Tan Pin Pin reveals her process that resulted in two recent films Snow City (2011) and The Impossibility of Knowing (2010). The first grew from her huge and random archive of Singapore scenes shot for another film (that were never used) and the second, from her 10 year collection of Straits Times news clippings detailing crimes of passion. She hopes to show how the Pinterest Instinct can be used as a vital creative resource.
Tan Pin Pin is an award-winning director who is known for her body of work on Singapore and her histories. Her films have screened in Berlinale, Busan, Vision du Reel and the Flaherty Seminar. In Singapore, the films have received sold out theatrical screenings and toured schools. She has won awards from Cinema du Reel, Taiwan International Documentary Festival, as well as a Student Academy Award for Moving House. To Singapore with Love, about Singapore exiles, was awarded Best Director at the Dubai International Film Festival.
One’s reception draws from observational basis as much as local filmmaker Tan Pin Pin did. The connection that was drawn from places, people to situation generates such austere and yet, gently humorous in circumstantial nuances. The art of drawing point to point from cloud data is an artist’s reflex. I also appreciate the relevance drawn contextually. Her process with the thematics of curated talk series, History and Its Currency, mapped clarity in procedural craftsmanship of important films made in Singapore to date.
In Project Virtual Awkwardness, an act of troll that has the undertakings of such sophistication requires clarity in thought and stoic calmness in propagation. In Project Virtual Awkwardness, it not of binary opposites to be or not to be, but a contention to the extremes and call for a measurement to the degree of which. Truly it is an act of elegance, and a practice of chivalry and meditation.
About 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.
Asri Falcone in Real Life.
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.
Falcone and Misty embracing in real space.
InFalcone’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.
Falcone 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.
In relation to the Third Space, both works of art are exemplary in the investigation of the notion of intimacy and the evolution of technology.
Catch-22 is that we are connected and alienated simultaneously. Intimate and isolating at the same time. The contemporary art embraces binary opposites and such marriage marks incredible milestone in art practice, as the role of an artist draws on parallel to a facilitator in creative process and viewer’s reception. Art critic Robert Hughes suggests a truly significant work of art is the one that prepares the future. Digital natives, it is as important to be concerned about the integration of third space in the everyday, vice versa.
The Big Kiss attempts to construct a shared experience through the participation fostered by the third space. What is noticeably challenged is defined by physically, and tactile sensation.
In Telematic Dreaming, such is enhanced with the placement of bed, a physical manifestation of the third space for the two participants situated remotely.
Telematic Dreaming by Paul Sermon, 1992:
Artist’s statement on Telematic Dreaming.
In Telematic Dreaming, Paul Sermon enforces telepresence with the place of bed as a stimuli to foster the feeling of that other location. Telepresence videoconferencing allows artist-viewer* to share and without them, it just an empty space. Paul Sermon as a facilitator contemplates on how to engage the audience and therefore ownership within an environment.
artist-viewer* suggests viewer as artist and artist as viewer through participatory gesture to render an art experience.
Moving forward from existential angst and loneliness staring into the abyss of HTML, the inception of HTML5 in 2008 has been a tool to pull strings for difference spaces in a browser. #stingtheorypun
The Wilderness Downtown by Chris Milk, 2010 Click on image to be directed
The Wilderness Downtown is an interactive music video for Arcade Fire’s song “We Used to Wait.” Visitors are prompted to enter their hometown’s address, and then the site calls upon Google Earth and HTML5 to create a personalised music video that takes the user on a journey back home.
Also note that besides the comparative incitation of third space, some of the most interesting and important works of art conceived and built upon on the internet challenge the convention of museum-going; web-browser replacing art gallery, as that of the third space replacing real place. I digress.
The Kiss by Annie Abrahams, 2008:
Artist’s “statement” for The (Big) Kiss.
Annie Abrahams creates situations where people reveal things of themselves they normally don’t show, being real and acting out of what is normally accepted, referring to it as an “intimate moment”. The idea is that in such a situation, people invest their thoughts and emotions while conferencing in the third space. In retrospection, it pricks to pick on their performance, in The Kiss, both performers self-consciously gestured a kiss. A kiss and its various cultural connotations deconstructed in the third space.
Man falls in love with operating system.
Watch trailer here:
Her, written, directed and produced by Spike Jonze, 2013
What does it mean to hold a relationship through electronic media? Annie Abrahams is appreciative of the realness exhibited by the man behind the webcam. From Spike Jonze’s film, Her, the protagonist in flesh develops a relationship with a machine, an OS. The revelation is that authenticity exhibited, regardless of machines and devices, contributes to the foundation of the third space. Life is evoked by life intertwined with memory and nostalgia. #meta
and yes —
You are welcome.
Alessandro Tomasi. 2008. Journal of Evolution and Technology. The Role of Intimacy in the Evolution of Technology, 17(1): 1-12. Institute for Ethics and Emerging Technologies.
Umut Sumnu. 2011. Image, Time and Motion: New Media Critique from Turkey. What is Absent in telepresence?, 135-138. Amsterdam: Institute of Network Cultures.