EXTERNAL RESOURCES & OPPORTUNITIES

 

1.Aims:  

• Conduct research about your core subject in an archive or collection.  

• Correspond with an artist/academic/expert to extend and deepen your knowledge of your subject.  

• Explore or develop an interdisciplinary project or research.  

• Scope opportunities for exhibiting your work, particularly in spaces and places that are related to your research.  

• Explore a process or medium that is new to you, but that might shift your perception of your current practice.  

• Propose a collaborative project and/or correspond with a potential collaborative partner(s).  

  

  

2.What I had done & What is my plan?  

• I have taken part in the MA Painting online project space residency.  

• I have made contact with networks of artists/technical help who use interactivity.  

• Plan to take part in the Camberwell MA Fine Art interim show in Copeland Gallery.  

• Plan to collaborate with an interaction designer to create an interactive installation.  

  

  

An outline of interdisciplinary collaboration with artists in other disciplines  

  

1.What is my project?  

My project is about memory - human experience and the fallibility of memory - especially Déjà vu; Digital potential- in combination with 'traditional'/ 'physical' painting; and Games - interactivity – playfulness.   

  

Somehow, I started questioning every image or pattern in my mind, wondering whether they are created by my imagination or are they constituted by my memory?  

My work is about the confused sense of familiar and unfamiliar, fault and real, existence and nonexistence. All these feelings can appear when you experience déjà vu,  a fascinating memory phenomenon. Through my research and practice, I explore the relationship between imagination and memory, controllable memory, uncontrollable memory, active imagination, and passive imagination.  

  

2.Potential opportunities for cooperating with other fields and other development directions of my artworks in the future.  

Over the years, the efforts of artists, musicians, architects, and designers working across a wide range of disciplines have contributed to invigorating the discussion of the art boundaries of such interdisciplinary engagement. With regards to the cooperation in my project, I characterize it as cooperation with people and with technology, meaning my art would interact. It means my artworks would interact with human beings and computer machines.  

  

3.with “Generative art” artist, interaction designer, photographer, etc.  

I always like to cooperate when creating my work because I believe more people bring more possibilities, freshness, and impact to my works.  

  

For example, in the first unit, I interviewed some friends and my classmates, I asked them to recall some unforgettable, impressive memory in their interviews, and then I recorded them and captured their facial expressions. In the second unit, I use games to invite my classmates and friends to participate in my work. I  enjoyed using the game to express my artworks and it reminded me of,  Roger Caillois’s critique of Johan Huizinga’s theory of play. He mentioned in his book that “During the game, competition and simulation may and indeed do create cultural forms to which an educational or aesthetic value is readily ascribed.”(Caillois, 2001, p.76) That is what I want.! I expect to express a new aesthetic and values through the interaction between audiences and my artworks.  

   

In Unit 2, I gave back the imagination and the authority of interpretation of my works to the audiences, -the people who cooperate with my works. I hope that the audience can think, explore, and interpret my artworks. In the first unit, I had a painting called -I Think What I Think, and in Unit 2, I gave my work a new name, -What You Think Is What You Think. In the first unit of my work, I wanted my audience to know and interpret my feelings and indulge in my memories. However, in Unit 2, I wanted to place less focus on my feelings and more on other people. The feedback from others to you and the evaluation of your memory is also essential as the people around you are also part of your memory. There are some memories that we can control, but there are also some uncontrollable memories. They are subject to dramatic change due to any details or factors, similar to the butterfly effect in Texas.  

  

Therefore, as for continuing research and practice, I plan to create some interdisciplinary artworks by using innovative technology and computer machinery, with experts in other disciplines, such as interaction designers, and generative art artists, photographers, etc.   

  

Ambitions Beyond the MA course - Continuing Research and Practice  

  

1.Exhibiting  

I searched for some application opportunities for artist residencies that I am interested in online. Some artist residency programs are available by invitation only, but some are available by application. Below I have listed a few artist residency opportunities that I may apply for in the future.  I have stated the reasons for choosing them according to my research and practice.  

  

  

1. I plan to exhibit my works in 18th Street Arts Center’s visiting artist residency program.  

  

Unfortunately, because they have had to reschedule international residencies due to COVID-19; they currently do not have any available Visiting Artist Residencies for the next 24 months. (https://18thstreet.org/visiting-artist/#va-land)  

Reasons:  

• There are a lot of public events in this program, such as exhibitions, talks, publications, and other opportunities. It means I could have more opportunities to exhibit my works in public.  

• 18SAC’s Community Engagement Program encourages artists to explore engagement in the public sphere and to develop community-focused projects in collaboration with local partner institutions, community leaders, and community groups in Santa Monica. Then I could explore some collaboration opportunities for my project and research.  

  

1. Yaddo also offers residencies to professional creative artists from all nations and backgrounds. (https://artistcommunities.org/residencies/corporation-yaddo)  

Reasons:  

• This program would have more artists working in one or more of the following media: choreography, film, literature, musical composition, painting, performance art, photography, printmaking, sculpture, and video. My practice is focusing on creating some interdisciplinary artworks by using cutting-edge technology. Thus, I think I would meet diverse artists in this program, we could collaborate and discuss our practices and research together.  

  

2.Research  

I learned about Dr. Laura Ferrarello’s book, Digital Bodies Creativity and Technology in the Arts and Humanities. This book illustrates the concepts of 'oxymoron materiality' and 'oxymoron tectonics' through a process based on feedback loops between human creativity and machines. Through touch, she describes how material sensations of physical objects augment both digital and physical perceptions of anyone's reality, as it shapes an embodied sense of hybrid reality with touch as the interface. Machines, including 3D printers, haptic sensors, and robots, participate in a dialogue with our actions, minds, and memories, and contribute to the formation of the hybrid real.  

  

If it is possible, I intend to extend my contract with her to talk about my project and research as I know Dr. Laura Ferrarello is focusing on the interrogation of the body through the medium of technologically informed Arts and Performance practices. She also has extensive experience in Human-Computer Interaction and has published widely on the design, development, and evaluation of emergent digital technologies for learning. She could provide me with more help and suggestion to make me understand the difference of my artworks between the interaction with human beings and computer machines, thereby improving my practice and research.  

  

3.Thinking through Material/Medium  

Glitch Art has some connections with déjà vu that I want to explore. For example, the disorder of time and space in déjà vu is like the mysterious and disorderly disordered vision of malfunction art. They both show an aesthetic attitude of "Glitch Art aesthetics" that questions rules and destroys the spirit of the order. We can also discuss the relationship between contemporary digital art and traditional art around here. For example, there is no boundary between digital art and physical art, hence the need for interdisciplinary art.  

  

In the future cooperation plan, after discussing with my partner(GriffinKoo), I decided to use the MAX/MSP software program to create a programming language, and use the real-time image collected by a video camera and glitch interference on the screen through the drumbeat of the music. I want to redefine the image through high contrast color and outline.  

Accompanied by the feeling of shock, it destroys the perfect image of people. And then, it brings the interactive audience an immersive audio-visual feast through the intervention of sound and recreation of the images.  

  

  

4.Collaboration with partners  

In our cooperation project, my partner provides technical support for my project. These include programming algorithms for generative art, music production, data collection, etc.   

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Let me briefly introduce my partner. He is currently studying at UAL-CCI (Creative Computing Institute). He is good at multimedia design and music production.