Physical copy – in folder.
Content of the manifesto:
Design to me is a constant development of styles that marks each era with its own characteristics. Design has physically created and built our current world; from the design of toothbrushes that we use daily to the homes that we live in. To this day, many various forms of design including all that we have learnt this semester, interactive media, visual communication and product design, have proven to serve society with a purpose to progress and improve constantly.
good design to me is something that has a purpose and is designed for its purpose. it is smartly thought out for its function whilst possibly encompassing an aesthetic exterior.
but with that being said, designs are also very subjective to every individual. a design which I may deem as simple and classic could be thought as boring to someone else. but that is the beauty of design. the presence of its variety caters choice and options for everyone to express themselves in their own unique way.
- continue designing for a purpose
- continue designing for our future
- continue designing to improve
- continue designing to fulfil our desires
- continue designing because we want to
Moving forward, think we need to continue whatever mankind has been doing to further develop this world into a place we enjoy living in.
FLUIDIC – Sculpture in Motion is a kinetic laser light sculpture created by Hyundai Motor Co. with WHITEvoid, an interactive design company and kinetic artist Reuben Margolin. This installation exhibited in 2013 won a prestigious Red Dot award for communication design. Comprising of 12,000 translucent spheres attached to almost invisible strings that act collectively as a screen and surrounded by 8 high powered lasers, the sculpture is suspended over a pool of water. This pool of water provides a reflective surface that mirrors the lit up sculpture. Within the world of multimedia concepts, I think that FLUIDIC includes traits of interactivity as well as immersion to certain extents.
The set up of this exhibition is amongst a darkened space whereby the viewer’s eyes will adapt to the dim lighting over time. Leading up to the core installation, there are also wide curved cascading podiums. (as seen in the image above) Clearly, the detailed considerations going into the exhibition space as a whole plays a very important role in the viewer’s experience as I would consider it an immersive one. Although the application of immersion here doesn’t exactly fit the definition of immersion as according to Ivan Sutherland in The Ultimate Display, “A display connected to a digital computer gives us a chance to gain familiarity with concepts not realizable in the physical world.”, immersion, in this case, refers more to the idea of having your senses immersed in a space that is slightly altered from your everyday space. One where your body will readjust from when you leave the exhibition.
Its performance begins with a recreation of virtual rain with the lasers, followed by an interactive segment whereby the human presence creates three-dimensional visuals. A 3D scanning system that registers body warmth has made its interactivity possible. Anyone involved in interacting with the switches become unwitting ‘puppeteers’ that are working as a collective to change the overall aesthetic exterior of the work. “For the last 20 years, I’ve been making kinetic sculptures that seek to combine the sensuousness of nature with the logic of math.” – Reuben Margolin. This interactivity links back to the concept of cybernetics where there is a presence of a relationship between man and machine; and the idea of action and reaction. Similar to Robert Rauschenberg’s Soundings, where the intensity of light would vary based upon sound pitches, light elements in FLUIDIC would flicker, rearrange and mimic the viewer’s movements. These interactions lead to a series of initiated communication.
“They are constantly in motion, reacting and adapting with the people who seek to engage with the installation.”
Technology has allowed for the programming of algorithms to react accordingly through senses other than touch. FLUIDIC’s ability to register body warmth allows for the automatic arrangement of the floating spheres as well as the positioning and projection of laser lights. Generating both bright and dim light points, seamless graphical compositions are formed. Examples of this interactivity are evident around the 1 min 25 sec mark of the video below.
Amongst the various aspects of interactivity, FLUIDIC also supports the idea of behavioural art whereby the presence of people aka participants makes the artwork complete. With the lack of human interaction, the installation would not be able to display itself to its full ability. The idea of interactivity, in this case, is not subjected to a one on one relationship between the work and one other viewer. Instead, it allows for collaboration between anyone who is involved.
FLUIDIC portrays the idea of nature and flow in life through instinctive rhythms and ability to adapt as human motions are reflected in its dynamic arrangements. This idea was based on Hyundai’s identity to embrace harmony with rhythm. It’s 4 principles: fluid, dynamic, motion made easy and driving pleasure. The fluidity presented in this work mimics the organic movements of the human body hence why this installation was probably made to be interactive.
Speaking of all this interactivity, interactive art was first explored in the early 1960s. Nam June Paik’s Magnet Tv was one of the earliest examples of interactive media art. “Paik challenged the notion of the art object as a self-contained entity and established a process of instant feedback, in which the viewer’s actions have a different effect on the form and meaning of the work.” – Whitney Museum of American Art
The phrase “process of instant feedback” really stuck with me because I felt that it is the key achievement in Paik’s production of his work. Without this ability for technology to react instantly, the interactive quality would not have been as engaging and exciting. As one of the pioneer interactive works, Magnet TV “anticipated the participatory nature of much contemporary art.” Increasing technological advancements have undoubtedly led to the evolution of today’s work where cybernetics and behavioural art plays an important part in contemporary art.
FLUIDIC – Sculpture in Motion
was an installation created for Hyundai’s advanced design center installed for Milan design week and created by Berlin-based design studio WHITEvoid. The sculpture consists of 12,000 translucent spheres that float over a pool of water. This piece of work covers the concepts of interactivity as well as immersion to certain extents which I have covered in the hyperessay.
FLUIDIC was an updated selected choice of work because I realized that what I had initially chosen, which was CLOUD installation by Wayne Garrett, didn’t quite have elements of technology integrated into art even though it carried traits of interactivity. Below is the research I did for Wayne Garrett’s CLOUD sculpture before my updated change.
CLOUD – Wayne Garrett
Created from 6000 incandescent light bulbs, CLOUD is an interactive sculpture by Canadian artists Caitlind r.c. Brown and Wayne Garrett. Viewers can interact with the CLOUD during exhibitions by ‘initiating impromptu collaborations’, working together as a collective to activate lights on its surface. The strings dangling down are pull chain switches that control the CLOUD’s canopy exterior.
Beneath its beautiful illuminating facade, the CLOUD’s underbelly exposes it’s industrial and utilitarian side. Supported with structural beams, exposed electronics and imperfect hand-bent steel, the ‘reveal’ breaks our initial impression of its delicate exterior aesthetic. Similarly, with the bulbs, there are actually LED bulbs beneath the surface of incandescent bulbs filtering the bright LEDs.
The interactive aspect of this sculpture draws viewers underneath it, hence exposing them to the awareness of domestic waste and the presence of insignificant objects within our urban environments. This has been portrayed through the surface of incandescent bulbs; as they are phased out in the EU and various other countries, the sculpture demonstrates the ongoing transitions in today’s technological advancements.
“the sculpture gains new meaning as a beacon of transitional technologies and changing futures – where are we going next?”
In the midst of this collaborative action that alters the CLOUD as a whole, viewers engaging with the pull chains become performers and puppeteers that are orchestrating a changing visual for others observing from a distance. The viewer’s experience and takeaways from this piece vary depending on their level of participation and observation.
CLOUD relies on the universal symbol of our environment (rain clouds) to communicate against cultural differences and language barriers.
Relating this installation piece back to interactivity as discussed in class, the CLOUD supports the idea of behavioural art whereby the presence of people and participants makes the artwork complete. Without the human ‘factor’, the whole message about environmental sustainability and excess presence of insignificant objects will no longer be projected. Even though its purpose can still be communicated through displayed descriptions of the work, its impact would be a lot stronger through interactive experiences with the CLOUD up close.
1 // Is this my future? is a series of 4 mixed medium pieces that bring you through jobs I’ve dreamt of pursuing as a child from young to old. The concept of time and age is brought through the evolution of carelessness in craftsmanship.
2 // Haji is a digital abstract driven eight-page zine created to portray Haji Lane as a creative space in Singapore; a filled canvas that comprises of interesting boutiques, beautiful cafes, and the lively nightlife.
More information about both projects here!