Analog Project [Documentation]: Cascade / Strings Installation

Ideation

Initial Project Idea at ADM Pond area

I initially wanted it to be like an artificial waterfall, which would cascade down the roof and into the ADM pond. Should I have placed it here, my ideal colour pick for the strings would be a cool-themed colour.

After a round of consultation with prof and classmates, I realised that 1. the interaction was lacking 2. it was more of a sculpture, and did not lure others to interact with it.

Also, I realised that it might be a safety hazard with regards to hanging it on the roof. The strings might tangle too, but I was ready to secure it to the bottom by weighing it down. However, I decided to switch it up instead, and shift the installation to another area.

Idea no 2

 

Hence, I transplanted it into a singular, rectangular installation (instead of previously fronting only the edge). Within the installation there would be scissors, which would ideally tempt others to join in and cut the strings.

Initial Sketch

Initially, I wanted to place it in the corridor and use shower rods to secure it up. However, safety issue was to be taken into account, and I had to pay extra to purchase shower rods – hence, I decided to place it in the level 2 empty area beside the stairs (level 2 to 3 stairs) in adm. There, I could use strings to secure it.

 

Creation

Sample

The top supporting the strings would be a foam-board, chosen as it is lightweight, relatively durable, and also, able to support some degree of piercing. The strings were meticulously arranged separate from another at a distance of 3cm, measured out and indicated on the board.

After finishing my preparations, I had to meticulously string those on the board. Initially, I planned out 90cm for each string length, but measuring them one by one was taking way too much time hence I decided to just estimate the length. In addition, the strings were pretty much tangled up so I had to resort to estimation else completion would not be a reality.

Also, I intended for the scissors to be of a different colour from the strings: to be easily seen and lessen the risk for walking facefirst into it, and for it to be a prominent object (with a status) within the artwork itself.

How to string 101:

I decided that the lighter colours would be on the inside; as the chosen area might be a little dim at times, and the inner colours would be dulled. I chose white as it was a metaphor for clarity, upon passing the darker colours on the outside. In addition, it could create a density which I wanted.

Upon completion, I lugged it to adm to be hung up. The four corners were tied with black string to be suspended.

4 corners of the board, hung up by strings tied to the surrounding poles.

I intended for the installation to be at a height whereby the bottom of the strings would be touching my chin; at this height, it would create a more immersive feeling for when the viewer looks up, all he sees are a cascade of strings.

 

Completion

Completed

Initially, I meant for it to adopt a squarish format, of which my chosen width would be at 1.2 x 1.2m. However, I ran out of strings, hence I shrunk the size down to about 80cm x 1.1m (estimated).

When seen from the 4 different sides, the strings look slightly different, partly due to the pattern of stringing and lighting conditions.

Yi Xian as my model – as a reference for the height of the installation

The strings also got slightly tangled up, but due to the quality and weight of the strings (specially chosen for such), it was generally weighed down and added to the beauty of it.

One point I noticed was that the scissors were a safety hazard. Particularly, that was the reason why I opted to purchase childsafe scissors with a small blade. However, if the viewer does not close the scissors after using it, the blade might hurt him/someone else.

When looking from the bottom, the middle of the board is noticeably white.

Colours from inside out:
white > yellow-white > pale pink > hot pink > royal red > dark brown

Definitely, this installation would be much more immersive if it was larger; when seen from afar, it appears small and isolated. However, I am thankful that it managed to achieve density and the experience that I sought for.

It would also be interesting if more people could interact with it, and see how they would cut the strings.

 

 

 

Project Hyperessay #1: Concept

The elaborate, premeditated death of Tania Tay on online (social) media

Overview
The performer Tania Tay would go through elaborate funerary rituals, albeit abstractly. She first builds a mini tentage, chants, dons on white clothing, and does superficial, ridiculous and elaborate walking rituals. Lastly, she sets up her final resting place, and lies down.

While the entire performance carries on, the screen slowly glitches. At the end of the performance, the glitch would be horribly glitched until only a slight semblance of the form can be seen.

Objectives
To celebrate, flamboyantly, the ceasing of Tania Tay’s online identity. It exposes the temporality of the constructed presence within the artificial third space, and deconstructs the artificial, artificially.

Interactive Component
The project having a set, definite ending (the death) that viewers are unable to disrupt or stop. However, viewers are still able to input their comments via the fb live comments, which would be read by the performer and acknowledged, but callously discarded as she continues on her death rampage. The project is a strong statement of the artificiality, and wishes to impact it on the viewer.

Technicalities
Two computers/screens would be involved.

The first screen would show the captured footage, but will further process it within max msp for the glitch to occur. The second screen will capture the entire processed footage from the first screen. The camera will be affixed to the performer, adopting a first person point of view shot.

Influences
1. Glitch

Glitch, as interpreted by Rosa Menkman as,

…a (actual and/or simulated) break from an expected or conventional flow of information or meaning within (digital) communication systems that results in a perceived accident or error.
– Rosa Menkman in The Glitch Moment(um), (2011)

Glitch is essentially, deconstruction. Deconstruction from the expected flow, which I felt was a suitable metaphor for death: the sudden break in living; the startling lack of continuity. After death, the body breaks down, a decade of living and progress unraveled. I find it noteworthy to continue on this idea of deconstruction, and felt that glitching the broadcast from start to the end finalises in the poetic allusion of the deconstructed constructed self.

2. Grand Theft Avatar by Second Front

In this artwork, I loved the idea of transposing a real-life ‘illegal’ situation onto a digitised world where the laws of the known world were later abandoned. Similarly, my project exists on a unstable platform, of combining both the physical world and digitised world onto the third space: the sole platform where the performer’s suicide can be accepted and executed.

Flamboyantly, the online characters commit suicide – like how I want my performer to be. However, I foresee my project adopting a more mellow approach towards death, accepting and welcoming it instead of diving headlong into it.

References
[i] Menkman, R. (2011) “Glitch Moment(um),” Institute of Network Cultures

 

teamLab’s Future World Exhibition Response

Despite their works being rooted mainly in digital technologies, it was fascinating that teamLab continues to integrate traditional Japanese/East Asian aesthetics into its works – modernising how we view traditional art. Takasu-san highlighted that the Future World exhibit was how teamLab envisioned the future – through a digitised playground grounded in traditional play structure. Inevitably, he hints that the future is in technology, and the ubiquity of it transcends our everyday living – starting from the next generation. He also sparked this question in me: was teamLab trying to change the art scene? Traditionalists might argue that their works seem too avant-garde, however, by extruding and integrating the human quality of play, teamLab keep their works accessible – to both traditional and digital art.

With the privilege of having Takasu-san to explain the artworks, it was good to finally realise how the artworks were carried out – using MaxMsp to produce the sounds, lazer sensing technology to accurate trace position and motion. Technology wise, my skills pale in comparison greatly to teamLab’s, but it was an eye-opener to see how far technology with the team of the best expertise could further art. Similarly, for our following FYP, we might want to embark on a larger scale project but lack the expertise. Though on a smaller scale, we could take on what teamLab has epitomised – drawing on the expertise of many and creating a collaborative project.

Another idea that Takasu-san brought up was the instance of people of the Silicon valley not purchasing art as they ‘looked forward’ at not behind (hence hinting that art was of a behind state). However, he later stated that art with digitised medium is not lagging behind, but in contrast was fronting the battle, with teamLab’s Light Sculpture of Flames being purchased for permanent collection later. Perhaps, teamLab tries to pry open the lid of the present, jogging towards the future of art.

cat-squid: an unusual creature lurking in the depths of the artificial ocean
cat-squid: an unusual creature lurking in the depths of the artificial ocean

Cat-talk! An interrogation with the neighbourhood cats / Pirate Broadcasting as Reportage

Video Link: Click here

Initially, the video was named ‘Cat in the hole’, but later renamed to better reflect the video contents. Similarly, in spite of what I thought would happen in the filming as the situation and filming environment was fixed, the footage turned out slightly different from expected and hence the renaming of it.

When broadcasting, there was nary anyone around me, save for the one odd figure who was passing by the area. Despite that, I felt extremely conscious as I dislike posting on social media being a more private person, and that my video had the outreach to the entire Facebook user population. It felt that I had the power and wield to however, make my own voice heard amongst the sea of media.

As it was my second attempt, the first being a video directly filmed before this, the previous video gleaned comments instead of the second one, as it had the first viewer advantage. The few comments mainly commented on the content, basically aww-ing at the cuteness of the cat-objects. However, I opted to post the second video instead as it felt to be more of a reportage.

Screenshot of previous video shot + comments
Screenshot of previous video shot + comments

I disliked the video footage quality as it was pretty grainy thanks to the bad quality camera and weak 4G data connection, but at the same time, it added to the beauty of live recording – the rawness and spontaneity of it.

Spatial Exercise 1 / Reflections

This exercise seeks to explore and observe the reactions of two participants, who were placed in a particular situation (mediated by an object) for a few minutes.

For this exercise, the following items were tested out:

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Some of the materials used in experimentation

A rope arranged in a circle, a red rope to encircle participant’s waist, a flexible tube, bubble foam with holes at each corner (not pictured).

 

Considerations for chosen items:

  • Rope in circle arrangement: Participants were to stand in the circle, and create their own perceived figment of space from the visual of the rope-border
  • Red Rope: Tugs and pulls, participants are able to pull on their own extension of rope to affect the other
  • Flexible Tube: Participants are free to play around with tube
  • Bubble foam: Emulating the original artwork, participants can however play with bubble foam, and also tug it affecting the other. Mostly served to simply enforce closer proximity

By deliberately pacing the gap between the participants, this object makes participants self-conscious about the space around them, as they start to pay attention to the nearby elements. Also, personal space is intruded upon – by another person without their approval, and they feel uncomfortable with the adjusted space. A new situation is created: and the response recorded varied between users.

In general, there were 3 main responses:
1. Keeping quiet and standing awkwardly
2. Keeping occupied, fiddling with object
3. Chat with each other

After the experiment, participants voiced that the experiment forced them into a situation different from when the object had not been there, hence their different behavioural outcomes. With its presence, the object became a catalyst for setting up a social situation, where the personal space became the shared space. The participants thus share a common situation (of standing stationary at a given spot, facing another person), and a similar understanding of their current position.

When external factors such as friends came into play, a sense of ease was given to the participants – possibly mitigating the outcome of the experiment. Having familiar elements in an odd, new situation helps to allay some anxiety. The space has now expanded to involve the friends. Personally, I feel that at such, too many elements are present which erodes the position to create a personalised space for the two participants.

On the other hand, when friends join the experiment, anxiety tension is still created. Some friends continue chatting, ignoring the discomfort from the objects, whereas some become overly conscious about it.

However, participants who overcame their anxiety discomfort started to create another space with each other, through initiating polite talk. Below are a picture series of strangers (to the other) participating in the experiment:

Later, we instead gave a pair of participants free will to play around with the object. The lack of restriction allowed the participants to build a space around the object, rather than create an object as an outcome of the experiment. Their actions was now for the object, rather than mediated by the object. Now, the need to interact with the other has failed, failing the idea of creating a common space with the other.

It was interesting to note that some participants mimicked the other subconsciously through their actions.

A Collection of Consciousness / End of Semester Project

Project Brief: A Collection of Consciousness utilises the method of question and answer to seek out one’s subconscious – psychological and emotional state alike. It then shows the participant a visual and auditory representation of his subconscious.

The set up: A total of 2 screens – one huge projector screen, and another smaller computer screen to look at for the questions. There is also a 3-step ‘dance pad’ for participants to select their answers.

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An example of a computer graphic shown on screen:

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The ‘dance pad’ was situated right in the centre – enjoying a vantage point of the screen. However, participants had to continually turn their head sideways to look for the questions.

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Initial idea:

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Initially, I planned on having the laptop right in front of the screen, but decided against it as it would block the visuals. Also, I planned on using motion sensing to trigger the selection of choices, but decided against it – past experience with it has taught me that different lighting would affect the sensing, and motion sensing as a whole might not be very accurate. Hence, I decided to change to using a touch sensor as my item of choice to trigger off the feedback.

 

Questions

I also planned to have a total of 20 questions at the start. Later, I scaled it down to 7 questions as the patch was becoming too large. I based the style of my questions on the ISFG Personality test. I also researched on the different determinants of one’s consciousness, or to be more accurate, psychological state and came up with the following:

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Thus, I decided to base my questions on these 3 factors:
1. Mental Wellness
2. Emotional Wellness
3. Intellectual Wellness

I do understand that the limited questions might not raise an accurate determination of one’s psychological state, but at present it manages to cover all 3 factors as a whole.

Here are my initially planned 10 ideas:

  1. How are you feeling today? Optimistic (faster), no opinion (slower), disengaged (more jazzy)
  2. You do not mind being the centre of attention. No, maybe, yes (change of beat)
  3. You get tensed up and worried that you cannot fulfil expectations (1-3) (change of colour and size, and zamp)
  4. You have cannot finish your work on time, what do you do? You: Continue working on it hard past the deadline, give up, blame and berate self (ADD ON NEW SOUNDTRACK, faster, slower, becomes white noise etc)
  5. Choose one word. I, me, them (goes down to nil, pale, sound slowly goes down to a steady thump)
  6. You often feel as though you need to justify yourself. Disagree, no opinion, agree
  7. You are _____ that you will be able to achieve your dreams.
    Optimistic, objective, critical
  8. Your travel plans are usually well thought-out. Disagree, neutral, agree
  9. Do you know what you want over the next 5 years? Yes, it’s all planned out, gave it some thought, will see how it goes
  10. You tend to go with the crowd, rather than striking it out on your own. Disagree, mix, agree
  11. Do you like what you see? Yes, No but I want to continue improving, no I wish I could restart
  12. Only you yourself know what you want. Do you see yourself? -> restart

I planned for the user to finish playing the entire round of questions, and the different answers would add on different, unique layers onto the graphic – creating a different, unique shape and colour for each player at the end of the game.

Technically, I used jit.gl.text and banged the questions (in messages) at intervals.

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Here is a small portion of my subpatch for the questions, which were to be shown on the computer screen later during the actual artwork.

 

Graphics

The changes in shape were made by sending messages (eg. Prepend shape – torus) to each individual attrui. In brief, these were altered: shapes, colours, how fast or slow the graphics ‘vibrate’, the range and scope it expands until, and the ‘quickness’ or ‘slowness’ of how fast it moves. Graphics was also rendered and altered in real-time.

To create 3D graphics, jit.gen, jit.gl.gridshape, jit.gl.render, jit.gl.mesh and jit.gl.anim were used. While I initially planned to use jit.gl.mesh, and plot out my own points to be animated (creating a more abstract/different/random shape), I spent a total of 5 days to figure it out, but failed to, hence the final project turned out different from expected. However, I am still pleased with the final outcome.

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Here is my patch for reference.

The graphics was the most challenging portion of my entire project, making or breaking it. Perhaps it was not the most brilliant idea to foray into the untouched lands of openGL, but as I have always been interested in 3D graphics as a whole, it became an interesting experience for me.

 

Sensors/Teabox

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3 dance pads were used, and allowed for participants to send in their chosen responses to the questions to MaxMsp. Only 3 options were allowed, as it seemed more intuitive to the common user.

During the actual tryout on friday 22nd April, I realised that the trigger was far too sensitive, and questions were gone through far too fast. Hence, on the afternoon, I further added the below objects to slow down the sensing:

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The counter value is to be changed – depending on how fast or slow you prefer the trigger to be.

 

Sounds

As the graphic rendering and the sounds were tied between each other, I decided on altering the sounds to firstly: give the sense of being enveloped in the whole experience, and also to further tie up the connection between sound and graphics. As aforementioned, the vibration of the graphics is with accordance to how loud, in terms of decibels, of the sound itself.

A total of 3 sounds were used. The longer the participants played, the more ‘rich’ the sound becomes: it becomes more shrill (higher pitch), and the speed of the soundtrack decreases, just to name a few. The longer you play, the more unorganic and synthetic the sounds become. It ties in with the visuals, which starts of as a red, beating object (that reminds one of the heart), but it starts to gradually take on inorganic, abstract forms. This was symbolic of the birth of a lifeform – firstly, you start off as a beating heart, but life’s experience will gradually shape you into becoming a unique being.

Here are the 3 sounds used:

 

 

See the final artwork in action:

“Music Instrument” [the Tun-tun]: Final Product / Assignment 2

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Depicted above is the final prototype of the tun-tun.

Functions are as stated (from top-down):

  1. Tapping top of head – triggers a beat once
  2. Pulling of left ear – controls the volume, and triggers the melody once
  3. Pulling out/pressing hard on tip of tongue – triggers a voice on repeat, pull it out again to switch it off
  4. Slide the “voice box” up and down – change the pitch of the sound effect

All sounds are recorded in real-life; however, they do not sound melodious when mixed together. New sounds can be input(ed) to replace the current sounds.

Physically speaking, the product stands at my chest-level.

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Max MSP patch as depicted below:

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See it in action:

 

“Music Instrument” [the Tun-tun]: Prototype / Assignment 2

A singing head!

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tuntun

Image of tun tun taken from here

Does it not remind you of a tun-tun (pig-stick used by the Iban people in Borneo/Malaysia to lure pigs into traps)?

Much physical resemblance between the sketch draft and the actual object; yet inspiration was not drawn from the tun tun. Sole commonality remains their names.

My project, aptly named “Tuntun”, features a sphere-shaped human-like head, where controls are placed around the head, eg. mouth, top of head, ears, to mimic a human making sound with his own facial features.

Below shall show a sketch of the areas with sensors:

Sketch sensors

At current, the ‘head’ is not placed in the order order and position. Further improvements in the patch are left to be desired.

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The patch is currently incomplete, but here is a quick insight into some parts of it:

I used Gizmo~, Buffer~, Groove~ in replacement of playlist. Certain tweaks are required – for instance, the song abruptly stops playing when the trigger switches the toggle off. I am trying to include a timer, or delay, to allow for the entire soundtrack to play before it switches off.

Project Proposal 1: Who’s using your phone in the toilet?!

The formulation of this idea was based on my previous idea, the brushing of teeth, and influenced by iknowwhereyourcatlives. In my previous idea, I wanted to touch on the weariness brought about by repetition, and pull in an element of fun into this boring activity. However, I decided to focus on a different activity with a longer duration instead, which many do but most are shy (or not) to admit. Thus, I changed my idea to the usage of phones when one is sitting on the toilet, while answering’s nature’s call.

According to a survey commissioned by Kleenex, 3 in 4 Singaporeans use mobile phones in the toilet. Phones are then used to play games, watch videos, or even answer calls. However, bringing your phone into the bathroom, an unsanitary location, could risk bacteria and germ contamination. Of which, only an estimated 2 per cent sanitise their phones after doing the deed.

In Singapore, as part of a shyer Asian culture, where toilet talk is generally avoided, it would be interesting to bring this lesser-discussed topic to the surface. After all, revealing ‘secrets’ is a very exciting thing. I would like to utilise the world wide web as a medium for my idea.

 

Methodology:

Data is first extracted from twitter live streams for discourse analysis. Users who upload both hashtags (#phone, #toilet), or include in their twitter updates the phrase “toilet” and ‘phones” will pinpointed. Next, these statistics are compiled, and displayed visually as per below:

 

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Each time a user uses the key words, a single dot will appear on the website screen. There is a timestamp at the bottom: hence, we can visually pick out which timings are users (who update twitter) most often on the toilet. Using mouseclick, the website user can interact with the dots on the website, which can be dragged around the screen. The website user is able to manually manipulate the data on the site.

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Areas where more dots coagulate, the background will turn towards a redder shade.

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In order to view other timeframes, users can point their mouse right/leftwards, and scroll to other timelines.

 

“Radio” [the Singing Jacket] / Assignment 1

Finalised Patch(the singing jacket)

Use of controls to ‘play a radio’ from a playlist. Overall, there will be background music (Soincidence soundtrack) playing throughout the entire duration, while toggling various aspects of the sensors (jacket) will trigger an additional sound to be played, as seen from the playlist above.

Sensors/Feedbacks:

  1. Pressure Sensor (large) placed in pocket:
    Switch it on and off, pause, resume

    whatsapp 3

  2. Bending Sensor placed at wrist:
    Bend Wrist to change tracks

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  3. Gyroscope placed at nape of neck:
    Function 1 – [Front/back] Bend back and forth to change volume (The more you bend, the louder it is)
    Function 2 – [Right/left] Bend to your right to change pitch (high pitch with more obvious bend)

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Combine all actions and create your own unique song.

 

Comments, and reflections:

  • Prof Demers commented that having the actions not ‘fixed’ by physical boundaries will allow for greater freedom, and subsequently, more ‘fun’ in playing with the jacket. However, it is risky as the feedback is harder to control
  • Creating 2 different feedbacks for the gyroscope is not ideal: while activating one function, the other function is also inadvertently activated (unwanted feedback)
  • Difficult to control 2 feedbacks which requires somewhat similar actions to activate (for gyroscope to change pitch and volume)
  • Swinging hands to activate bending scope was unnatural
  • In reflection, perhaps limiting the scope, or narrowing the threshold for activation would help control the feedback, and simplify ways to activate the feedback
  • I could incorporate the zip/hood of the jacket, etc. zipping the zipper, or wearing the hood
  • Perhaps some sensors could be placed on the body of the user, instead of solely on the jacket as at current

See it in action: