All posts by Cheong En Liang

Born in early 1989, Cheong En Liang was one of the pioneers of being born in 1989. A severely underrated achievement, especially by those born after March, 1989. Although he was not the first,  it was En Liang whom popularised that very idea. Many sociological and economic impacts stemmed from this and gave way to many concerns brought up by the Argentinian Government. Most of these issues were settled by 1990 largely due to protests against the pioneers of 1990 and to some extent the reunification of Germany.

Audio Exploration

Sound Influences

Research on the type of soundscape I want to create. I am looking at creating multi-layered soundscapes that fit into the amount of interaction of the piece (up to 8 overlaying samples). These are a few influences after doing some research.

Explosions in the sky was the first thing I thought of, I wanted to create something cinematic yet surreal. A sound that could add emotion to a empty space. Not just as an ambient sound but atmospheric in nature.

Kraftwerk’s introduction to Autobahn was another style I had likened to this project. A piece that can easily be build up and taken apart.

This piece interests me due to the overlaying of the voice recordings.

Cant forget Aphex Twin.

Also Bladerunner!

Sound exploration

From: http://phase47.bandcamp.com/track/the-sun-came-out-epilogue

Conceptual Ideas

http://soundsoftheinternet.com/

A website that cycles through websites that auto play music. (ikr)

http://youarelisteningtolosangeles.com/

This one is haunting, overlaying music with a live feed of the police radio

http://en.wikipedia.org/wiki/UVB-76

Numbers stations:  A russian radio tower that plays short buzzes. It’s been recording from 1982. On rare occasions the buzzing is stopped and you can hear a russian voice say numbers. Nobody knows what the purpose of this station is.

There is some speculation that the tower isnt a recording and that it’s live

Recording to this day….

https://archive.org/details/ird059

Conet Project: Recordings of these radio transmissions.

Actual Role of the viewer

Sonic-interactivity/ Musical instrument

Adjusted water levels act as controllers to create a user-generated soundscape. Viewers are encourages to change the water levels in the jars to create changes in the light and soundscape.

Changes are brought about by 3 main conditions/triggers:

1)Velocity- Rate of change in water level

2)Range- Difference in height/weight of water level

3)Level of activity- No activity, new activity, some activity

Concepts: The context of space.

The Space

“Art confronts an individual with a situation in which their boundaries, both physical and mental, are redefined. ” Is art transformed by its context, or does the context defines the art. (Especially in space, whole concepts are redefined, time travel, the idea of 1st, 2nd and 3rd in a zero g environment, the concept of an inside and an outside) The boundaries of art are ever shifting. How more would it in space. image Space Art Chosen Out of 200 Applications, because unlike the others the whole concept require it to be in space. It wasnt created in a studio and then to be sent out in orbit. Scheduled to fly in 1986 on the Challenger, after the changing of the rules that all space-bound payloads must have scientific value. In this case, Burgess not try to disguise and bastardize his piece as a scientific piece of work to work about the past regulations, instead presenting it as what it is, a work of art. Eventually the work was put on the Discovery shuttle in 1989. – The first piece of art launched into space. The piece symbolised the release of everything and nothing. It consisted of a Cube inside a 6 pound, 5 inch cube of bronze-tinted transparent glass, Under bright light, holograms of text (Poems on nothing and everything, Darkness and light) appeared on the surface. The cube contain water from 18 rivers around the globe, including the Mississippi, Amazon, Yangtze, The Nile and other water sources like glaciers, geysers, ponds and wells. Also traces of all the elements were infused into the water. So the inner cube which was essentially a vaccum, sits within the larger cube with contain the mixture. This was the concept of nothing in everything. and then in space nothing. and so on. wow. The piece orbited the earth 90 times, before returning to earth. where it was placed in the grounds of the Decova museum. Unmarked. His reasoning being, if people want to find it, they will. The Relevance. The concept of using space, be it the metaphysical or literal aspect, in installation art. How does the context of space itself change the role of the viewer and artist in question, or vice versa for that matter. How would the use of a particular space change the boundaries that which we see is art. Is interactivity a reaction or an action to it? In this case does putting a bunch of lit up jars in a room create a change in the phenomenology? If not, how would i achieve so?

Hyperessay: Role of the Viewer

The role of the viewer in this piece is not very different from that of many interactive pieces. However, it is still not practiced often in most of the contemporary art world.

Based on this i will refer to the analysis which i had done on the Hole in space by Kit Galloway and Sherrie Rabinovits.

What I felt happened here is one of the many sparks in redefining the boundaries of art. As a very reluctant student of art history, I akin it to a repeat of the ideology behind the realism movement only this time in interactive and technology driven art. From what i understand, realism began after the french revolution , naturally it was a protest against romanticism, rejecting its exotic subject matter and the idealised classicism of academic art in favour of down to earth concepts and the depiction of the common man.

In essence the same holds true to some extent, where Kit Galloway and Sherrie Rabinowitz removes the boundaries of high art. Taking it out of the display of a museum onto a public street exposed to the masses, and rightly so; as the piece was never meant to be analyzed by the academia nor be ogled by the rich or the educated. It was meant to experienced by the world, the very people that in time were to be the ones that had to accept and adapt to the changes of technology and with it connectivity, it was the rehearsal for web whether they knew it or not and also the staging point for the Gesamtwerk- the collective artwork.

This the very basis for many interactive works, where the works are true to its genre and are meant to be interacted with. Therefore the viewer has to work with the piece if not, the piece itself is nothing.

In this case, this piece is based on the many to many paradigm, where one or more entities are meant to work together, and control the piece. As it should be. The piece is not a rigidly composed soundpiece but instead put together by the masses and their interaction with the works. With their content and interaction, my content is generated: thus showing the metaphorical connections between the actions of the many and the internet in its essence.

The viewer has superseded the artist. To generate content, that is relevant to the context (the many to many paradigm) The artist and the viewer takes part in the cycle in which it content is constantly being created with as little control as possible. That is the gesamtklingen. The collective soundscape.

Tracking the 2D into 3D

Let’s face it, I spend most of my time on my computer. Be it lying on my bed with my macbook or gaming away on my pc.

Here are some of the data I collected based on my mouse movements over time. The lines represents the paths and the circles represent the length of time spent hovering over that position.

IOGraphica - 1.2 hours (from 23-52 Feb 19th to 1-07 Feb 20th)This first data sample was taken from my PC at 1920 x 1080 over a period of 1.2 hours of activity (Dota), from 23:52 Feb 19th to 1:07 Feb 20th. This was just a test.

IOGraphica - 39 minutes (from 4-54 to 7-02)

 

This was taken from my macbook, 39 minutes (from 4-54 to 7-02) of web surfing.

IOGraphica - 13 minutes (from 13-36 to 16-31)Macbook pro, 13 minutes (from 13:36 to 16:31), surfing, 1 of 3 progression.

IOGraphica - 33 minutes (from 13-36 to 23-14)45 minutes (from 13:36 Feb 19th to 5:43 Feb 20th), 2 of 3 progression.

IOGraphica - 3.5 hours (from 13-36 Feb 19th to 18-16 Feb 23th)23.5 hours of usetime (from 13:36 Feb 19th to 18:16 Feb 23th), 3 of 3

Steady as she goes.

Food maketh the Man

Looking at food from another perspective- that which drives the armies of the world. 

 
Over here in Singapore, we have quite a wide range of MREs to choose/trade around, from Asian stuff like Chicken Porridge, Fried Noodles, Bobo Chacha (a sweet coconut based dessert) to Western cuisine- Pasta, pasta and more pasta. Aside from the typical MREs, there’s a lot of other shit thrown in our packs, Horlicks Candy, Sweet fruit favored tea, Smarties(shitty M&Ms), Fruit bars (I personally love these), Biscuits, Instant noodles (usually taken raw), 3 in 1 Milo (also at times taken raw), Packet drinks, Canned drinks- the list goes on.On on hand, i guess, it’s hard to take Singaporeans away from their food. I mean you’re out in the jungle, its 31 degrees, the mosquitoes are biting through your slacks, camo on, its fucking raining while the sun is out, the foxhole’s halfway done, but when it’s time to eat, all the problems seem to fade away.

Also, we’re kinda conscripted to they have to give us that.

A quick peek at what’s for dinner.

Based on these pictures and descriptions, certain nuances and cultural elements be identified? Can you guess which country do these MRES/Combat rations hail from?

 

This ration pack contains several sachets of grapefruit and exotic juice powder to add to water, and Italian biscotti, but also more familiar treats such as liver-sausage spread and rye bread, goulash with potatoes, and for breakfast sour cherry and apricot jams.
While there are Bear Paws snacks in this ration pack, there’s the shocking omission of maple syrup. You have the choice of salmon fillet with Tuscan sauce or vegetarian couscous for the main meal. There is also the makings of a peanut butter and jelly (raspberry jam) sandwich for breakfast.
Almond poppy seed pound cake, cranberries, spiced apple cider  and peanut butter and crackers make up this very ______  meal package. The main – pasta with vegetable “crumbles” in spicy tomato sauce – is less traditional, but the “flameless heater” shows off _____  tech skills – just add water to the powder in a plastic bag and it heats up enough to warm the plastic meal pouch.
A streamlined but sophisticated ration pack offers soldiers deer pâté, cassoulet with duck confit, creole-style pork and a crème chocolate pudding. There is also a disposable heater, some coffee and flavoured drink powder, muesli for breakfast and a little Dupont d’Isigny caramel.
This ration pack contains a breakfast shot of 40% alcohol cordiale, a powdered cappuccino, lots of biscotti, and a disposable camping stove for heating parts of the meal, including a pasta and bean soup, canned turkey and a rice salad. Dessert is a power sport bar, canned fruit salad or a muesli chocolate bar.
This pack is dotted with familiar brands from Kenco coffee and Typhoo tea to a mini bottle of Tabasco. The main courses include the ____ favourite, chicken tikka masala, and a vegetarian pasta. There’s also pork and beans for breakfast, and lots of sweets and snacks from trail mix to an apple “fruit pocket” that looks like it might not be out of place in a school lunchbox. Plus packets of Polos and, of course, plenty of teabags.
Stuffed peppers, chicken-meat pâté, smoked sprats, and liver sausage with potatoes make an eclectic menu here. Plus, crispbreads on the side, and halva with vanilla for dessert. Breakfast is muesli, a fruit pocket and honey.
This particular ration pack has more small treats than any of the others. Most of it is packaged by the military, from a serving of love-it-or-hate-it Vegemite to jam sandwich biscuits and a tube of sweetened condensed milk. The bag includes a can-opener-cum-spoon for getting at the Fonterra processed cheddar cheese, and main meals of meatballs and chilli tuna pasta. There are lots of sweets and soft drinks, and two unappetising-looking bars labelled “chocolate ration”.
The  pack has American technology (the flameless heater) but British tastes. There is Earl Grey tea, beans and bacon in tomato sauce, a golden oatie biscuit and Rowntree’s Tooty Frooties.
This lunch pack has cans of green beans with ham, squid in vegetable oil, and pate. There is also a sachet of powdered vegetable soup, peach in syrup for dessert and crackers handed out to go with the meal in place of bread (not shown). There is a disposable heater with matches and fuel tabs, as well as lots of tablets: Vitamin C, glucose, water purification, and rehydration.

Continue reading Food maketh the Man

Hyperessay: Influences

A few conceptual and aesthetic influences.

Teamlab Balloon: Tactile interactivity

Filling up a space with tangible objects that can convey information, encourage interaction and reciprocate with one another. (Tubular sculptures,  hanging objects (lights/chimes/instruments), collective objects that move in unison creating a bridge or ripples b/w people/objects, sound interactivity)

Immersive Space: Aesthetic influences

James Turrell: The Space

James-Turrell-Las-Vegas

A number of James’ work features a change in perception of a space. The  beauty behind which is the “immersive simplicity” that follows his works that allows us to take in and redefine our boundaries of what we perceive.

One notable comparative ideology to his works is the Parable of Plato’s Cave to bring about the notion that we are living in a reality of our own creation, subject to our human sensory limitations as well as contextual and cultural norms. Thus many factors affect our perception of reality.

Edwardo Kac: Telepresence

ornitorrinco

A series of telepresence works, in collaboration with hardware designer Ed Bennett.

Created a telerobot that would respond to signals sent through various telecommunication devices

The remote audience, situated in various geographical locations throughout the life of the project, could transmit information to the robot and retrieve it from the robot’s point of view.

In 1994, the project evolved to include the use of the Internet.

One can fly all over the earth in a matter of hours and days, not months. We have the cinema, and color television, as well as the man-made spectacle of the lights of Las Vegas or the skyscrapers of New York City. The whole world is there to be seen, and the whole world can watch man walk on the moon from their living rooms. Certainly art or objects of painting and sculpture cannot be expected to compete experientially with this. — Joseph Kosuth (Art After Philosophy, 1969)

Ref: http://ekac.org/telepresence.art._94.html

Wonder Woman/Diana Prince

Dara Birnbaum – Technology/Transformation: Wonder Woman (1978)

This video piece shows the constant transition from the Superhero’s alias Diana Prince into Wonder Woman herself. By isolating and repeating the moment of transformation – spinning figure, arms outstretched.

The visual aesthetic of the piece is simply a beautiful kaleidoscope of colours and forms for the eyes, especially for for those who havent really heard of HD, 3D or Jackson Pollock. Dana Birnbaum was thought to make this video to be seen as if it was a moving canvas whist offering a reconstructed vision of images by involving a panel of repetitions, interruptions, rhythms, sounds and colours.

In the context of the 1970s, the piece aims to denounce the disparity between the genders. Wonder woman, the main subject matter, is a POP culture symbol who throughout the years became an iconic symbol. Other then being pro-america (eagle screech!) She had evolved into an important symbol of the feminist movement, which Dara Birnbaum was a part of.  Thus simply put, using Wonder Woman as a subject matter was a representation of the emergence of women in active roles.

However to me, what was most interesting about this piece is that it is one of the pioneers of a video appropriating imagery directly from another source (television) which perhaps was an way to dissect or reinterpret the language (of television).

In this case, Dana created a piece of pop culture out of finished works/videos. Who knew that even up till today, this was not only relevant but still immensely popular and practiced extensively amongst the populace.

In short this piece was the grandmother to all youtube mashups.

Here’s one i like.

Life, 2.0

Life 2.0 is a documentary released in 2010, it follows three different relationships between real people and their second life avatars. Each of their simulated relationships results in a real world moral dilemma.

Who is Ayya Aabye? vlcsnap-2013-03-03-12h45m36s26

 

The masked programmer who begins the film in shadow has the most psychologically complex plot-line that reveals the psychological complexities of Second Life on how it can be used as a psychoanalytic tool, and how it can effect real-world bonds.

On the surface,  it just seems like your rudimentary addiction problem, but digging deeper there’s more to that. One interesting thing to note is the way he refers to his avatar, in contrast to himself. Beyond simply talking through a 3rd person viewpoint, his avatar seems to be thinking on her own, and making decisions that seems to conflict with its controller; at times even conveying messages through him to the viewer.

Dissociative Identity.

In the documentary, he talks about his avatar having an ‘increasingly dangerous state of mind’. So much so that it instigates her into going on a rampage, killing many other residents of Second Life, at places where other users seem to be enjoying themselves such as the beach or at dance clubs.

The controller’s excuse for this clear act of terrorism is that his avatar knew that he was spending too much time on Second Life, and went through with the rampage hoping that he would have his account suspended, thus preventing him from having his life taken over by the program. He seems to have, in his mind, completely suppressed the fact that he himself controls the avatar.

There seems to be quite a lapse or a fragmentation if you will, in personal identity (dissociative identity) . Where the online avatar is seen by the controller as a separate entity from himself. And even at times is seen to be controlling him.

Who will control the controllers?

The web has made these issues more prevalent, be it through dissociative identities, cognitive dissonance, fragmentation and the like. With online environments such as MMOs, online role-playing games, virtual communities, and even forum groups, it becomes very easy to become someone else- be it an alter-ego or persona. To what extent will it start to become detrimental to oneself. And to where do we draw the line of keeping our personal identity.

Continue reading Life, 2.0