Do It With Others and Experimental Interaction

Do It With Others (DIWO) is a variation on Do It Yourself (DIY) where activity is now shared through participatory media.

In this approach, peers connect and collaborate, creating their own structures, using either digital networks or shared physical environments, making an art that is both made and distributed across a network.

Do It With Others (DIWO): Participatory Media in the Furtherfield Neighbourhood, Ruth Cathlow and Marc Garrett, Furtherfield

DIWO is practiced in Furtherfield, where the focus is now drawn on collaborative effort through emerging social technologies. In art, the role of the artist and the spectator is blurred. Those who come as audience usually play a part in influencing the outcome of the artwork, while the artist lift his own directive authority on the piece. A commonly known example of this is Yoko Ono’s Cut Piece, whereby Yoko stays completely still and allows the audience member to curate how her clothes are cut.

In this Experimental Interaction module, we explore the concept of DIWO through micro-projects.

Our fourth micro-project titled “The Collective Body” is a feed of our body parts combined on a Flickr group to create what is a metaphysically diversified body. The technology of a Flickr group feed enables us to each contribute to the composition of this piece through our personalised frames and augmentations on our photos.

Another micro-project that works on DIWO is our first micro-project, whereby we stream on Facebook Live concurrently as we walk through our school. The streams are the aggregated onto a wall in a grid. The collaborative stream of events creates a metaphysical collage of space and time, moments we experienced together.

DIWO means exploring the potential to share visions, resources and agency, through collaboration and negotiation, across physical and virtual networks – maintaining a critical consciousness and hopefully, somehow having a decent life at the same time…

Do It With Others (DIWO): Participatory Media in the Furtherfield Neighbourhood, Ruth Cathlow and Marc Garrett, Furtherfield

DIWO plays an integral part in interactive art since the media is largely dependant on audience activity and collaborative effort. An artwork is deemed interactive when the audience can expect to participate and even play a part in the outcome of the artwork. It could even be said that art is not interactive without DIWO.

DIWO embodies ability to aggregate work in collaborative curation, allowing any person to create art, and this has revolutionised our contemporary art scene.

The Telematic Embrace

This micro-project thrives on our ability to synthesise first and second space elements to construct by collaboration in a metaphysical third space. Through our desktop screens, we see a cohesive image of choreographed ideas. We are synchronising our actions in reality to interact with each other in the third space.

These scenes were screenshot during an interactive adobe connect session.

Our perception of reality through these spaces are thwarted. It is almost as if we are tangibly together in this stitched reality with no sense of realistic angle other than the one we had staged to frame our subject.

We also played with our ability to displace the visual reality by distorting matter through translucent objects.

 With proper choreography and collaborative effort, we are able to create complex motifs such as the ‘X’ in this photo.

Holding up objects of similar colours allows our visuals to react to each other and form a harmonious net of split screens. This synchrony shows that we are interacting with each other and each other’s visuals, and subsequently constructing a third space of our creative effort within the span of a screen.

A Collaborative New Media: The World’s Longest Sentence

The World’s Longest Sentence is an interactive art piece that is enabled by the collaborative contributions of the audience through a website. The site instructs them to “continue the sentence” by submitting material of varying type – including text, image, video and sound.

The audience member is unaware of what precedes in the sentence. I contributed by submitting the phrase “to continue the sentence”. This phrase will then be published at the back of the running sentence on the website.

Generated is a long running, haphazard sentence of all languages and slang. Oddly enough, we are able to make sense of the different fragments contributed, and the stark coincidence in some pieces is compelling to watch.

Narrativity takes on new meaning and form in networked practices, through collaborative, many-tomany systems of writing, media making, and other forms of online expression. In connection with open source thinking, the collective narrative is a sharing and open exchange of conversation, ideas, information, and media that leads to a synthesis of voices: forming a common thread among peers.

Randall Packer, Open Source Studio

The piece is a social media that synthesises the communicative language and thought of a multitude of audiences, creating what seems to be a collage of a narrative. By collapsing our differences as such, and enabling our sentence to tally, the artist has put forth an incessant stream augmented reality; a third space whereby our differentiated thoughts are able to tell the same story. In one read, we are able to experience the narrative from a plethora of physical angles and make sense of them in a metaphysical space of cognition.

The possibilities of peer-to-peer authoring of the collective narrative is now native to our writing tools, such as Google Docs, Microsoft Word, and WordPress, in which multiple authors can coauthor and collaborate on writing projects, often in real time. This dramatically alters the act of writing and narrative, from the singular activity of a very personal form of individual expression, to a collective activity that is highly collaborative: all publishable instantaneously to a global audience.

Randall Packer, Open Source Studio

Much like collaborative online systems such as Google Drive and Google Docs, The World’s Longest Sentence allows for multiple users to co-author a narrative. What differentiates it from such softwares is it’s provision of instruction to allow for live collaboration on a much larger scale. The instructions narrow function as facilitators for the users to move in the same direction when participating in this extensive narrative.

Grand Theft Avatar – As a Third Space

The Third Space has an ability to collapse space and time through a “fragmented and augmented perception of reality”, according to Randall Packer.

We are connected to each other within this space, despite factors of reality that may hinder this connection. An example of such a network is Grand Theft Avatar — a live interactive performance art by Second Front.

In this piece, the participants of Second Front take up pseudo identities and deploy to rob a bank to free the virtual currency of “Linden Dollars”.

The third space represents the fusion of the physical (first space) and the remote (second space) into a third space that can be inhabited by remote users simultaneously or asynchronously.

Randall Packer

Grand Theft Avatar deploys a simultaneous use of the third space, collapsing the notions of reality through allowing such a scene to take place virtually/in a metaphysical space while the subjects are controlled live by actual beings.

It showcases how participants would interact with other participants in real life, however these behaviours are only actualised in a virtual space. This phenomenon rids the scenario of cause and consequence, creating a hole in this staged reality.

The third space is perhaps akin to the fourth dimension, a hyperspace where spatial trajectories have no boundaries, where temporal relations are amorphous, where wormholes reveal pathways that are instantaneous and geographically dispersed.

Randall Packer

The nature of Grand Theft Auto is also said to allow it’s players to experience thrill through reckless behaviours that harbour serious consequences in real life.

It could then be said that in this third space, actual beings can experience a different and impossible version of reality through this media. This quality brings a certain superior level of flexibility to the third space.

From Proprietary to Open Source: Our Expanded Studio Space

The Open Source model is one that gives everybody the right to be a content creator.

Before the advent of Open Source, the Proprietary media had limited our practice to our a selective pool of message senders, particularly those who were practiced media. Open Source gave anyone who had access to this system an opportunity to publish their messages through this media.

The concept of the open source studio finds its greatest potential in the collaborative practices among peer groups that share goals, methods, ideologies, and aspirations. When artists and other creative practitioners aggregate their work (do it with others), it Fig5 Kit Galloway and Sherrie Rabinowitz, Hole-In-Space: A Public Communications Sculpture, 1980. (Image courtesy of IEEE Potentials November/December 2015 n 37 constitutes a form of cultural production that is collective in nature, whether it be a work of art, creative dialogue, or social interaction with the public. The Internet and social media have catalyzed this capability by providing multiple distribution channels for discourse and shared production.

– Packer R, Open Source Studio

Open source also means that users can interact with sources, therefore making it a space for DIWO (Do It With Others), which is a movement that encourages a collaborative practice.

Another difference between the proprietary and open source model is it’s directional ability as a means of communication. Proprietary is a unilateral communication model, whereby open source’s bilateral ability can allow for  a review of the message. In a sense, the source can be influenced in real time by multiple users, providing it with a different value.

…fast, efficient, and dependable communication, guided by protocols both social and digital (a process Benkler calls “integration”, can generate brilliant and powerful tools and expressions

Vaidhyanathan S, Open Source as Culture-Culture as Open Source

This model also changed the market by providing non-commercial, non-copyrighted materials to the public, putting a question mark in people’s heads. This efficient means of communication sped up the development of many industries as the pool of accessible information had greatly increased, and the speed at which such knowledge could me acquired had also improved a fair bit.

This Urban Gymnasium is an installation that invites it’s audience to use household materials in actual gym culture. The art is not just in the physical setup but is also defined by the audience’s performance.

As artists, we are also able to leverage on this system by allowing our audiences to interact with or even influence the outcome of our works. This act of DIWO is phenomenal because it allows our audiences to share the experience of art making with us.

micro project 1: experiment in social broadcasting


4 8 9 6

Posted by Yeow Su Xian on Thursday, 18 January 2018

A new experience in social broadcasting. From creating a pseudo identity on social media to hosting a live broadcast with 18 other equally new classmates simultaneously in a collage on an online wall.

This micro project was both engaging for the artists and viewers, experiencing ADM from different angles, perspectives, personalities, and media — creating a ‘third space’ — breaking the walls that we had known to experience time and reality.

The derivative of this piece is a social wall of collapsed experiences and emotions, giving our perceived realities a different dimension, immortalising the moment in time that the ADM faculty, involved or not, had experienced through our Lives today.

ego – skewed sonnet of learning curve

harmony in variety of five colours in tetrahedric relation, basic tones suggests ideas of young, intuitive learning.series inspired art direction of shinro ohtake’s pieces in ‘paper-sight’, an exhibition birthed during his residency at stpi.ego: skewed sonnet of learning curve is a series of twelve 20x20mm works that explore the obscure concepts of growth and maturity – childish sexual discovery and broken virginity.

the first three lines – y=9, y=13, y=16 – are based on a sonnet written by myself during my adolescent years. the poem goes by the same title. vocabulary used in each stanza are translated both literally and figuratively in visual chaos to create a whole new expression and interpretation of the sonnet.

the last line is based on a poem titled y=21, written to specially for this piece embody the current self.

throughout the series i play with local references to target subliminal memories of childhood without direct recognition.

the following line is based on this stanza

in each line, i use heavily saturated accent colours in the subject to create an emphasis, foreground and background. the composition of the elements follow a certain diagonal to create dynamic and order in the variety. one glance, a clear narrative. but upon every closer look, there is new revelation and symbols to skew the thought.

mutilated graduation photograph of young me
candy canes and cane rods
scissors &
drawing of scissors that looks like a penis
bata logo missing a T – baa baa baa
faceless sheep
ken doll

dragon playground
bandages that form crossses
drawing of playground

velcro bata shoe
tassel whip
carcass of sheep
skull of sheep
eyes from photo of young me in first composition
punishment lines that read: “i will make better choices”
photo of squatting young me
drawing of myself playing at slide that looks like a penis

the following line is based on this stanza

ideas of puberty creep into this line. lots of pinks and blues are used to pull focus and illustrate the concept of litmus (as emphasized in the stanza).

girl with tassle whip hair
christian school pinafore
my eyes in lab goggles
cats cradle
diagram of hand sign to intercourse
my surname – 姚 – with chinese character of female in green
chinese foolscap box
‘popo’ (missing p) and ‘fish’ from fish muruku packaging
sex diagram paper cut out

lab beaker
photo of me with eyes from first composition masked out
mouth from hentai comic
student couple kissing from stomp
data log chart
ovary diagram as pipette
ministry of education logo
pythagoras theorem
para para sakura arrows
old nokia phone

grapefruit and other citrus fruits
fish muruku mascot baby
hand holding litmus paper
nipples with milk squirting out
lab beaker
diagram of double helix DNA

the following line is based on this stanza

the great gatsby – my literature text – is an overarching theme in this line. green (as in the green light in gatsby) is used to pull and subvert focus from subject and background.

my teenage photo
face in gatsby cover
eyes from photo of my teenage self
gatsby blackout poetry
uno with ‘no’ highlighted

‘eyes of god’ from gatsby
batman’s joker mouth and nose (ref to shootings in 2012)
receipt with handwriting that reads ‘find rich husband’
eyes from my teenage self

rocking horse
handwritte ‘slut’ missing the L
snare drum
‘stop’ and ‘+2’ uno cards
the great gatsby analysis worksheet

the following line is based on this poem

this line is simplified to show mature concepts that have evolved with the young adultish mind of my current self.

sparkling fuji apple logo mispelt to form ‘spankin’
bird from snow white
photo of my current self overlayed with question marks
snow white’s mouth

drawing of snow white in sexy attire
birthday cake
birds from snow white
recording watermark
fuji apple from sparkling fuji apple drink
‘F’, ‘A’, ‘P’ highlighted

mother mary as the witch from snow white
sparkling fuji apple canned
egg and sperm that form bubbles
photo of my current self praying
snow white’s sleeve, collar and crown

alas, the final product — to be reproduced one day, larger scale, silk screen printed on canvas.



Principles of Design

This is a 3-member presentation with
Ryan Sng and Sherry Yap

The Principles of Design describe the ways that artists use elements of art in their work. They are mechanisms of arrangement and organization. Today we will touch on the principles of harmony, pattern, size, scale, proportion — which — when mastered can help you to purposefully compose elements of art to communicate your desired effect.

Harmony in visual design means all parts of the visual image relate to and complement each other. It is the visually satisfying effect when we combine similar elements in a work. In A Basket of Flowers with Shells on the Ledge (1975) by Balthazar Van Der Ast, the artist used a red colour to create harmony throughout the differentiated shapes and axes of the elements. The use of adjacent colours on the colour wheel can help to harmonise differentiated shapes, and likewise the use of similar shapes can help to tie elements of contrasting colours together. This can be achieved by using repetition and rhythm — a concept commonly synthesised to be known as pattern.

Pattern is showing consistency by connecting the elements.

The use of pattern can synergise the elements in a composition. In The Web of Corporate Good (2017) by Ryan Mamba, the repeating triangles pull together the different directions, scale, perspective and axes of the shards. The variation in its scale creates a flowing dynamic in the composition of the architecture that leads towards a focal point.

This principle is evident in architecture, urban landscape, film and photography. It can also be used to synergise works of a series.

Wes anderson uses blocked symmetry and a curated colour scheme in his works to create synergy throughout the scenes — and even define his style.

Pattern can also be used in more candid, photorealistic works. The three-tined shape of the pitchfork in Grant Wood’s American Gothic (1930) is repeated exactly in the clothing. It is also repeated in the windows and vertical lines in the house. On the other hand, curved shapes surround the woman’s head – in the broach, curved edge of her dress and background trees. This repetition of shape unifies the painting, while the differences between the vertical and curved shapes give the painting a balancing sense of variety.

How do we properly leverage on the properties of these patterned shapes or lines or forms? We can use them in a rhythmic manner by repeating elements, creating a movement in which some elements recur regularly. Repetition works with pattern to make the artwork seem dynamic.

In a rhythmic pattern, elements could be regular or irregular and even or uneven. Elements in the form of radiation where the repeated elements spread out from a central point. Or the form of gradation where the repeated elements slowly become smaller or larger.

In Anthem (2017) by Ryan Mamba, identical polygonal elements and identically positioned flags are repeated in a predictable manner, creating an organised direction that guides the eye to move diagonally.

Whereas in Cuboid (2016) by Ryan Mamba, the lines lead towards a vanishing point, guiding the eye to the subject at the center. The idea of graduation is seen in these diminishing rectangles, creating a depth. The idea of radiation is seen in the splayed axes of elements created by the perspective of the photo. The repeated parallelograms also create a synergy that composes the elements of photo in the same direction.

Rhythmic composition of elements can indicate movement and make an artwork seem active. The repetition of elements of design creates a clear sense of consistency, cohesiveness, and unity — which we will talk more about in the later parts of this presentation.

Unity refers to the synergy of the whole composition. The parts of a composition made to work together as a total visual theme. /It is the relationship among the elements of a visual that helps all the elements function together.

my line is emo: documents_

what is an emotion? is it an intrinsic feeling or an extrinsic expression? how then can we document_ these intangible emotions on physical matter?

a sentiment, an experience, a memory or a feeling — captured in a document_ — emotions splayed upon these fibres in ink, etched upon my memory in nerve, marked upon these matter in matter.

and thus upon these lines, materialised my emotions as \outward reactions to inward feelings.

documents_ is an abstract mixed media piece that constitutes of six lines of block printing ink upon paper mached documents. each line expresses an emotion that is embodied by the document in question.

while the lines carry visual indicators of the relative emotions, the process and mark-making tools used are also significant of the premise. and while the lines symbolize varied emotions, there is a gloominess throughout the strokes — a dark joy, a conflicted surprise, etc. — that comes off the organic expression of a heavy narrative.

the paper mache brings a different texture to the lines, while the lines bring a different texture to the documents and its pretext.

preliminary mark-making_
the first step in my mark making process was to curate a set of close-to-heart documents_ that embody six different emotions (to be discussed in the later parts of this entry). i then scanned and processed them in adobe photoshop to reproduce the print on paper of my choice.

choice of paper_
i chose paper to match the contextual properties of the documents. the colours and textures of the paper resemble what these documents were originally printed on — vintage newsprint paper, certificate paper, stone-textured paper, etc. the varied textures also created a nice variation in the grain and texture of ink marks.

treatment of paper_
i soaked the paper in hydrogen peroxide mixed water to wear the print. afterwards i lay them on a silkscreen and pressed them dry with a roller and felt paper. they were then dried between sheets of newsprint paper on a rack.

paper — my grandfather’s death certificate
ink — block printing ink
tool — my grandfather’s slipper

my grandfather was an abusive man. at his funeral, though gloomy, i felt a stark feeling of joy. it was a spontaneous feeling that bubbled and exploded in little bursts, yet the undertone was sinister. there was an intense happiness during his wake. my brother and i kicked around the cathedral for the first time, it was the start of our freedom. we could finally return to a home without worrying about how our calves would feel the next day. it was an exciting new feeling – tears of joy were salty yet sweet.

for this piece, i trampled on a mache of my grandfather’s death certificate with an inked slipper. the grain of the slipper and the ink that gets caught on the grooves of the paper mache form bulbous shapes that combine in little explosions. the movement is swift and has an upward trajectory, much like the bouncy feeling of joy. yet the undertone is not too pleasant, significant of the deep feelings that brought about this joy.

paper — music score to ‘drown’ by bring me the horizon
ink — block printing ink
tool — fingers drenched in diluted ink

during my teenage years i experienced simultaneous crises of identity and purpose. i was in a slump and my feelings were raw. many of my peers poked at my fragile emotions and made me question my existence. and the silence at home was deafening. i would listen to ‘drown’ by bring me the horizon, an alternative metal song that bore uncanny resemblance to my plight, proof that i was not alone. even to this date, the song pulls at the strings of my adolescent memories and feelings of tenderness.

What doesn’t kill you makes you wish you were dead.
Got a hole in my soul, growing deeper and deeper.
And I can’t take one more moment of this silence.
The loneliness is haunting me.
And the weight of the world’s getting harder to hold up.

It comes in waves, I close my eyes.
Hold my breath and let it bury me.
I’m not okay, and it’s not alright.
Won’t you drag the lake and bring me home again?

Who will fix me now? Dive in when I’m down?
Save me from myself, don’t let me drown.
Who will make me fight? Drag me out alive?
Save me from myself, don’t let me drown.

Excerpt from Drown by Bring Me The Horizon

these lines inspired me to use water in this piece. i drenched my paper in water and splayed diluted ink over it to create a feathered print.

my first layer resulted in a light greyish splatter print that watermarked over the paper. i decided to go over it with concentrated ink to create aggressive splotches that feather out slightly at the edges. the print looks almost painful to touch. the splatters are raw, but connote a certain fragility and rawness.

paper — bible
ink — block printing ink
tool — fingers drenched in diluted ink

fear is the day i stopped going to church. to those who bullied me and those who i bullied, the pastor read this scripture:

When you march up to attack a city, make its people an offer of peace. If they accept and open their gates, all the people in it shall be subject to forced labor and shall work for you. If they refuse to make peace and they engage you in battle, lay siege to that city. When the Lord your God delivers it into your hand, put to the sword all the men in it. As for the women, the children, the livestock and everything else in the city, you may take these as plunder for yourselves. . . . This is how you are to treat all the cities that are at a distance from you and do not belong to the nations nearby.

However, in the cities of the nations the Lord your God is giving you as an inheritance, do not leave alive anything that breathes. Completely destroy them—the Hittites, Amorites, Canaanites, Perizzites, Hivites and Jebusites—as the Lord your God has commanded you.

Deuteronomy 20:10-17

the verse, on destroying other people, frightened me. it was the first time i questioned the beliefs that i had based my life on. the divine power that i thought was there to protect me had turned into my biggest punisher. all of a sudden i realised i had been sinning my entire life.

this inspired me to create splattered lines that depict a speedy movement. the strokes are fast, sharp and haphazard. yet you can notice a muted tone in at the broader end of the line. i wanted to create a line that embodied the feeling as fear hits in riptides that stun and confuse with the influx of realisation. fear is unexpected and random, it will jar. the haphazard axes of the lines resemble this phenomenon. sub-note: though unintended, the thorny nature of the marks also connote the crown of jesus.

paper — 1984 article on the graduate mothers’ scheme
ink — block printing ink
tool — scrubbing sponge

i wanted to dedicate a piece to my mother, a woman who had guided my emotions to places. my mother recommended this article of the 1984 graduate mothers’ scheme of which she had archived. she played a part in many of the rallies that stood up against this policy. the article is the first among many to oppose against the scheme; an article that projected many to follow in a national outcry. a symbol of the nations anger and rebellion towards the government of that time.

i used an old scrubbing sponge to create heavy and swift marks that coagulate to show an anger that emits and spreads. the sponge is also a symbol of the hands of women in that masochistic era, fighting for an equal environment for themselves and the children.

paper — my gce ‘o’ level certificate
ink — block printing ink
tool — sponge cut into circle

surprise is a feeling that catches you off guard. there are many kinds of surprising feelings, but they all give off the same kind of tingly, whirly sensation. when i received my gce ‘o’ level results, i was surprised with both high and low-spirited feelings. coming from a lower end neighbourhood school, i never thought i would qualify for a decent junior college — but i did. it was a sudden abundance of choice, and i did not know which was better, a junior college or a polytechnic. i eventually opted for a junior college, but left after a year to pursue more creative endeavours.

i wanted to create a spontaneous and whirly pattern with the round cut sponge. i used the dry sponge on concentrated ink to create the porous effect that resembles a sort of celebratory firework. i then flipped to the back to the sponge to create swirls that connote the whirly feeling that hit me at the back of my head.

paper — ‘fault lines’ by cheryl julia lee
ink — block printing ink
tool — hand

perhaps the most simplistic and minimalistic of the series. this piece embodies the feeling of melancholy i get when reading my favourite poem — fault lines by cheryl julia lee. it speaks about a story much like my grandmother’s, coming from a patriarchal peranakan family, who used to be abused by my grandfather.

Grandma was too small to move a mountain
so they made her wash dishes instead. Her hands
cracked for the first time underwater,
again when she brushed a stray strand of hair
from her face, again when her touch
made baby cry. But Grandma is good
at doing what she has to do. She rubs
her cries into splintered hands, wipes the broken
syllable from her lips, and keeps on scrubbing.
Even later when they made her carry
the laundry on a bamboo pole, the wood
rubbing away at her skin, she bore it like a proud
flag bearer. These earthquakes tearing up fault lines
on her palms are too small, too local
and no one notices that she strokes with knuckles,
that she sits always with folded hands,
that the fortune teller cannot tell her future.

Fault Lines by Cheryl Julia Lee

I wanted to create a sense of desolation and drop-to-the-ground sadness by isolating the concentrated handprints in one single spot. the stroke is slow and graduated, much like the muted sadness as one basks in melancholy. the faded ends of the handprint also represent a certain sense of loss and lack of energy. the initial palm print is heavy as if an abrupt puff of despair.