Experimental Fashun

 

– The Premise –  

———-

|| Using the social broadcasting platform of Facebook live, my group decided to do an interactive project called ‘Experimental Fashun’ (‘Fashion’ stylised as ‘Fashun’). We split our group of four into pairs whereby one person will be the ‘interviewer’ and the other will the ‘model’. The model’s homework is to select 5 pieces of apparel for a number of sections, namely: tops, bottoms, dresses, accessories and shoes. She will then write down a vague adjective describing the clothing. The ‘interviewer’ will have to engage and collect responses from members of the public from different parts of Singapore to participate in our project. The audience member will have to help the ‘model’ to select pieces of clothing to form their own unique combination. Since the descriptors are rather vague, it mirrors the unpredictable quality of online shopping, whereby we trust frequently vague descriptors and pick from cheap websites like Lazada or Ezbuy. From the selected combinations, we will then photograph proper photos of the whole outfits, pair them in categories of the stereotypes of the different parts of Singapore, and post them on Instagram and add the #experimentalfashun so that users of Instagram can vote for their favourite combinations.

 

Link to video: https://www.dropbox.com/s/dscw9ljl2ncnhpk/main_FINAL.mp4?dl=0

 

 

For this project, our interviewers Bala and Felicia headed down to the following places respectively:

Bala – Sim Lim Square, Bugis Street

Felicia: Bras Basah Shopping Complex, Nanyang Academy of Fine Arts (NAFA), Singapore Management University (SMU) and Lasalle College of the Arts

while Farzana and I were the models camping at home. We waited prepared sets of clothings to show the strangers that were interviewed what they looked like. After the outfits were chosen, we had to take pictures of the full outfit for the Instagram feed.

 

– Wardrobe Selections –

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Tops: cat, skeleton, checkered, tea, floral

Outerwear: thin (black), hipster weeb(the purple one), woolen, mint,thick
Dresses: checkered, CNY, pleated, floral, zebra
Accessories: Soft toy, ukelele, cap, beanie, glasses
Bottoms: navy (skirt), oriental, striped, PJs, oriental

 

– The Experience –

———-

During the execution of the Facebook live with Bala, I initially tried to make the clothing in the list as crazy as possible so that the participants would have some pretty crazy descriptors to choose from. However, what we didn’t expect is for them to take the task so seriously! A lot of them were really squinting at the descriptors, trying to clarify and asking for more details so that they could make the most suitable outfit to go for an actual party. This was a lot more significant at Bugis Street where there more more fashionable young people hanging around on a Sunday evening.

“What’s ‘tea’?”

Also, we initially intended to put on the outfit immediately after the participant had chosen the outfit, but after we interviewed the first person in Sim Lim Square, we had an awkward moment where the person had to wait for me to change, which probably took about 2 minutes, but there was still a certain social tension that existed even over the Third Space, which was really interesting to observe.

Bala was frantically trying to occupy the stranger while temporarily went off-screen to change.

This project was influenced by Blast Theory’s principles of integrating the physical and virtual world together through the use of new technology and inviting audience participation that would influence the outcome of the project, with an element of an immersive narrative. In our project, we set our premise as a fashion showdown modelled after RuPaul’s Drag Race or Project Runway, but incorporating digital elements! Not only did we empower the random participants to be designers themselves, we also involved the Instagram public to pick their favourite outfit to win the fashion show by posting polls

Our Instagram feed!

Experimental Fashun was influenced by the concepts of the dynamics of social interaction over the Third Space through social broadcasting, DIWO, and Digital Identity.

Inspired by our Telestroll project, we utilised the medium of Facebook Live to carry out an interview-style social broadcast with members of the public. We explored the concept of DIWO by getting them to make our fashion decisions for us. This links to how we allow others to alter our Digital Identity as well, since clothes are probably the most representative subject of appearance, or how you present yourself to others. Personally, I felt like this project really got me out of my comfort zone as well because I usually do not post a lot of Outfit-of-the-day (OOTD) posts on Instagram or Facebook since I’m not really into fashion myself, and my usual style is super stay-home casual.

By putting on wacky outfits and posting them onto our public Instagram page, I felt like I was allowing my digital image to be altered, and it probably is easier to believe that I’m comfortable putting on weird clothing while I was actually really kind of anxious at the thought of wearing them out in public, especially when we had to shoot the photos of the OOTDs, but I thought that after this experience, I’ve gotten pretty numb to any judgement.

Interestingly enough, we also unintentionally experienced the glitches in human behaviour and technology that we learned would eventually surface when we trapped ourselves in the Third Space for long enough, through the works of Annie Abrahams. The main point is that things would never go the way we intended for them to, for example, with that long awkward waiting time I mentioned above, as well as moments when connection was bad as we moved to different locations so it impaired the communication of the interviewer and model during the Facebook live. In the aspect of human-technology relationships, we also explored the mismatch in expectations in online shopping where you might put your trust in a supplier who you have never bought before, purely based on the pictures and descriptions that they provide, and so the products that you purchase may not end up as what you expected, since you never once inspected the product physically beforehand.

 

Online shopping websites such as Ezbuy, Lazada and Wish often offer cheap clothing with clickbait product names (just look at the amount of adjectives in there). We don’t ever know if they actually will fit us, we just see if they look good on the models, and have our perceptions swayed by reviews by other people.

 

 

In conclusion, a lot of negotiation was needed to overcome issues, from the conceiving of the idea, to the execution of it, to dealing with unintended glitches. Our outcome for the project also divulged interesting results; we found out that the older demographic preferred brighter colours compared to the younger demographic, and that people in different parts of Singapore had different attitudes towards fashion. We had involved others into our project, be it as a designer who came up with all the wacky combinations, or fashion director who got to say ‘ay’ or ‘nay’ to the outfits, and successfully executed our online fashion project, Experimental Fashun!

 

 

 

 

  • Summarize by stating how your final project explored the idea of the social and how you designed an interactive experience that included both artist and viewers.

 

Exp Int Readings #01: Open-Source Thinking

|| O N   O P E N S O U R C E T H I N K I N G ||

 

//              Before the advent of the Internet, creators had their works protected by laws such as the Seldon and Ford copyright patents that helped to uphold the ownership of their works by legal means and prevent idea theft. An absolutist propriety code could be exploited by larger and more powerful companies or individuals (as with the Microsoft and Gates mentioned in Sida Vaidhyanathan’s essay Open Source as Culture-Culture as Open Source,) limiting the concentration of expertise to themselves.  The limitations placed on idea sharing resulted in inefficient economic decisions. True ownership over material is also difficult to determine since “No one fully owns a book”, as Michael Walman says in his ‘Handbook on the Economics of Copyright’.

 

The introduction of open-source culture (OSC) by groups like Linux, liberated the restriction on human intellect capital by encouraging creators to give up ownership of their works completely or partially; in order for open collaboration and peer production to thrive. While licenses still exist to partially protect the intellectual property of creators, they promote the sharing of material in order to inspire and give birth to more innovative derivative information goods. With OSC, the notion that creators are solitary workers is no longer valid since it provided an opportunity for artists to utilise avant-garde platforms that transcended the physical boundaries of an artist. Such works, such as The Shredder, Glyphiti utilised the ‘metamedium’ that the platforms provide and incorporated interactivity, such that the participants or audience could determine the outcome of the artwork, instead of the artist, as showcased in Randall Packer’s article on Open Source Studio.

 

The code for the Linux operating system kernel was given away for free and has given rise to many distributions like the Steam OS (gaming) and Ubuntu (mobile devices) that support a myriad of software.

 

The Shredder by Mark Napler (mentioned in Randall Packer’s article) disrupts the format of a website and gives the audience ownership over this work since the participants are able to choose the website that they would like to enter to ‘shred’. Also, the webpage being ‘shredded’ is displayed in real-time, as such, the results of the ‘shredded’ websites will always differ, making each outcome a unique creation by the participant.

http://www.potatoland.org/shredder/shredder.html

 

This online interactive artwork ‘Glyphiti’ by Anthony Deck features a wall of glyphs. Each glyph can be freely altered by any visiting person to their liking. The aggregation of all the personalised glyphs then form the entirety of the glyphiti (much like how graffiti is done on actual walls in real life). I personally left my own pac-man drawing there.

http://artcontext.org/glyphiti/docs/index.php

 

Resources:

(1) Vaidhyanathan, Sida (2005) “Open Source as Culture-Culture as Open Source,” The Social Media Reader. New York: New York University Press, 2012

(2) Packer, Randall, Open Source Studio, IEEE Spectrum, 2015

(3) http://www.potatoland.org/shredder/shredder.html

(4) http://artcontext.org/glyphiti/docs/index.php

(5) Watt, Richard, eds. Handbook on the Economics of Copyright: A Guide for Students and Teachers. , (Cheltenham, UK: Edward Elgar Publishing, 2014)doi:

(6) What is Linux? by The Linux Gamer: https://www.youtube.com/watch?v=tFFNiMV27VY

#02: \\TELE-STROLL// (micro-project)

 

(Had to post this as a video because I was having trouble embedding the live video into my post!)

Posted by Yue Ling Tan on Tuesday, 23 January 2018

 

So Francesca and I were paired up for our first micro-project and we decided to do a “Journey to the East/West” video!
Our live performance is a juxtaposition between where we live in Singapore (and we ACTUALLY do stay at opposite sides of the country), and it serves the purpose to show that even if we are physically located at different parts of the country, our living habits and environment around us are extremely similar. Our brainchild showcases the both of us having a stroll around our neighbourhood on a boring Sunday and learning about each other’s living spaces.

The process of making this live performance was memorable, and I believe the both of us were quite taken aback by the level of difficulty this task poses. When planning for the performance, we decided to focus on the types of actions we could include that could utilise and include interactivity within the realm of the ‘Third Space’. After collating our ideas, we came up with the mini storyline that is our brainchild. Initially, we assumed that it would be fairly simple to carry out the live but it was only after various takes and practice that we were finally able to complete the performance successfully, which, rather than just a simple live broadcast, was more alike to a performance on stage and made this micro-project a very peculiar experience. Coordination between both parties had to be practised to be more refined and it took a lot of communication to include the appropriate elements and to execute them at the right timings, bringing social art to the next level.