Hyperessay 1: Cross-streaming


These 6 weeks have been no short of amusement – from being enlightened with different concepts and intentions of example artworks to getting right into the grind of creating and experience the capabilities of the third space on first-hand.

We’ve been enlightened on how an audience can be performers, how media has turned from one-to-many to many-to-many and most importantly, how these works have changed the traditional medium – engaging audience as participants, it turns into an interactive media.

Cross-streaming performance

Our cross-stream project was purely unscripted and raw. I wanted it to capture content that was unfiltered – a capture of on site reporting, just like the Videofreex. It was like a sneak peek into the day of the life in a war zone country.

The beauty of it was how the subjects don’t know what went on back in the TV broadcasting station aka the OBS screen where effects of destruction were blasting freely.


Yet, it synced rather well with the visuals and our concept: reporting the state of a destructed city (North Korea), while the subjects act as victims/north koreans, totally unaware of the level of destruction that their leader has opposed on their country. Like how they are totally lost onthe explosions attacking them over in the OBS studio screen.

On inspirations, Videofreex will be one that everyone references to. As the popular quote goes,

“We’re all Videofreex”

And I can’t agree enough.

They were the pioneers that shaped a new medium in media, documenting hours of real-time footage that captured social and cultural events of the 1970s.  The way they told stories and distributed them shy away from the traditional media and direct towards the way we share our media today, – using a portable device and sharing personal footage as seen on the viewfinder.

And here was I with my partner, being reporters onsite a ‘war zone’. As raw as it gets, we were simply documenting the everyday life events of people in a city of mass destruction. Exactly what the Videofreex were doing.

We were bringing personal content to the masses, opening a window to the uncensored and unfiltered world of daily lives. Anything might happen to us as this was an unscripted performance, engaging with the performers.

Just as how the videofreex member was attacked by a police, I was also caught off-guard and ‘attacked’ when a guy jumped out from the corner and carried me to the lobby as I walked out of B1-14.


Hole in Space – audience as performers, unscripted content

Similar to Kit Galloway and Sherrie Rabinowitz piece, the performers were the open crowd we interacted with. Everything was unscripted in Hold in Space and left to the crowd to take the stage. No one knew what was going to happen next or how the narrative would flow, which was the beauty of it. Similarly in this piece, students were openly expressing their thoughts to the camera ‘live’ to my facebook audience. They were bold in their actions and demeanor. Diana even danced.

However, when I asked them to make a statement about the person ‘live’, she suddenly retracted and did not want to go ahead. This accentuates the different between the superparticipation piece for Douglas David, where audiences were completely anonymous on text and free to shoot everything they wanted to say.

What I think: As for representing yourself in the third space, people tend to be bolder if they are unknown to each other. Knowing about the mutual friends between us, the person was afraid to go ahead and speak free of her thoughts.


Bold3rrr – glitch aesthetics, aberration

Image result for jon cates


I was particularly struck by Jon Cate’s Bold3rrr piece in terms of his ‘dirty new media’ aesthetics. To me, glitch is the new aesthetic!!! I have taken the realization that not everything has to be clean or no error at all to heighten its aesthetics. There is this sense of allurement in the visual glitches and chromatic aberration in Cate’s work. An oddity we hardly come across for most artworks, hence I find this peculiarity captivating.

As mentioned previously for Cate’s piece, it gave me a bad headache from the visuals to the sound. It created a feeling disorientation – something I wanted my viewers to feel and relate to, regarding the state of North Korea.

Hence, the filter and two overlaying tracks were added to add on to the feel of dissonance. This was defitnitely inspired by how Cates added buzzing sounds and multiple audio, on top of his visually glitchy piece.

Overlaying the concepts and aesthetics of these artists works and incorporating them into my own gave me a sense of contentment and I felt that I’ve learnt key concepts from it.

Most importantly, I have gotten a better sense of this module – integrating past work as examples of research, studying them, using exploration, discussion, to get a better sense of how we interact in the age of the internet – the third space.

Implications on the future of art – Integrating the third space in many aspects of our lives

With the wave of possibilities brought upon by the technologies of the internet, I can see the third space taking over traditional platform and being incorporated into different uses such as learning, talks, concerts and such. Integration of third space into new media, progressing from the traditional forms that we currently have.

For example, singers or bands can hold ‘double concerts’ like a collaboration in the third space, instead of the conventional venues of concerts or performances.

Indeed, i’ve found websites that conduct such concert experience, which are ‘live’ and interactive.

Another up and coming trend of internet would be using it for superparticipation. A good example will be Youtube ‘live’ sessions. I recently signed up for a talk and was about to block my calendar, when I saw that it will be conducted virtually. Cool! Convenient!



Annyeong reporting from North Korea. This time with effects.

Posted by Val Lay on Thursday, 21 September 2017

Watch the broadcast here! Be sure to watch it with sound for the dramatization!

Click here for our cross-stream!

Research Critique: The World’s Longest Collaborative Sentence by Douglas Davis (1994)

The huge difference between broadcast TV and the Web is the keyboard. With that people can say anything; they have full expressive capacity.

This quote by Douglas David resonated exactly with my thoughts on the whole piece of constructing the world’s longest sentence – people were free to put anything. ABSOLUTELY ANYTHING – that I find it daunting.

I see it as the most open and free and possibly longest comment thread in the world. Or a 1990’s open-to-public twitter feed.

Indeed, things got scary quite fast. Scrolling the first few pages already got me choking on my drink as I spotted some sentences that got rather dark.

You have people scolding their bosses. Some soliciting love and partners. And some even professing funny stuff

Essentially, the web offers unlimited amount of audience and word travels especially fast on cyberspace, with the sharing and tagging we’re able to do. We can see it literally as a web (pun unintended), or like a network of connections branching out and multiplying its source upon being shared. Hence, the amount of super participation is extremely high on a public platform, especially for one like Davis’ piece. Audiences collectively come together to contribute to the sentence in any words of their lexicon – which trigerred some replies to the previous sentence where they tried to lend some help. Others were just plain negative.

In summary

In the bigger picture, I believe this was a work to explore and examine how people interact when they are completely limitless to the content they can type and how this interactions trigger the next portion. They somehow co-relate like a butterfly effect. However, it seems that more negative statements/content can be found in this whole text, holding together what we have learnt in the previous reading – that we may get bolder in the third space as we aware of the lack of physical contact to the other parties we are interacting with.

Ultimately, the anonymity plays a huge part in the content we enter. This is also how the term ‘keyboard warrior’ was formed, right?

Oh I’m not done yet

On a slightly extra note, I think the future development of this piece now is to really look at the conservation of it. It first launched in 1994 – that’s as old as me, and the type of software used to contain the information had several errors as mentioned in the readings. Perhaps the team taking on the project could revamp on the system to store the data and accentuate the user interface and aesthetics of this super-participatory piece. I can see it as a minimal looking website with clean aesthetics for audience to intuitively input their sentence in contrast to the wordy landing screen they currently have.







Desktop Misc-En-Scene: OBS Experience

Video: https://www.facebook.com/wrongval/videos/10155150344678208/

‘Oh man’ I thought, when I found out we had to go ‘live’ again. And oh my, it’s using some new unfamiliar software – how am I gonna wing this?! These are some honest thoughts I had when I first found out about going live, streaming our desktop misc-en-scene and being potential glitch artists.

However, it was helpful that I’m been an ardent fan of trippy gifs and glitch art content. I guess the experience was really helpful in taking it to the next level by creating this content ‘live’ and using the desktop as my canvas.

I wanted to give myself sometime to be familiar with it but a thought just came to my mind while setting my stage – to just go crazy and just go ‘live’.

Hence, I just took it from there.

Art Direction

I’ve decided to always have something constantly moving in my misc-en-scene, as that’s what draws people’s focus and attention on, as compared to a static image pasted around my screen.

Hence, in my art direction I included gifs, and one of the main visual that set the stage was the constantly moving tunnel in the background. It was perfect as it acted as a smooth and cool transition into the videos I was playing.

When I’m on my laptop, I’m usually watching music videos of my favourite bands and CHVRCHES is one them, which I played during the stream.

Related image

I decided to put Jesus on my stage too.

Death Orgone glitch jesus databending glitchart GIF


I was also trying to be playful and did this

That’s me on top of Jesus’ head. What do you deduce from it?

At the spur of the moment, I decided to look for Randall Packer on YouTube. And amazingly, the video aesthetics fit perfectly into the glitch art and retro trippy vibe I was going for.

It was an amusing experience watching everything unfold before my eyes in glitch! It was extra cool when your prof himself were feeling the same vibes about your creation too


Also thanks for the shoutout Randall!

Look ma, i’m tagged in the same post as Jon Cates! FAXXXXXINATING


Research Critique: BOLD3RRR by Jon Cates

After watching Jon Cate’s BOLD3RRR… Realtime: Reflections and Render-times, my brain went into a glitch. I’m pretty sure everyone’s first take on his work is a ‘I don’t understand what’s going on’.

This recording shows him mucking around with softwares of his daily life, playing with Ableton and switching between screens, making comments as he sets up a desktop misc-en-scene.

For Jon Cates, a point to commend was that he was doing all of that in real-time. He was merging feedback loops with personal data that were swimming in associations back and forth around the world, namely Chicago to Taipei to Boulder and back again. That is rather remarkable doing it ‘live’.

In this process, i’ve noticed the bulk of white noise produced in the video and it was very painful to the ears. The 10 minute mark was the longest I could hit before developing a headache, to be honest.

Screen grabs from BOLD3RRR, a ‘live’ desktop misc-en-scene by Jon Cates | Link : https://vimeo.com/49110316

Apart from that, I also felt that whatever recorded can be seen as a collective narrative. There were abrupt cuts in between the video which he injected with. However, I still noticed a flow as the body copy in the video supported the flow of the narrative, hence deducing that the random interjected footage is part of making his point.

Also, I particularly enjoyed reading the conversation between Jon Cates and Randall Packer after seeing his work, as I was really curious of what sort of a person he is to create such art. (apart from his faxxxxinating typ3 styl333)

Aberration is indeed a way to sum glitch art as a whole. But as for Cates in particular, I felt like he was trying to put the normal and the abnormal together. Normal in the sense that these were the everyday things he would do on a desktop and abnormal, in the use of a desktop as a canvas and turning it into glitch. The desktop misc-en-scene turned out to become something particularly abnormal in my opinion, with the jarring white noise trippy jumpy graphics that actually made me feel uncomfortable after looking at it for long.

This might be due to the fact that we see and expect a clean and faultless desktop screen everyday and we find a sense of peculiarity when a part of a screen is not displaying something ‘right’, moreover distortion in images.

Personally, I’ve been a fan of glitch art with it’s trippy aesthetics and made a few pieces of glitch art myself. Even for my display icon here on OSS, I used some forms of chromatic aberration to elevate the look.


Val’s reaction on dirtynewmedia, 2017 – mixed medium

However, it was quite shock to come across the content on the  dirty new media tumblr site. My friends screamed when they saw the type of content posted and I guess they felt it was rather taboo.

“i wanted to reclaim fetish && say, yea, of course fetish is part of what i do b/c fetish is punk + its part of “originary” punk from the SEX shop run by Malcolm McLaren + Vivian Westwood. so, yea, of course, fetish is in my work, but its in this way that’s consistent w/ my art/life inna way that’s dirty, in the sense of being impure, but also (hopefully) sexxxy && exxxciting!”

Upon coming across this quote, I begin to tell some parts of his personality, on being really bold, especially with his work and being even bolder portraying his fetishes openly. Also depending on cultures, society and personality, dirty new media content are things that some might now show or expose to others. He is one the allows his art to frankly expose his style and be transparent about it. Pretty respectable as I wouldn’t go to the extend of incorporating such content in my art in Singapore. If you ask me why, I would bounce the question back to you – would you?

From my understanding, glitch art = visual glitches that come in forms of stills or moving images or even sound. There are several approaches of making glitch art that include data manipulation, misalignment, hardware failure, misregistration and distortion.

For Cate’s work, I notice that he makes direct alternations of the digital files itself, which is common for artists. Alternatively, there are others too that make hardware manipulating to create these errors. Some are fascinating and cool, like the gif I used in as my feature image. Others, as seen on his erotic tumblr site are slightly off the hook and NSFW which I won’t pin under my favourites in glitch art.

On a leaving note, it made me wonder: If it’s labelled glitch art, does it mean that nothing can go wrong? Since it is categorised as a glitch


Reading https://hyperallergic.com/134709/glitch-expectations-a-conversation-with-jon-cates/

BOLD3RRR https://vimeo.com/49110316