Project Hyperessay: Influences I

Mood: James Blake - Limit to Your Love *

Curatorial Statement

Still is the central theme to the intellectual common ground of video art installations and performances by artists Granular Synthesis, Ryoji Ikeda and TeamLab. These pieces exemplify video as art in and above all, establishes the aesthetic paradigm while furnishing the conceptual. Still questions the concept of time and its structural quality when measured in hours, minutes and seconds, thereby an examination of the relationship between time and our perception of time. Still in its system and algorithmic manipulations is rational, and finds aesthetically production irrational, all in all closing the distance between ourselves, the artists and viewers to the sublime.

Modell 5, 1994-6
Kurt Hentschläger and Ulf Langheinrich / Granular Synthesis
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“From a few expressions on the face of the performer Akemi Takeya to a frenzied exploration of the alter ego, any known context of meaning ends in the dissolved movements, is stalled in denaturalized redundancy, in machine pain. The semantic void is too loud to be amenable to meditative reception. The frontal images the rhythmic structures generate contradictory emotions and great strain. Entertainment is offered and almost violently denied. At the highest level of energy, enjoyment reaches the limit.”


Modell 5 is an audiovisual installation by the artist duo Granular Synthesis, channelling digitally processed image and sound to 4 video channels and 8 audio outputs. A multisensual perceptual experience is produced. In live performances of Modell 5, the audio interacts with visuals.

The pre-recorded video has Japanese performer Akemi Takeya broken down into grains through an analytical process, then reconstructed, and resembled in another frequency. Through this process of granular synthesis, image and sound are separated, blurred and perceived erratically like flickers.

This intervention into the audiovisual material by means of granular synthesis evokes violence and pain, as her voice and portrait are now being dissected. Her natural rhythm is eliminated and replaced by a mechanical rhythm. It is as if the organic human form has been mechanised and has her spirit trapped in a purgatorial state.

The digital editing level could be perceived as disruptive, because synchronicity has been removed, while simultaneously, one experiences then synchronicity between recombined image and sound. The cyborg’s reality is a distortion of space and time, and to the onlooking audience, we relate to her torment. A commendation to the creative decision in slipping in sub-bass, triggering physiological effect, heightening that sense of empathy.

Transfinite, 2011
Ryoji Ikedathe_transfinite

The Tranfinite by Ryoji Ikeda, a Japanese artist and electronic composer is large-scale digital installation. The installation bisects the space of the hall with pulsating patterns of real-time binary analysis of the Ryoji Ikeda’s soundtrack. It is a fully-immersive audio and visual experience.

In his album +/-, Ikeda describes his tone as “a high frequency sound that the listener becomes aware of only upon it disappearance”. While his rhythm exploits on beat patterns and noise, creating the semblance of a drum machine, the space involves a slowly evolving soundscape, with little or no sense of pulse. With minimal pulsation, audience are pulled into an abyss that signals the absence of time while enveloped in the darkness. In this alchemised experience which Ikeda describes as ‘the aesthetic experience of the sublime in mathematics’, we confront the vast magnitude of the universe. This project explores the transfinite that is quantitative and ordered, the intersection of beauty and the sublime, through music and math; black and white; 0s and 1s.

Universe of Water Particles, 2013
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Universe of Water Particles is a waterfall created in a computer-simulated environment by TeamLab from Japan, a collective of artists, designers, animators, editors, programmers, mathematicians and architects.

01_new_zbush_R1Rock environment created in a computer space

01_new_zbush_up_A_R1Detail of rock sculpture

The waterfall simulation

1. A virtual rock is first sculpted and computer-generated water consisting of hundreds of thousands of water particles is then poured onto it.
2. The computer calculates the movement of these particles to produce an accurate waterfall simulation that flows in accordance to physical laws.
3. 0.1 percent of the particles are selected and lines are drawn in relation to them
4. the curvilinear motion depends on the overall interaction among the water particles and forms the magnificent cascade seen on screen.
5. Also, The waterfall is rendered at a resolution five times that of full HD to allow for the intricate and extreme detail of the work.

In traditional Japanese paintings of oceans, rivers, and bodies of water, they are expressed as curvilinear series of lines, giving the impression of life, as though water itself were a living creature.

So we question: What implications did the notion of Nature as a living creature as an integral part have on their perceptions of the world? TeamLab expresses their point of view that this work of art embodies an integration of the modern objective world and the subjective world of Japanese ancestors. To think of ancient Japanese understanding space and time, “we reasoned that while compiling visual information in their minds, they would have experienced time on a longer axis. Stemming from this idea, we created a time lag during the simulation of the particles that left an afterimage. Following which, we formed lines from the afterimages.”

When viewing the work, if is there is something within the lines from which
the audience feel a presence of life, then perhaps TeamLab’s proposition of the subjectivity is their Japanese ancestors is extant in our objective perceiving of the world today.

Also, in such immersion from viewership of the work, one does not feel a barrier between them and the waterfall. Nature is not just an object of our observation. The integral part of nature and its behaviour arose from Japanese ancestors ways of seeing i.e. rivers as living entities such modes of perception make it very easy to feel no boundary or separation from their environment

Through this approach to perception in work of art, the qualities from ancient Japanese times is transcendental to our modern world besides the intangible stillness of mind image from viewing the water. Also, physical manifestation of the experience from looking at
this waterfall in spite of the virtuality of it from a screen.

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Project Hyperessay: Introduction to Virtual Awkwardness

Virtual Awkwardness

Virtual Awkwardness is a performative multi-media project to be culminated with the support of #ossntu under the supervision of Prof. Randall Packer. Episodic media will be documented and disseminated online. In a live performance, the audio and visual materials will be digitally manipulated, alchemising an appropriated reality shared between the artist and the audience in the third space.


Since the inception of the internet as a tool for communication, albeit broadcast from one to many or many to one in the third space, it induces the spawn of multiple identities or personas and anonymity. Sharing parallels in space-time continuum, the presence of an individual, otherwise collective, has become existentially purposeful. On the other extreme of the spectrum, it is possibly meaningless. Part of our artistic objectives not only to embrace the binary opposite of which, but to also research that finds meaning in the meaningless. As that of transition from modern to post-modern, the conflict is highlighted and also simultaneously celebrated by the contemporary.

Here’s an idea: The contemporary art is one that prepare for the future, and Open Source Studio, contextualised as a virtual classroom, opens for infinite possibilities in artistic expression, facilitation, and liberation. The internet now as an object, and also an medium. While father of video art Nam June Paik’s implicated TV as an object, grandfather Randall Packer prophesies the future of new media art. In his research and propagations, the internet and proposed ‘third space’ not only question, but also revealed challenges with the third space as an object and medium, particularly here in every digital natives’ residencies. The internet and its culture is under scrutiny as an object. The internet is also transgressive as a medium in performance art.

Randall Packer defies conventions and holds discussions and presentations in virtuality via Adobe Connect. Subjects are quickly equipped with a heightened sense of reality and awareness of ourselves and the environment, dissectible in layers. But could we then be seen also as one? The avatars and alter egos romanticised the profane reality in which we live in. In the participation of this classroom exercise, not only does one engages intellectually, but also our mind and body in many different ways contrary to common beliefs. It is emotional and non-tactile, but nonetheless gestural.


In the establishment of the third space, experiences could lay on the borderline between intimacy and isolation. Somewhere in between when one could not decided with the other is a recipe for awkwardness. What is fundamentally existing in the real space has the quality of transference to the third space. With that, I would like to demystify the awkward behaviour of an individual to be consistent of rootedness, in spite of cultural differences — the singularity. Virtual awkwardness is hence an erected shrine to pay tribute in the sublime third space.

The origin of which begins from an honest observation of oneself, contemplative of the affect of an online presence and manipulations that predicative of a certain psyche and characterisation. It is dangerous and aggressive, yet vulnerable and sensitive altogether. Keeping the cookies in the jar, elaborative analysis and suggestions would concurrently be performed in a collaborative act with Mike Tan (http://unpartitioned.net/), a bred visual communicator turned mixed media collector, who dabbles in big data and small polemic.


Live Tweet of Le Drame Français


One finds oneself reviewing past input on the internet and deletes. This behaviour could be found in anyone for varied amount of reasons and mostly a requirement to be considered as a virtually awkward.

While the below is a case study of a dirty laundry example, the dramatic tweets has also been removed from the Twitter account. In such a gesture the internet approves of, but what is said in real life can never be taken back. What we say matters in what we do as psychotherapist, Debbie Hogan, refers to the part and parcel of our human brain technology. But then again, with the longevity of all things birthed by the Internet, perhaps then possibility of data mining of the past residuals could nevertheless be realised. That, is futuristic in an attempt for trash recycling likening to space exploration of the Deep Web. But we are living in the future now so please find attached link to start.

Live Tweet of Le Drame Français

One afternoon, a human with a vagina sat on a table in Starbucks@Paragon, working on her Project Hyperessay for #ossntu. In a series of unfortunate event, her ears were almost endangered by some destructive waveforms transgressing through the coffee smell.

The inner troll of her was aroused and therefore could not be tamed but manifested in virtual and thankfully non-holographic presence in Twitter. She does not attempt to pretend it ain’t her ‘cos ain’t nobody got time for that.

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She refrains from confrontational aggression and has resorted to Twitter for live streams of consciousness. Like a Chuck Bass. Identifiable parallels in Gossip Girl*.

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Gossip Girl* In the drama television series, Gossip Girl is an unidentified character who spreads gossips through text messages anonymously. A classic troll. 



Self-deletion and the Political

Meanwhile, self-deletion is unintentional for Luke Harding.

mike d

Final Project Presentation Slides

A Documentation of A Rare Skype Session

In the most natural march of time aligning towards technological singularity, there is one who is so aware of the attachment to electronics and held onto the refusal to partake the cyborg movement. However, something change the way she approaches relationships when she finally regains her faith just when she first believed Him. He saved a broken relationship. He is also a lifestyle of choice.

He is technology.

To rebuild a distant human relationship, she finally confronts her intimacy with the technology face on and overcomes the challenge of virtual awkwardness as she attempts to reconnect.

Through a live rare Skype session with a human she calls friend, she uncovers tangible and intangible treasures from which a third space provides.

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Fig. 1 Virtually awkward; Skype video staggering to load, image provided by Prof. Randall Packer

Screen Shot 2014-02-24 at 11.16.47 amFig.2 AVR (Augmented Virtual Reality); cross-brower pollination of hung-up screencaps

Screen Shot 2014-02-24 at 11.04.04 amFig. 3 Undelivered promise



High-brow, Low-brow — Dara Birnhaum: Technology/Transformation: Wonder Woman

Technology/Transformation: Wonder Woman, by Dara Birnhaum (1977-78)

Video art challenges conventional ways of TV broadcast which is in a linear and structured manner. Similary, Dara Birnbaum’s mashedup was stitched in the dynamics of a 3-act-structure, despite relentless gifs of her power performances.

Perhaps it was through tinted lens do I see it as the amplification of atrocities and justified troll. It appears satirical to a contemporary audience and rouses skepticism in light of the banality of the overdone visual effects. Suggestively regressive in film editing techniques, one must, however, acknowledge the subversion of the everyday consumption of television then, unnecessary in adherence to Walter Murch’s evaluation. Contextually a keystone in Birnbaum’s artistic career, it is in the art happenings in the period of 1977-78, where feminist art movement was very much favoured we may savour layers of her media manipulation attempt.



The subject of this work of art involves Wonder Woman, a cultural icon since inception. When William Moulton Marston brought Wonder Woman to life in 1941, he gave it up to feminist ideals and female empowerment. “(She) encourages women to stand up for themselves, to learn to fight, and be strong, so they don’t have to be scared, or depend on men”.

At first sight, Birnhaum’s work was in dominance in relatable concerns to pioneers of video art in technological production. It was also an ideological critique of the popular culture, as such, comics. Many, like artists, were seeking to “talk back” to television, the medium for broadcasting. On the other hand, video was also an advancement in search for a new visual language. This “new media” technique, through sampling and collage fulfilled the mechanism of deconstruction in sexist ideology, beckoning the wild reception.

Much contradictory to the notion of kitschness, Dara Birnhaum’s critique was high-brow from a critical distance on low-brow mass consumerism — not of condescension, but rather, a facilitation on the celebration of feminism.


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Media Addiction: A Virtually Awkward Troll

Context: #ossntu

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By using the #ossntu hasthag, we contextualise subjects written in 140 characters or less to alternative interpretations.

Identity: Troll

I was a troll.

“In Internet slang, a troll is someone who posts inflammatory, extraneous, or off-topic messages in an online community, such as a forum, chat room, or blog, with the primary intent of provoking readers into an emotional response or of otherwise disrupting normal on-topic discussion.”


Ask 10 people what they think about Internet trolls and you’ll likely get 10 different answers. One person might focus on harmless pranks, another on the lulz, another still on hateful tweets or harassment, generally. Some might even argue that the category doesn’t exist. The Internet seems to be virtually overrun with trolls—but no one can agree on what that term means.

Read A Brief History of Trolls, by Whitney Phillips, for elaborative insights and consequences of “trolling” as a label. 

Introspectively, I have exhibited behaviours, such as checking Twitter feeds for updates, that inclined towards media addiction. A confession for media addiction, while common, is self-shaming and guilt-tripping. I confront anxiety even as to responses from avatars despite familiarity for my trolling efforts. I could not detach myself from a virtual character I created for a micro-theatre performance. 

The notion of a staged performance does not imply an act of pretence, but being real in an artificial context.

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Dr. Ruben de la Nuez, an art critic and theoretician, on the difference between theatre and performance art.

Research and Statistics

Psychologists at the University of Manitoba conducted a study to determine if trolls have character traits that fall into what is known as the Dark Tetrad:

1. Machiavellianism – wanting and being able to manipulate and deceive others

2. Narcissism – extreme egotism and self-obsession

3. Psychopathy – a total lack of remorse and empathy

4. Sadism – taking pleasure in others’ suffering

Trends E.E. Buckels et al, “Trolls just want to have fun,” Personality and Individual Differences, 2014.

Case studies:

1. Trolling @emo_kidd91

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Clearly, @emokidd91 unveils a depressive episode on #ossntu. Instead of establishing an emotional rapport and a support system for the poor kid:

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2. Trolling @whalebiologist_

In continuity with sexual nuances:
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3. Trolling @HWL_OSSMP

Severe incoherence:
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4. Trolling @Zeltaru

In far-fetched response to @Zeltaru’s mention of “brownian motion”:

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Translated as an animation in code:

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5. Trolling @prakashph and @MNasiruddinBar

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Seriously, who is Sally?

6. Selfie — the ultimate art of trolling

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The image of gods and goddesses since pre-modern times are portrayed via the projection of self in the studies of iconism. The proclamation that the Buddha is a bff (best friend forever) highlights self-importance and narcissism on extreme. To visually analyse such portraiture* is political.

Portraiture* here refers to the selfie shared by the narcissist and Buddha statue.

The Buddha on pedestal of significance is cropped out and in the form of a selfie, the relationship of the onlooker and the buddha is changed. The sandstone figure of Buddha protected by Naga Muchalinda could be identified to be from 11th to 12th century Cambodia. It was time when the Buddha is modelled in likeness to Cambodian king Jayavarman VII.

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Source: Statue of King Jayavarman VII at Bayon Temple near Angkor Wat, Cambodia.

The representation of the onlooker’s identity sends subliminal messages to inform her status beyond a “bff”.


The Internet culture is progressive in time, opening up to more possibilities and vulnerabilities that requires discerning eye in information literacy. An avatar could be brought to live as an extension of reality. An avatar could also be an illusion that disillusions in the light of reality.

“The key to growth in the introduction of higher dimensions of consciousness into our awareness”
-Lao Tzu

Meanwhile, What Is an Internet ‘Troll’? How Should I Deal With Trolls? offers reliable perspectives and practical advices to deal with internet trolls.


The act of writing as a catharsis and its records of an avatar helps to erect boundaries between effects of media addition and self. Thank you #ossntu as micro-theatre platform and Prof. Randall Packer for his introduction to Hyperessay practice. #clarity


Chris Mooney (2014, February 14). Internet troll personality study: Machiavellianism, narcissism, psychopathy, sadism. Retrieved from http://www.slate.com/articles/health_and_science/climate_desk/2014/02/internet_troll_personality_study_machiavellianism_narcissism_psychopathy.html

Kyle Chayka (2014, February 13). Internet Trolls Are Sadists and Psychopaths, Psychologist Report Finds | TIME.com. Retrieved from http://newsfeed.time.com/2014/02/13/internet-trolls-are-actually-sadists-study-finds/

Mark Prigg (2014, February 15). Online trolls really ARE horrible people, researchers find | Mail Online. Retrieved from http://www.dailymail.co.uk/sciencetech/article-2559860/Online-trolls-really-ARE-horrible-people-researchers-Narcissistic-Machiavellian-psychopathic-sadistic.html

Whitney Phillips (n.d.). Internet troll personality study: Machiavellianism, narcissism, psychopathy, sadism. Retrieved from http://www.dailydot.com/opinion/phillips-brief-history-of-trolls/


Life 2.0: Asri Falcone 2.0

Life 2.0 is a feature-length documentary recounts the lives of individuals and how their engagement in the third space alters their lives in real time for the better or worse.

Real and Second Life
Asri Falcone asserts that her avatar is not of a separate entity but her very self. In the film sequence, filmmaker Jason Spingarn-Koff consciously decides upon the juxtaposition of Asri Falcone’s successful entrepreneurship in virtual world, and obese black woman who chain-smokes and sleeps till late in the day.

Asri Falcone in Second Life.

black sleeping beauty
Asri Falcone in Real Life.

Cinematic Techniques
Introduction of Asri Falcone evokes shock and disdain in view of her lifestyle and sense of self. It reminds of the notions of real and virtual life disparity in which Second Life offers this chance for escape. Undeniably it might have been an intention for gameplay, Life 2.0 offers a warm wrap for the depiction of Falcone, which serves as a reference for contemplation of the dilemma in virtuality and reality. Especially since Second Life is based upon realism of human, environment, and propagated interactions.

mistyFalcone and Misty embracing in real space.

In Falcone’s relationship with Misty, a fellow playmate in Second Life sharing a dedication in their gameplay, they engage with each other in entertainment and many other bonding activities. It attributes both character’s moments of intimacy to their common ground established in third space.

caseFalcone pursued for justice in real court.

Asri Falcone’s entrepreneurial spirit was apparent. Her victorious case from the sue of copyright infringement from virtual assets validates beyond the study of identity and extends towards economy. Liken to Bitcoins*, Linden currency in Second Life is not only virtually exchanged but to state currency and vice versa.

Elaborated on

What is a Bitcoin?




Tribute to Asri Falcone:

mulan water

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Ecologies of Performance Art: Actualizing the Future

A visual blast(*) from Steve Dixon’s obsession in art as a gesture. There’s a little bit of blood, gore and grotesque, but that’s quite fine like a gentlemen he is. In Environmental Visions, his performance of his speech is theatrical and soul-grabbing.

Hell as a virtual concept; infinite loop of boredom with a robot that it is stuck in.

My experience with him is likened to Invocation of My Demon Brother happening in real time and space. Terribly charismatic.

Elaborated on  *.

* is also an extensive map and research of relevant artists. Updates are available.


tv bra

The Post-Human Condition: Nam June Paik Humanizes TV

Nam June Paik was a notable video artist who helped ushered in the new development of electronic technology. Paik transformed literal representation of moving images to expressive elements. Formally trained in music and performance, Paik approached TV as an artistic tool to work around time-based art.


“I think I understand time better than the video artist who came from painting-sculpture. Music is the manipulation of time. All music forms have different structures and buildup. As painters understand abstract space, I understand abstract time.”


nam moor

In the late 1960s, Charlotte Moorman, a cellist, performance artist, an produce of the New York Avant-Garde Festivals is a significant collaborator with Paik.



tv bra

TV Bra For Living Sculpture by Nam June Paik, 1969

In TV Bra For Living Sculpture, he is moving the TV from traditional setting into wearable technology. The hypnotic quality of the glitchy images immerses the audience. The “male gaze” in feminist theory is challenged when looking at the female body to fixate in a non-sexual manner. A  woman’s body perceived as a “living sculpture”, instead of instant objectification.

In many instance, Paik’s “human” element and its intersection with art and technology is frequented. TV Cello is one other.


TV Cello by Nam June Paik, 1961



Paik created the form of a cello using monitors for which Charlotte Moorman, performs with. Moorman drew the bow, causing the images on the monitors to change.

 “Skin has become inadequate in interfacing with reality. Technology has become the body’s new membrane of existence.” 

Both works of art by Nam June Paik distinctly accentuates his desire to humanise the TV, or rather the TV and an extension of Moorman’s body. Paik envisions technology as an artistic tool that liberates expression and transforms the world. His visual and conceptual influence has extended to today’s contemporary art practice.




Garrett Landry, 2010. Nam June Paik: Electronic Expression. Retrieved from m:


Carla Hanza, 2001. International Sculpture Center: Publisher of Sculpture Magazine, 20(5). Retrieved from: