The Four Practices?
Challenges for the Archaeology of the Screen
Erkki Huhtamo
A simple Google search of what a screen is defines it as “a fixed or movable upright partition used to divide a room, give shelter from draughts, heat, or light, or to provide concealment or privacy.” Nowadays, the idea of screens still remains the same – something that divides a space or provides privacy. From my perspective, I think the archaeology of the screen has modified our behaviour in more ways than we could have ever imagined.
In our society, it seems as though screens exist as a catalyst for certain social behaviours to take place. Our mobile phones are slowly becoming essential tools for surviving in public, they help us avoid unwanted conversations and uncomfortable eye contact. On our MRT trains, mobile phones are used as a tool for ignorance. “If you don’t see the old person you don’t have to give up your seat“. If this were to be the case, a pair of sunglasses too, can be seen as a screen. The darker the lenses the better, for some of the older generation ladies on the train. “If I can’t see you, you can’t see me“. Screens have evolved from something functional to becoming a tool that enables an escapist behaviour of sorts, providing us with the unsaid right to behave in a certain manner, or perhaps existing more as an excuse.
The Apple Smartwatch, for example, is a tool that on the surface, sounds like the perfect device. What better way than to compact all your mobile essentials into a portable and wearable device that humans have owned for centuries? Despite the benefits of convenience, the watch as an artefact is something that in my opinion, should be taken with more consideration. At a glance, any band worn on the wrist would be immediately associated to the telling of time. Over the years, we have developed a behaviour to occasionally check our wrist watches, an action which could be read in many ways – an indication of the need to leave, to rush to someplace or to excuse oneself. With the existence of the Apple Smartwatch, which pushes the boundaries of what the initial function of a watch is to more than what the artefact was intended to perform essentially, the behaviour that it enhances is one in which comes across as unpleasant and rude. A friend which owns one of these Apple Smartwatches constantly comes across as a busy person with the need to rush off or leave, appearing to have something more important at hand than the time that we were spending together. In actual fact, it was just a vibration or light up from the screen of the watch from a notification that he received.
Huhtamo’s concept of what a screen is begins by looking/peeping through an optical device, or through means in which reality is altered or alternatively created. Due to the increasingly digital nature of screens, it appears inevitable that it would eventually evolve into something that we exploit, to create an alternative reality and barrier for ourselves in the real world. Screens should be designed to suit existing human behaviour/needs and not be considered an interference in the activities of daily life.
The abstract textures were created with Cinema 4D, a 3D modelling and motion graphic software. As I initially wanted to create textures that appeared as though they were emerging from the wall and towards the viewer, I need to use a powerful 3D modelling software and not After Effects. I have never had any prior experience dealing with C4D before, but I thought it would be a good opportunity to throw myself into the deep end and see how things go (with a lot of reliance on online tutorials of course).
Out of curiosity, I tried playing a video of the animations hidden behind the wall. It looked as though another huge crack had appeared on the wall, and looked like a gateway to another realm! I also realised that it was quite difficult to achieve the “3D” popping out effect due to irregularities of the surface and the crack, which made it really obvious that it was a projection.
I drew associations to the one of Wodiczko’s Polish Shoppers (maybe because they were both lone figures on a monumental structure + wearing striped shirts). There are some similarities in both Wodiczko, as well as Varda’s & JR’s work, where they bring these everyday characters to prominence through the scale of their works while revitalising “unused” spaces and surfaces. Their works communicate these stories from the people of the community that we live in, reminding us not to forget that these faces are what makes the place one that we connect and belong to.
I thought it would be interesting to represent the turbulent history related to the building & Nantah in abstract textural forms. I created a mood board that shows the visual that I am aiming for: energetic, chaotic and volatile.
Personally, I feel that the concept would work best if it was projected on site as the content relates directly to the context. However, due to practical reasons, I might not be able to project my work directly at the CHC. For proof of concept, I have decided to project on cracks that can be found in ADM. These are some cracks that I observed at the basement level (really wish I could tamper with the crack on the left so that I have more surface to project on), the parts highlighted in red are the areas that I could project onto.
As I will be creating animated content that relies heavily on the movement, texture and material, I have decided to create my content with Cinema 4D. So far I have only tried 3 different types of motion with the help of tutorials, but I have yet to experiment much with creating different kinds of materials.
My ideal set up will consist of 1 tiny projector, 2 speakers and a laptop. It would be best if I could somehow hide the equipment so that it doesn’t draw too much attention to the crack that easily, encouraging people to go closer and observe it.
I wanted to bring to life the wear & tear – especially cracks – that can be found in architecture, because they usually only appear in buildings that have been around for some time. To me, a crack tells a story about the history of the building and what is has been through.
For example, cracks in shophouses. Most of the shophouses that we see today have been around for a significant part of Singapore’s history. They have been used and abandoned and gentrified for other purposes over the years. Although its function has been changing, the structure has mostly remained the same.
Along the lines (pun intended) of cracks and stories, I also realise that our skin, too, tells a story about us. The signs of aging that become visible on our skin over time, also reflects the wisdom that we have through our years of being alive.
There are also the lines on the palm of our hands, which is often used in fortune-telling practices to predict the future of our fortune, marriage, kids and health.
I like how this projection mapping work assimilates so well into the environment that it is difficult to distinguish between the physical and the digital.
I was extremely impressed by how these usually hidden and unseen spaces in the forest are brought to life by mimicking bioluminescent qualities. They give these “artefacts” a unique character, and makes the viewer see them in a different light (ha, another pun intended).
This last work is one of my favourite digital artworks! I love how something as intangible as memories are given a tangible form and visualised in a constantly evolving and ever-changing substance on a surface. It is something that I can look into if I am planning to translate the history of the chosen space into something visual.
