a noise chosen by the donor. The one I watched played animal sounds, and even some creepy ghostlike song you would typically hear in a horror movie. But he challenges his viewers, and I think this is what makes his viewers so riled up and entertained. In the end, he made a large sum of money of 5k. In another video, he challenged his viewers to top the 5k record.

What a way to trick your viewers to pay you for their own entertainment and all you do is sleep. Somehow this reminds me of hunger games, where people with money pay you to torture you while you sleep and somehow want to intrude that vulnerability and privacy..like its all a game.

  • My project

In my project, I did a livestream of me sleeping. Wearing the hijab posed as an inconvenience to me. Not only was it uncomfortable, but more importantly, I saw it as a visual barrier. The last step I would have to remove in order for my viewers to really experience my full vulnerable self. But when looking back at it, I was probably the first hijabi to be live streaming herself sleeping. And that in itself poses as a new element from the other sleeping livestreams.

It was a symbol of innocence, a protection, a warning, an object that questions people if they should continue watching a girl sleeping in her most vulnerable state. Someone who chooses to cover herself to avoid herself from becoming a predatory victim, has put herself out there to be watched. And the fact that she is unconscious, and cannot see or know what is going on. Would the viewer still continue to push through that visual barrier? What person would that make him to be? I guess I am touching on a topic of morality and self reflection.

As for my friends, they know me, so they were trying to wake me up in the comments. But these viewers are biased in my opinion. And in that way the performance has taken on a completely new meaning.

Week 10: Journal

My favourite spice is Cardamom. My mother puts it in the curry chicken she cooks. (my favourite dish)

Unlike others who spits out or leaves the spices untouched, I love chewing and receiving, absorbing the flavours from this wonderful spice. But it can get too spice-y.

Cardamom originally came from wild plants located in the Western Ghats in Southern India. The plants grew in such abundance in this region that this area became known as Cardamom Hills. During the 19th century, plantations of cardamom were set up by British colonists in India and this is where much of the green and black cardamom that we use still comes from today.

Updated Contextual Analysis – Rosewood chair

INTRO

This rosewood chair with cane seat was produced in India or the East Indies in the early 19th century.

When the Europeans came to India, they were in need of furniture as the natives traditionally sat on the ground. So they exported their own furniture for the native carpenters as a prototype for them to copy. The natives put in some of their own taste into the furniture which led to the emergence of the Indo-European style.

There are three groups: Portuguese, Dutch, or British.

After some reading I feel that the rosewood chair may fit into the Portuguese group.

INDO PORTUGUESE STYLE

This style consists of two styles: the Northern Indian style or the Mughal and Southern style aka Goanese.

The Northern Indian Style: Involves furniture decorated with inlaid bone, ivory on ebony and other dark woods. Resembles tables and writing cabinets from the Italian Renaissance – a dominant style in Portugal at that time

The Goanese Style: Many pieces are made of rosewood (the main reason why I believe the chair comes from this style). Distinguished by small and elegant pieces, flowery design and a holy cross relating to Christian influence of the Portuguese.

I still feel iffy since the chair does not have flowery design or a cross. I think what makes this chair unique is its arm rest loop.

DAY TO DAY

Early 16th century adventurers had little need for sophisticated chairs. Any decorative chairs they brought with them were for ceremonial use and were used as thrones. They were inlaid with precious gold or silver. This shows that this rosewood chair was not used as a ceremonial chair. It might have been a more day to day chair.

What makes it a more day to day chair is this: below, the chair is depicted in a painting by Charles D’Oyly in Patna in 1825-28.

Nop Kishen’s Nautch Party

Watercolour illustration showing a nautch party at which Europeans cavort on chairs, with dancing girls in the background. The assorted chairs depicted include one with the back-looped arms later associated with the courts of the Sikhs.

Source: Victoria and Albert Museum, London 

The Rice Table, 1883 -1889. 

This European family is served a rice table by their servants in Batavia. Note the chair on the left. We do not know for sure if this is the raffles chair or the loop rosewood chair.

Source: Tropenmusuem: 3728-820

UNKNOWN ORIGINS OF THE LOOP

In Amin Jaffer’s book, Furniture from British India and Ceylon, there is a similar chair with back-looped arms made out of ivory. The loop has been thought to be a common feature to colonial chairs in British India and the East Indies. However, another example of a pair of English looped chairs in the 19th century has been found that predates all Indian examples. Whether it was the English or Indian chair-makers who came up with the loop is hard to know. However, the loop, for certain, is popular in British India and East Indies in the early 19th century.

Ivory Chair, India, 1810, The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986

Source: Philadelphia Museum of Art

Hardwood chairs with hoped arms were widely used among Europeans in the east.

THE CANE SEAT

Early versions of ebony chairs with seats of woven cane were the first examples to reach Europe. Caning was initially introduced to the East Indies by Chinese traders (suitable hard woods there and good for mass production). Rattan remained popular in the East till 19th century and is a characteristic of the dutch colonial chairs.

A SIMILAR CHAIR – RAFFLES ARMCHAIR

Mr and Mrs Richmond Thackeray and their son, William Makepeace Thackeray, 1814. George Chinnery

Source: Artfinder

This chair looks almost the same except there are no loops. The arm supports and the cane seating and back are distinctively colonial. These chairs were also very popular in the East Indies and throughout India in the early 19th century. In the Dutch East Indies, they were known as Rafflesstoelen meaning Raffles Chairs. They were named after Sir Stamford Raffles, founder of Singapore and Governor of Java.

Sources:

De Dampierre, Florence. Chairs, A History. Harry N. Abrams; First Edition edition, 2006.

“Roots.sg.” Www.roots.sg. 2014. Accessed October 10, 2018. https://roots.sg/.

“The Past Perfect Collection.” www.pastperfect.sg. Accessed October 24, 2018. https://www.pastperfect.sg/.

Jaffer, Amin, Karina Corrigan, Robin D. Jones, Mike Kitcatt, Markham Sexton, and Jeffrey Dykes. Furniture from British India and Ceylon: A Catalogue of the Collections in the Victoria and Albert Museum and the Peabody Essex Museum. Salem, MA: Peabody Essex Museum, 2001.

Gompel, Dave van, Joost Hoving, Reinier Klusener. Furniture from the Netherlands East Indies 1600-1900: A Historical Perspective Based on the Collection of the Tropenmusuem.

Contextual Analysis – Rosewood Chair

INTRO

This rosewood chair with cane seat was produced in India or the East Indies in the early 19th century.

When the Europeans came to India, they were in need of furniture as the natives traditionally sat on the ground. So they exported their own furniture for the native carpenters as a prototype for them to copy. The natives put in some of their own taste into the furniture which led to the emergence of the Indo-European style.

There are three groups: Portuguese, Dutch, or British.

After some reading I feel that the rosewood chair may fit into the Portuguese group.

INDO PORTUGUESE STYLE

This style consists of two styles: the Northern Indian style or the Mughal and Southern style aka Goanese.

The Northern Indian Style: Involves furniture decorated with inlaid bone, ivory on ebony and other dark woods. Resembles tables and writing cabinets from the Italian Renaissance – a dominant style in Portugal at that time

The Goanese Style: Many pieces are made of rosewood (the main reason why I believe the chair comes from this style). Distinguished by small and elegant pieces, flowery design and a holy cross relating to Christian influence of the Portuguese.

I still feel iffy since the chair does not have flowery design or a cross. I think what makes this chair unique is its arm rest loop.

DAY TO DAY

Early 16th century adventurers had little need for sophisticated chairs. Any decorative chairs they brought with them were for ceremonial use and were used as thrones. They were inlaid with precious gold or silver. This shows that this rosewood chair was not used as a ceremonial chair. It might have been a more day to day chair.

THE CANE SEAT

Early versions of ebony chairs with seats of woven cane were the first examples to reach Europe. Caning was initially introduced to the East Indies by Chinese traders (suitable hard woods there and good for mass production). Rattan remained popular in the East till 19th century and is a characteristic of the dutch colonial chairs.

Sources:

De Dampierre, Florence. Chairs, A History. Harry N. Abrams; First Edition edition, 2006.

“Roots.sg.” Www.roots.sg. 2014. Accessed October 10, 2018. https://roots.sg/.

“The Past Perfect Collection.” www.pastperfect.sg. Accessed October 24, 2018. https://www.pastperfect.sg/.

Free writing Additional Details – Rosewood Chair

From my visual analysis from the previous post, I find that this chair could have been made for someone who could sit back and recline because there is a back rest. The two armrests suggest the chair was made to rest. It’s height suggests it might have been paired with a desk.

After some reading I found out that before the arrival of the Europeans to India, people traditionally sat on the ground level.

The Portuguese found that there was no local infrastructure for the production of the furniture they were used to. They, and later also the Dutch, British and French, filled this need by commissioning Western style furniture from native carpenters.

The Past Perfect Collections, https://www.pastperfect.sg/about-us/indias-colonial-antiques/

Interestingly enough, from my visual analysis, I have found similar traits that my dining room chairs at home, share with this rosewood chair.

Team 4: Updated Proposal

Final Project Proposal

Topic: By providing visual aid of the recreation of a 16-19th century home, We hope that visitors will be interested to see the objects themselves in the museum.

The tying narrative: All objects chosen were objects found in a Dutch home.

Possible objects:

  1. Spirit keg depicting a Dutchman sitting on top of a barrel (18th century)

  1. Plate with Dutch family coat of arms from China (18th century)

  1. Rosewood armchair from India or East Indies (early 19th century)

  1. Double pipe case from Sri Lanka (16th century)

Possible format: Showcasing the selected items in the style of an Ikea catalogue. Each page of the catalogue will show a scene of a house in each century. It will highlight the object shown, the description and maybe a price just for light hearted humour.

Short term and long term goals

Short Term

Andree: Research, Visual Analysis, Contextual Review on Medium

Tong Chen: Research, Visual Analysis, Contextual Review on Medium

Nadia: Research, Visual Analysis, Contextual Review on Medium

Jia Xian: Research, Visual Analysis, Contextual Review on Medium

 

Long Term

Andree: Layout, Creation of images in each page

Tongchen: Formatting of each description

Nadia: Creation of images in each page, Printing

Jia Xian: Creation of images in each page

 

Method of Discussion

Whatsapp and occasional meet-ups face to face or online

 

Bibliography

  • Jaffer, Amin, Karina Corrigan, Robin D. Jones, Mike Kitcatt, Markham Sexton, and Jeffrey Dykes. Furniture from British India and Ceylon: A Catalogue of the Collections in the Victoria and Albert Museum and the Peabody Essex Museum. Salem, MA: Peabody Essex Museum, 2001.
  • Kroes, Jochem. Chinese Armorial Porcelain for the Dutch Market: Chinese Porcelain with Coats of Arms of Dutch Families. Zwolle: Waanders, 2007.
  • Jaffer, Amin. Luxury Goods from India: The Art of the Indian Cabinet-maker. London: V & A, 2002.
  • “Roots.sg.” Www.roots.sg. 2014. Accessed October 10, 2018. https://roots.sg/.
  • Jörg, C.J.A, and Mark Poysden. Fine & Curious: Japanese Export Porcelain in Dutch Collections. Amsterdam: Hotei Publishing, 2003.

Team 4: Rosewood Chair, Free Writing

Rosewood armchair from India or East Indies (early 19th century)

As a whole: 

This chair as a whole is made out of medium dark wood. By looking at the grain of the wood in the chair, it looks like each piece was carved out of wood and then pieced together.

From the top, down:

1. The Backrest

We see the backrest to this chair. As it curves out and under slightly from the top, it gradually straightens out downward and eventually stops about halfway.

Attached to the two side edges of the backrest are two thin supporting planks. These planks have a small spiral on the top then comes down following the exact curve of the backseat. They start to straighten out, but as they begin to reach the seat they bend slightly outwards attaching themselves to the two back corners of the seat.

2. The Seat

The seat, is a square base, made out of a wooden frame with a hollow centre. Filling up that hole, is what seems to be a tightly weaved rattan cushion. This rattan weave is a light tan colour.

3. The Armrest & 2 Front Legs

Another two thin planks of wood form the two armrests to the chair and eventually forming the two front legs of the chair. They begin at the bottom of the two spirals, passes the two front corners of the seat, and finally ending as two legs.

In the beginning, the two planks dip down in midair and curves to where a typical armrest would be. On the way, it touches the side edges of the backrest at its one third point, forming a loop. At the armrest they form fairly horizontal straight lines. They also have a slight bevel where the wood curve perpendicularly vertically down connecting themselves at the two front corners of the seat forming the hand grips. Before touching the seat, the wood forms a design beveling in and out in different thickness and lengths. This design continues all the way downwards, even past the seat, which eventually takes form of the two front legs of the chair. After the design, the legs take on a cylindrical form, tapering as it gets lower. Just before touching the floor, a similar but simpler design takes place.

4. The 2 Back Legs

The two back legs of this chair are made from another two planks of wood. They do not take form cylinders but more of a cuboid. They curve outwards slightly. Before touching the floor, there is another supporting wood (horizontal) connecting both of them.

5. The Supporting Planks & Metal Connectors

Connecting the back and front legs are two supporting woods (horizontal) connecting both of them. Another supporting wood connects these two.

Throughout the connecting points of the chair, are goldish metal rectangular connectors, melted to the form of the wood. Some connectors have screws.