HYPNOPEDIA This artwork endeavors to reflect the paranoid and suspicious perspective of a dictator through an absurd lens. The people living under autocracy have gradually transitioned from expressing dissent and protesting against the government through direct and explicit slogans and banners, to employing cultural symbols as a means of circumventing censorship. Concurrently, as avenues for vocalization are restricted, forms of protest have subtly woven themselves into the fabric of everyday life, becoming increasingly enigmatic. In response, the authoritarian government grows more suspicious, and when this skepticism peaks, even the most ordinary daily actions can be construed as having subversive inclinations. This piece aims to delve into the diminishing boundary between politics and the personal lives of citizens under an autocratic regime.
INSPIRATION
ANECDOTE: THREE PROTEST MARCHES IN MY LIFE During the pandemic, I was fortunate enough to witness a Black Lives Matter protest march. At the time, I was in my dorm room, sitting by the window doing my homework, when the procession passed by outside. People were dressed in black, wearing black masks, holding black and white placards and banners, chanting in unison. Passing cars halted, honking their horns in solidarity. For a full 12 minutes, the procession passed by my window. As an international student from an authoritarian country, this was my first glimpse of what a “protest march” looked like.
Hypnopaedia in “Brave New World” is a method of brainwashing that exploits the susceptible state of individuals during sleep. By repeatedly playing recordings that instill specific beliefs and values, the government subtly molds the thoughts and behaviors of its citizens, fortifying its control over them. Sleep, being an intensely personal and daily necessity, serves as a powerful metaphor in this context; there is perhaps no clearer illustration of the invasive and disruptive nature of a totalitarian society on personal life than the infiltration of political indoctrination into the sanctity of sleep. The government’s reach extends into the most intimate realms of existence, illustrating a profound violation of individual autonomy and a pervasive manipulation of reality.
Black Lives Matter is a grassroots movement advocating against racism and racial inequality experienced by black people, aiming to promote anti-racism. In the year 2020, Floyd’s death ignited a nationwide outcry and protests. In the following months, large-scale protests erupted in major cities across the US, as well as in my city, Providence.
MULTIMEDIA VR IMMERSIVE EXPERIENCE POSTER DESIGN FONT DESIGN
PROTESTS IN HISTORY
A series of protests against COVID-19 lockdowns began in mainland China in November 2022. Also known as the A4 Revolution. Protesters across the nation demanded the end of the government’s zeroCOVID policy and lockdowns. They expressed their dissatisfaction with the government’s restriction on freedom of speech by holding up a blank piece of paper.
Worker strike at Rhode Island School of Design, aiming to increase basic salary for RISD faculty members. This is the second protest I have experienced.
2022
1989
INDIVIDUAL PROJECT Women’s Suffrage Parade 1913
1913
The March on Washington for Jobs and Freedom 1963
1963
Tiananmen Square Protests 1989
Black Lives Matter 2020
2020
COVID-19 protests in China 2022
FROM SLOGANS TO ABSTRACT SYMBOLS
It is interesting to observe, through the timeline, U.S. protests often feature clear slogans on signs, while recent Chinese protests have shifted from explicit slogans to using more ambiguous symbols, an evolution distinctly illustrated by Moha culture, an internet meme movement centered around President Jiang Zemin.
A ‘Moha’ image, emphasizing Jiang Zemin’s black-framed glasses and nostrils; the diacritic above the word ‘naïve’ forms his nostrils.
The evolution of a meme mocking President Jiang reflects a strategic maneuver around increasing censorship. Initially utilizing clear photos, it transitioned to blurred images amid government crackdowns, ultimately distilling down to an abstract symbol—a pair of glasses—as a form of resilient subversion to persist in the digital space.
POSSIBLE REASONS FOR THE EVOLUTION THE AUTOCRACY
To maintain its rule, the government intervenes in the private lives of its citizens to ensure there are no opposing voices or potential threats.
As methods of expressing dissent become more clandestine, the government intensifies its supervision over the population.
To avoid heightened surveillance, methods of expressing dissent and discontent become even more covert and ambiguous.
To evade the censorship system, the public seeks more subtle methods to express their dissent and dissatisfaction.
Through continuous exploration and reflection, I've come to realize that under an autocratic regime, the boundaries between political and private life are increasingly blurred. As an art and design student with living experiences in both China and the United States, I've developed a profound interest in this ambiguous state and its implications for individuals and society. I've decided to delve deeper into this topic, using a series of questions to guide my visual and interactive design experiments.
Q1
Why do autocratic regimes instigate the blurring boundaries between daily life and political narratives?
President Jiang Zemin’s portrait was widely spread on social media once. The blurred portrait of President Jiang, when circulated on the internet, is often accompanied by this phrase: ‘True fans, even with Gaussian blur, can still recognize who he is.
THE PROJECT AND THE EXPERIMENTS
Q2
FONT DESIGN:
PHASE 1
Driven by the fear of losing their grip on power, autocratic regimes often interpret everyday actions through a distorted lens. In my exploration and research, I have observed that within autocratic or totalitarian contexts, where power is highly concentrated without effective checks and balances, those in rule or the government often exhibit heightened vigilance towards any potential threats or opposing views. This paranoia and fear of dissent, coupled with the dread of losing their grip on power, lead them to be overly sensitive, perceiving even mundane daily occurrences through a political lens.
MODELS
FROM DAILY OBJECTS TO LETTERS
To articulate this distortion, I've scanned everyday objects around me into 3D models. I then remove their original textures and seek shapes resembling alphabets within them.
How do autocratic regimes visually obscure the distinction between daily life and political narratives?
Q3
How do autocratic regimes infiltrate individual daily lives, and what are the implications of this infiltration on the mindset and behavioral patterns of the residents?
By continually shifting perspectives, I seek out shapes within the model that resemble letters. Here, I have discerned the letter ‘Z’.
THE POPULACE The models obtained from scanning offer a multifaceted vantage for observation.
By continually shifting perspectives, I seek out shapes within the model that resemble letters. Here, I have discerned the letter ‘Z’.
The delineated letter is processed in Illustrator and Photoshop, amplifying its sense of ‘distortion’. The original photograph is then overlaid as texture, intertwining authenticity with manipulation.
POSTER DESIGN:
PHASE 2
Utilizing political propaganda posters, the government saturates the public’s visual landscape with political content, creating an inescapable presence that permeates daily life. In Phase 2, I embarked on an exploration of the most conspicuous aspect of an autocratic government’s intrusion into citizens' lives. This phase unveils why the streets of an authoritarian society are always plastered with a variety of political propaganda posters. Posters serve as a potent art form that quickly captures attention. By displaying these propaganda pieces, the autocratic regime relentlessly invades the public’s visual space, forcing them to constantly read and engage with the government's distorted values, with the ulterior motive of subtly manipulating and altering the populace’s mindset over time.
ITERATION
PROPAGANDA SLOGANS AND DAILY LIFE
In this phase, I engage with the ‘The Core Ideology of Socialism’ as a quintessential exemplar of ‘propaganda slogans.’ Comprised of 12 phrases and a total of 24 Chinese characters, it symbolizes the government’s aspirations for society. Over the past five years, this slogan has been ubiquitously displayed. I have excerpted eight characters from it to create a series of eight posters, aiming to delve deeper into the visual and conceptual dimensions of governmental propaganda.
爱国 Upon analyzing the compositional structures of various government propaganda posters, it was observed that a common characteristic among the majority of these posters is the centralized placement of their main content.
The Chinese characters ‘爱国’, meaning ‘patriotic’, represent one of the components of The Core Ideology of Socialism.
In the summaries drawn from phase 1, the letters ‘A’ and ‘G’ are reapplied, serving as the initial letters of the pinyin for ‘爱国’.
The overlapping of characters symbolizing political propaganda with text derived from everyday life illustrates the intertwining of political messages and daily existence, highlighting the absence of a clear demarcation and the indistinct boundary between the two.
RESULTS
PHASE 3
VR IMMERSIVE EXPERIENCE:
Inhabiting an autocratic regime, individuals find themselves amidst a blur and interweaving of political and daily life, inevitably embarking on a journey of self-censorship and mutual surveillance. In Phase 3, I extend the exploration started in Phase 2, seeking to unveil the impact of authoritarianism on individuals within society. Observing the prevalence of surveillance cameras on the streets and the omnipresent political propaganda in public spaces, television, and mobile devices, I created a VR immersive experience that intertwines these elements with the concept of ‘surveillance’. This VR experience aims to immerse the audience in an environment of manipulation and surveillance, prompting reflection on the internalization of self-censorship and mutual scrutiny in such settings.
THE MAIN SCENE
FROM THE SURVEILLED TO THE SCRUTINIZER
1
In this space, participants wake up in a room inundated with surveillance feeds, witnessing every action of the monitored through the screens. A cacophony of dense and disordered political propaganda plays in their ears. They have the ability to navigate through the screens into another VR realm. This immersive VR experience aims to guide the audience through a journey of indoctrination and surveillance, demonstrating that living under such conditions inevitably leads to unconscious self-censorship and mutual scrutiny.
The Main Scene with surveillance videos and the propaganda audio in Unity and the model of the whole room.
THE INSPECTION ZONE
The scene was built with models scanned in Phase 1. Players can teleport into the scene from the Main Scene and they can find a poster that separated into fragments here.
The scene was built with models scanned in Phase 1. Players can teleport into the scene from the Main Scene and they can find a poster that separated into fragments here.
2
RESULTS Surveillance videos player can see in when they get into the Main Scene.
Part of the Main Scene with surveillance videos.
The poster can be composed by players in one of the Inspection Zone
The poster can be composed by players in one of the Inspection Zone
Details of the scene, where players can hang over, search for information and assemble a poster from fragments
Details of the scene, where players can hang over, search for information and assemble a poster from fragments
FINAL DISPLAY
ALL PHASES Introduction Video Link: https://youtu.be/cd2Fb_bt0E8
MIND KAMIKAKUSHI “Kamikakushi,” meaning “hidden by gods,” describes people vanishing from reality, often led into an unseen, mystical world by supernatural forces. “Mind wandering” involves the spirit or consciousness leaving the body, diverting from current tasks to enter a different state or dimension. Both concepts depict a separation from reality, driven by forces beyond personal control. Kamikakushi typically signifies a physical disappearance, while mind wandering represents an internal, spiritual journey, potentially granting access to otherwise unperceived insights.
EXPERIMENTAL INTERACTIVE INSTALLATION INDIVIDUAL PROJECT
MIND-WANDERING IS A COMMON EVERYDAY EXPERIENCE
INSPIRATION
INTERVIEW How do you perceive the sensation of mind wandering?
LETAO WU My mind often wanders from what I’m supposed to concentrate on, like during classes when I think about different assignments. This diversion is caused by a combination of poor focus and external distractions, more so in environments that are either too relaxed or not critical. Daydreaming is a double-edged sword: it can boost creative thinking, which is beneficial, but also disrupts required concentration, leading to anxiety and lower efficiency. In tasks that demand analytical skills, such as math, daydreaming hinders performance, but it can foster creativity in artistic activities. Mind wandering is often an involuntary action. Realizing my focus has shifted can be frustrating. While deliberate daydreaming can be useful, unintentional distraction tends to be detrimental. Those who often lose focus might struggle in maintaining strong relationships.
This prompts the question: Can mind wandering be viewed as a brief spiritual Kamikakushi, where people unconsciously drift from reality, touching a wondrous spiritual realm? This project explores this invisible mental voyage, using a unique visual language to deepen our understanding of mind wandering, offering new perspectives and insights.
WENXIAO FANG Mind wandering is a mental state where attention shifts away from a task or the external environment to internal thoughts, feelings, or imagined scenarios. It’s a common experience, often happening spontaneously when we engage in activities that don’t require our full concentration. I frequently slip into daydreaming during routine, boring tasks or when I’m engaged in repetitive or uninteresting work or study. Rather than experiencing a blank mind, my daydreams are rich with fantasies and contemplation. I revisit and reflect on the past, pondering previous actions and experiences to inform future decisions. I also speculate on the future, imagining the success of my endeavors or envisioning an improved self. Additionally, I often find myself absorbed in fantastical worlds drawn from novels and comics. For me, mind wandering is a personal journey, a creative outlet for envisioning the future, and a portal to other worlds, offering both escape and insight.
I find mind wandering a fascinating phenomenon, where attention shifts and people momentarily break away from their current focus. It acts like a relaxed break during tasks, especially those that are moderately challenging and can’t be quickly completed. In my view, although it doesn’t have a significant impact on mental health, it does hinder my work and study efficiency by interrupting the flow of thoughts and progress. I haven’t actively looked for ways to prevent this, typically just getting back to work when I become aware of the distraction. Sometimes, if a task isn’t urgent, I find myself enjoying the distraction However, I also find that memories during mind wandering are hard to recall. Mind wandering can be advantageous, offering a breather that potentially leads to improved efficiency later on. I see it as having both positive and negative aspects. When others lose focus, I consider it a normal occurrence and don’t make much of it, even during conversations. This might say something about the clarity of my communication or how engaging I am.
LIJIE WANG The exact causes of mind wandering are currently unclear. I see mind wandering as thinking about unrelated matters, causing a lack of focus and halting progress in my main tasks. It’s often a search for comfort, occurring when I feel either very good or bad. Mind wandering, in my view, leads to rigid, unfocused thinking, and doesn’t contribute to progress—it’s a negative mental state. This significantly hampers my learning and research efficiency. To manage this, I prioritize daily tasks, tackling the most important first. When I catch myself daydreaming, I feel regretful for the time lost, which sometimes leads to a frustrating cycle of chaos and regret. I don’t see any positive side to mind wandering, as it tends to solidify unproductive thinking. Overall, I perceive mind wandering as a common issue, reflecting a lack of control over one’s life and thoughts.
THE SHARING SIMILARITIES
RESEARCH 1.
Mind wandering involves attention shifting from present reality to abstract or imaginary thoughts, focusing on past memories, future possibilities, or fictional scenarios instead of current tasks.
When mind wandering, people’s attention shifts from the current task and enters other realms.
This transcendence goes beyond rational thought and physical laws, altering time perception and other sensations, as the mind engages in daydreams, memories, or imaginary scenarios.
M I N D - WA N D E R I N G Mind wandering is elusive and transient, with fleeting, hard-to-recall details, making it a unique cognitive process distinguished by its subconscious nature.
A JOURNEY BEYOND THE PRESENT
2. TRANSCENDING RULES AND LOGIC OF THE REAL WORLD
3. THE ELUSIVE NATURE OF MEMORY RECALL
THE SHARING SIMILARITIES
Kamikakushi is a folklore phenomenon where individuals mysteriously disappear, thought to transition from the physical world into a spiritual realm of deities or spirits.
Kamikakushi features experiences defying logic and reality, with distorted time perception and encounters with supernatural beings, highlighting its mystical and supernatural nature.
This work is dedicated to embodying this typical journey of the soul. It unfolds a profound exploration of the state of mind wandering through a fantastical and surreal visual language, offering new perspectives and paths of thought for understanding this phenomenon. Urashima Tarō (浦島 太郎)-who was carried to the Dragon Palace, a kami’s place-is the best example of the theme. When he comes back, hundreds of years have passed in the real world. Then he was turning to a white-haired old man by a goddess’ gift.
神隠し KAMIKAKUSHI Kamikakushi often involves individuals returning without memory of their experience, adding mystery and obscuring understanding of events in the divine or mystical realm during their absence.
Mind wandering is an involuntary, In Kamikakushi, individuals often disappear spontaneous cognitive phenomenon, involuntarily or accidentally enter the divine UNKNOWN BEGINNINGS typically automatic and unplanned, realm without intending to, highlighting reflecting the mind’s tendency to drift a lack of conscious control over these AND away from the immediate task or passive or unintended disappearances. THE INVOLUNTARY NATURE environment.
Mind wandering is enigmatic and complex, with unclear causes and elusive triggers and mechanisms, reflecting the intricate and multifaceted nature of human cognition.
5. THE UNKNOWN ORIGINS OF THE PHENOMENA
Kamikakushi is classified as a supernatural phenomenon, characterized by events and experiences that defy natural or scientific explanation, highlighting its mystical and otherworldly nature.
CONCEPT
Contrary to mainstream negative perceptions of mind wandering, could we consider it a temporary spiritual equivalent of Kamikakushi? In moments of unconsciousness, individuals detach from reality and briefly connect with or visit a wondrous dimension in their mind.
4.
Memories of mind wandering are chaotic and fragmented
RETHINKING MIND WANDERING AS A SPIRITUAL JOURNEY
Spirited Away, as a typical film with a Kamikakushi theme, Chihiro and her family accidentally enter the world of kami.
THE METAPHORS OF BUTTERFLIES AND MOTHS
According to Tetsuro Morimoto(森本哲郎), a Japanese journalist and critic, the Japanese symbolize a mysterious, unconscious force that operates beyond conscious control as ‘虫’ (insect). In China, butterflies, the insects with beauty, symbolize the human soul or psyche. They are also linked to philosophical ideas about reality and illusion, partly inspired by the famous Daoist parable by Zhuangzi. Moths, characterized by their nocturnal habits, their peculiar attraction to light, and their distinctive life cycle, often inspire feelings of mystery and otherworldliness. This association with the night and light sources lends them a supernatural quality in various cultures. In these contexts, moths are sometimes viewed as symbolic guides, leading the soul on its journey toward enlightenment. Therefore, in this project, butterflies and moths are used as symbols of the spiritual journey and otherworldly realms in the installation.
THE USAGE OF EEG SENSOR
INTERACTION
An EEG (Electroencephalography) sensor, which measures brain activity, is connected to an Arduino and used to trigger a servo motor, turning it to different angles.
#include <Servo.h> #define LED_PIN 13
In this project, the primary statistic is based on the Beta wave, known to be associated with active thinking and focus.
#define BAUDRATE 57600 #define DEBUGOUTPUT 0
Servo Servo1; int servoPin = 9;
int generatedChecksum = 0; byte checksum = 0; byte payloadLength = 0; byte payloadData[32] = {0};
THE POLARISER
INSTALLATION COMPONENTS
The polarising film used in this installation plays a crucial role in covering the main installation. The film is applied to the surface of two acrylic boards, creating a unified polarised environment. Polarisation is a property of light that describes the direction in which its waves vibrate. The film is specially designed to filter and manipulate the polarisation of light passing through it. 0°
Relative Angle
90°
40%
Transparency
0%
MODEL DESIGN
byte signalquality = 0; byte attention = 0; byte meditation = 0; void setup() { Serial.begin(BAUDRATE); pinMode(LED_PIN, OUTPUT); Servo1.attach(servoPin); } byte ReadOneByte() { int ByteRead; while(!Serial.available()); ByteRead = Serial.read(); return ByteRead; }
THE CODE:
Brain wave in Mind Viewer
Within the scope of the project, a higher ‘attention number’ indicates a greater level of focus. The level of focus will drive the rotation of the servo motor. THE LEVEL OF FOCUS GOES UP 0°
THE LEVEL OF FOCUS GOES DOWN 90°
void read_serial_data() { if(ReadOneByte() == 0xAA) { if(ReadOneByte() == 0xAA) { payloadLength = ReadOneByte(); if(payloadLength == 0x20) { generatedChecksum = 0; for(int i = 0; i < payloadLength; i++) { payloadData[i] = ReadOneByte(); generatedChecksum += payloadData[i]; } checksum = ReadOneByte(); generatedChecksum = (~generatedChecksum)&0xff; if(checksum == generatedChecksum) { signalquality = 0; attention = 0; signalquality = payloadData[1]; attention = payloadData[29]; meditation = payloadData[31]; #if !DEBUGOUTPUT Serial.print(“SignalQuality: “); Serial.print(signalquality, DEC);
attention > 50
The level of focus is high (attention > 50)
The installation model is almost invisible
50> attention > 25
Rotating
Serial.print(“Attation: “); Serial.print(attention, DEC);
}
}
}
}
}
Serial.print(“Meditation: “); Serial.print(meditation, DEC); if(attention < 50) { Servo1.write(90); //delay(1000); } if(attention >= 60) { Servo1.write(0); } Serial.print(“\n”); #endif
void loop() { read_serial_data(); }
3D-printed models of the patterns extracted from the wings of moths and butterflies.
An acrylic base with holes separates the motor and the 3D model.
The 3D models are separately fixed on four reciprocating swing machines. The swing machines simulate the motion of waving as if an unknown world (the world of deities) is waving to people when they are lost in thought.
The level of focus is going down (50 >attention > 25) The swing machine can reciprocate between 20° and 120°.
A polarising film is spinning, gradually changing its relative angle.
attention < 25
Rotate 90°
The level of focus is high (attention < 25)
The polarising film spinned 90°, showing the model behind film ,which is the symbal of kamikakushi.
20° - 120°
FINAL 3D MODEL
FINAL DISPLAY
Introduction Video Link: https://youtu.be/LUGdnUbFiY4
TRACE: ANTHROPOS RHYTHM In this artistic practice, I aim to challenge the conventional perceptions of traditional values. While contemporary society often places excessive emphasis on tangible achievements and individual accomplishments, I believe that every action of an individual, whether conscious of it or not, plays a role in shaping our definition of existence. Therefore, I hope my art can lead the audience to recognize the overlooked artistic value behind these actions and encourage them to reassess and appreciate this everyday aesthetics. In this interactive installation, I wish to reveal and document those often-ignored, seemingly insignificant unconscious traces – which can also be components of “action painting”, bearing value and significance.
EXPERIMENTAL INTERACTIVE INSTALLATION INDIVIDUAL PROJECT
INSPIRATION AUTUMN RHYTHM IN PROVIDENCE The park next to my residence in Providence is a gathering place for crows every night. Hundreds to thousands of crows spend the night there, and in the morning when they leave, they leave behind meters of their traces on the road.
Roger Williams National Memorial
The plan of Roger Williams National Memorial park.
This is the street near the park where
The crows that roosted in the
the crows roost at night
roadside trees
Traces were found on the
Close-up view of Jackson
road during the day time
Pollock’s Autumn Rhythm
When I first noticed these overnight traces-the bird droppings-scattered on the gray road, I was struck by their dynamic, irregular white and light yellow splatters. Their spread, akin to strokes in oil painting, melded into an almost monochromatic visual effect, evoking images of Jackson Pollock’s action painting.
RESEARCH
SUMMARIZATION
The Similarities and Differences Between Bird Traces and Pollock’s Traces Crow Droppings: Evidence of Their Presence
CROWS
JACKSON POLLOCK
PRODUCER
POLLOCK’S PAINTINGS
The Rhythmic Dance of Drips and Emotion COLORS
BLACK AND WHITE
SIMILARITY
WILD, ORGANIC, AND RANDOM
FORM
FORM
DRIPPING FORM
DIFFERENCE
What is the shape of a bird dropping?
COLORS
“What was to go on the canvas was not a picture but an event.” - Harold Rosenberg
Details of pollock‘s painting: line, swirls, spatters.
Beyond the Canvas, Embracing the Event
Each bird dropping is distinct, with a shape that refuses to adhere to strict geometric norms. They are often splatter-like or may have a semiliquid or paste-like consistency, which can cause them to spread out and take on a more round or oval form when they hit a surface. Just as a paint splash alters its form upon impact with the canvas, a bird dropping changes shape when it meets a surface, spreading outward and creating unique patterns. Its borders are irregular and unpredictable, often fractallike, recalling patterns observed in nature.
Jackson Pollock revolutionized contemporary art, especially with his development of the “drip painting” technique, where paint is splattered or dripped onto canvas from above, allowing for a free-flowing expression of the unconscious mind. His work presented an unexpected alternative to the clichés of the doctrinaire non-objective art that dominated advanced American painting in the thirties, introducing new methodologies and fresh energies. Capturing this spirit, critic Harold Rosenberg once remarked, “What was to go on the canvas was not a picture but an event.” The sentiment resonates with the essence of Pollock’s approach, suggesting that when you put the painting on the wall, it is only a fossil. The real art lies not just in the finished piece but in the action itself—the risk, the energy, and the dance.
CONCEPT
FOSSILS OF ACTIONS AND EXISTENCE
SIMILARITY
Jackson Pollock's paintings are emblematic of the Abstract Expressionist movement, characterized by their raw, emotive force and pioneering "drip technique." In his most iconic works, paint is spontaneously dripped, splashed, or flung onto the canvas from above, creating intricate webs of interlacing lines, swirls, and splatters. The chaotic yet orchestrated patterns evoke a sense of primal energy and subconscious flow, transcending traditional forms of representation. Pollock's canvases are vast landscapes of intertwined colors and textures, where every drop and streak seems both intentional and serendipitous. These works invite viewers into a visceral, almost rhythmic dance of form and emotion, reflecting Pollock's innovative approach to the very act of painting.
DIFFERENCE
Crow droppings serve as significant, albeit indirect, evidence of their presence in a specific environment. These often-overlooked traces paint a clear picture for researchers and bird enthusiasts alike. Especially in regions where the direct sighting of crows is rare, the presence of their droppings offers undeniable proof of their habitation, thus emphasizing the droppings’ role in ecological observations.
BIRD DROPPINGS
PRODUCER
CONCEPT
Often perceived as unexpected and valueless.
Anticipated and holds significant artistic value.
Unconscious by-products of avian life.
Deliberate artistic expression with an ambition to create masterpieces.
Not driven by any form of conscious creativity or intention.
Driven by a desire to innovate, challenge, and express.
Typically seen as a nuisance or disregarded entirely.
Analyzed, critiqued, and admired as a form of high art.
DESIGN CONCEPT Drawing inspiration from an in-depth juxtaposition of the serendipitous traces left by crows and the intentional art of Jackson Pollock, I’ve recognized a shared essence: both bear witness to existence through recorded movement. Amidst the chaotic randomness and untamed patterns, there lies a profound aesthetic. With this understanding as my foundation, my installation seeks to unveil and celebrate the ethereal beauty found in unconscious gestures and movements. Stones, serving as the medium for fossils, make the concept of ‘fossil’ tangible and become the primary
Top View Of The Installation
Front View Of The Installation
component of the installation.
MODE OF INTERACTION - WALKING AND PROJECTION
Gathered Black Sand
Sand Reflects Dynamics
In the expressive realm of this installation, sand transcends its elemental form, reimagined as ‘paint’ capturing the act of the audience. Echoing Pollock, who grounded his canvas and let his passion flow, I too draw inspiration from the earthbound tradition of sand painting. Here, sand is not mere granules; it mirrors the vibrant strokes of oil paint. The gathering and dispersing of sand during movement dynamically reflects shifts and changes.
Model Blueprint Or Model Diagram
Examples Of Footprint Fossils Amongst all fossils, footprint fossils stand apart, capturing fleeting, unconscious strides, sealing them in time’s embrace. Guided by this poignant narrative, ‘walking’ emerges, not just as a mere representation of involuntary actions but as the heart of interactive engagement in my work. The conical tool used in traditional sand painting, filled with sand.
Sound visualization is projected onto the stone. By recording and visualizing the inevitable sounds produced during human movement, the audience is encouraged to re-examine this unintentional aesthetic.
Guests are beckoned to weave their own journey within the space, each step imprinting a personal trace, a testament to their presence.
Drawing inspiration from the age-old tools of sand painting, a conical vessel is crafted to meld with the foot. As both an homage to tradition and a functional piece, it cradles the sand, guiding its delicate descent. Practical Application Of The Conical Tube.
3d Printed Conical Model
obj.display();
EXPERIMENT: SHAPES OF THE DROPLET AND FACTORS INFLUENCING THE DROPLET’S SHAPES
CREATIVE CODING DESIGN
Paint Consistency
1.0
0.4
Key Factors Influencing the droplets: I. Paint Consistency, II. Height, III. Brush Size
30 cm
50 cm
170 cm Height
I. Differences Brought About by Paint Consistency
15 mm 29 mm
Acrylic Paint, Water to paint ratio is 2.5:1 Droplets falling from two meters create a Brush Size
splash pattern with most splatters radiating, but small circular patterns are also present.
III. Differences Brought About by Brush Size
Acrylic Paint, Undiluted. Undiluted paint rarely splashes out even when it falls from a height. The shape is also close to a perfect circle.
Acrylic Paint, Water to paint ratio is 2.5:1 Dripped using a small brush. The splash
II. Differences Brought About by Height
Inspired by the serendipitous intersections between bird droppings and Pollock’s masterpieces, the sound visualization code channels a tapestry reminiscent of monochromatic drip paintings. Drawing from prior explorations on droplet morphology, the sonic amplitude shapes the fluidity.
pattern is smaller.
Acrylic Paint, Water to paint ratio is 2.5:1
Acrylic Paint, Water to paint ratio is 2.5:1
Dropped from a height of 30cm.
Dropped from a height of 30cm.
All the figures are close to perfect circles,
All the figures are close to perfect circles,
even the splattered parts.
even the splattered parts.
EXPERIMENT RESULTS After the experiment, four common shapes were extracted for the subsequent creative coding design.
DROPLETS FROM
DROPLETS FROM
LOWER HGITHT
HIGHTER HGITHT
import java.util.ArrayList; import processing.sound.*; AudioIn mic; Amplitude amp; float sensitivity = 0.04; float noSound = 0.003; ArrayList<Obj> objs = new ArrayList<Obj>(); int objsNum = 360; float noiseScale = 0.01; float R; float maxR; float t = 0; float nt = 0; float nR = 0; float nTheta = 1000; color[] palette = { color(33,33,33, 25), color(125, 125, 125, 35), color(189, 189, 189, 45), color(235, 235, 235, 125) };
}
R = map(noise(nt * 0.01, nR), 0, 1, 0, maxR); t = map(noise(nt * 0.001, nTheta), 0, 1, -TWO_PI, TWO_PI); float x = R * cos(t) + width / 2; float y = R * sin(t) + height / 2; R2 = map(noise(nt2 * 0.01, nR2), 0, 1, 0, maxR2); t2 = map(noise(nt2 * 0.001, nTheta2), 0, 1, -TWO_PI, TWO_PI); float x2 = R2 * cos(t2) + width / 2; float y2 = R2 * sin(t2) + height / 2; R3 = map(noise(nt3 * 0.01, nR3), 0, 1, 0, maxR3); t3 = map(noise(nt3 * 0.001, nTheta3), 0, 1, -TWO_PI, TWO_PI); float x3 = R3 * cos(t3) + width / 2; float y3 = R3 * sin(t3) + height / 2; diaS1 = map(volume, 0, sensitivity, 0.04, 4.8); if(volume > sensitivity){ diaS1 = sensitivity; The first iteration } radm = random(-2,2); lineHeight = map(volume, 0, sensitivity, 50, 450); lineHeight = constrain(lineHeight, 0, 50); brush = map(volume, 0, sensitivity, 0, 1); if(volume <= noSound){ }else if (volume > noSound && volume < sensitivity ) { //objs3.add(new Obj3(random(x3-2,x3), y3)); objs.add(new Obj(random(x,x), y));//paint the stroke }else if(volume > sensitivity ){ objs2.add(new Obj2(random(x2,x2+radm), y2+radm)); for(int i=0; i<int(random(1,3)); i++){ float xrdm = random(-xStep-lineHeight, xStep+lineHeight); float yrdm = random(-yStep-lineHeight, yStep+lineHeight); float diaS = random(xStep/3, 10); fill(0, 125); ellipse(x+xrdm, y+yrdm, diaS, diaS);
float diaS1; float xStep = 10; float yStep = 20; float radm; float lineHeight; float brush; ArrayList<Obj2> objs2 = new ArrayList<Obj2>(); int objsNum2 = 360; A gentle, moderated tone births float noiseScale2 = 0.01; float R2; mostly rounded droplets, some float maxR2; adorned with trailing wisps. float t2 = 0; float nt2 = 0; float nR2 = 0; float nTheta2 = 1000; color[] palette2 = { color(233,233,233, 85) }; ArrayList<Obj3> objs3 = new ArrayList<Obj3>(); int objsNum3 = 360; float noiseScale3 = 0.01; float R3; float maxR3; float t3 = 0; float nt3 = 0; float nR3 = 0; float nTheta3 = 1000; color[] palette3 = { color(35, 35, 35, 5) }; void setup() { In contrast, crescendos unleash size(displayWidth, displayHeight); a tempestuous splash, birthing noStroke(); background(0); a constellation of smaller, maxR = max(width, height) * 0.65; interconnected droplets and Sound.list(); mic = new AudioIn(this, 0);longer tails. mic.start(); amp = new Amplitude(this); amp.input(mic); maxR2 = max(width, height) * 0.65; maxR3 = max(width, height) * 0.65;
void draw() { float volume = amp.analyze(); println(volume);
for(int j=0; j<int(random(2,5)); j++){ float xrdm2 = random(-xStep-lineHeight, xStep+lineHeight); float yrdm2 = random(-yStep-lineHeight, yStep+lineHeight); float diaS2 = random(0, 4); objs3.add(new Obj3(random(x3-xrdm+xrdm2,x3+xrdm+xrdm2), y3+yrdm+yrdm2)); fill(255, 75); ellipse(x+xrdm+xrdm2, y+yrdm+yrdm2, diaS2, diaS2); } } } for (Obj obj : objs) { obj.move(); obj.display(); } for (int j = objs.size() - 1; j >= 0; j--) { if (objs.get( j).isFinished()) { objs.remove( j); } }
The final result
nt++;// don’t forget!!!! for (Obj2 obj : objs2) { obj.move(); obj.display(); } for (int j = objs2.size() - 1; j >= 0; j--) { if (objs2.get( j).isFinished()) { objs2.remove( j); } } nt2++;// don’t forget!!!! for (Obj3 obj : objs3) {
this.lifeMax2 = random(20, 50); this.life2 = this.lifeMax2; this.step2 = random(0.06, 0.4);/////original: random(0.1, 0,5); this.dMax2 = random(10) >= 5 ? 10 : 30; this.d2 = this.dMax2; this.c2 = palette2[int(random(palette2.length))];//control the color
} for (int j = objs3.size() - 1; j >= 0; j--) { if (objs3.get( j).isFinished()) { objs3.remove( j); } }
void move() { float theta = map(noise(this.pos2.x * noiseScale2, this.pos2.y * noiseScale2, this.t2), 0, 1, -TWO_PI, TWO_PI); this.vel2.x = cos(theta); this.vel2.y = sin(theta); this.pos2.add(this.vel2); }
nt3++;// don’t forget!!!! } class Obj { PVector vel; PVector pos; float t; float lifeMax; float life; float step; float dMax; float d; color c; Obj(float ox, float oy) { init(ox, oy); }
}
The second iteration
boolean isFinished() { this.life2 -= this.step2;//step goes larger, the brush goes smaller because it minus a larger number this.d2 = map(this.life2, 0, this.lifeMax2, 0, this.dMax2); if (this.life2 < 0) { The third iteration return true; } else { return false; } }
void display() { void init(float ox, float oy) { fill(this.c2); this.vel = new PVector(0, 0); ellipse(this.pos2.x, this.pos2.y, this.d2/3, this.d2/3); this.pos = new PVector(ox, oy); } this.t = random(0, noiseScale); } this.lifeMax = random(20, 50); this.life = this.lifeMax; this.step = random(0.02+brush, 2+brush);/////original: random(0.1, 0,5); class Obj3 { this.dMax = random(10) >= 5 ? 5 : 30; PVector vel3; this.d = this.dMax; PVector pos3; this.c = palette[int(random(palette.length))];//control the color float t3; } float lifeMax3; float life3; void move() { float step3; float theta = map(noise(this.pos.x * noiseScale, this.pos.y * noiseScale, float dMax3; this.t), 0, 1, -TWO_PI, TWO_PI); float d3; this.vel.x = cos(theta); color c3; this.vel.y = sin(theta); this.pos.add(this.vel); Obj3(float ox3, float oy3) { } init(ox3, oy3); } boolean isFinished() { this.life -= this.step;//step goes larger, the brush goes smaller because itvoid init(float ox, float oy) { minus a larger number this.vel3 = new PVector(0, 0); this.d = map(this.life, 0, this.lifeMax, 0, this.dMax); this.pos3 = new PVector(ox, oy); if (this.life < 0) { this.t3 = random(0, noiseScale3); return true; this.lifeMax3 = random(20, 50); } else { this.life3 = this.lifeMax3; return false; this.step3 = random(0.1, 1);/////original: random(0.1, 0,5); } this.dMax3 = random(10) >= 5 ? 10 : 30; } this.d3 = this.dMax3; this.c3 = palette3[int(random(palette3.length))];//control the color void display() { } fill(this.c); ellipse(this.pos.x, this.pos.y, this.d*diaS1, this.d*diaS1+brush);//control void move() { the brush float theta = map(noise(this.pos3.x * noiseScale3, this.pos3.y * } noiseScale3, this.t3), 0, 1, -TWO_PI, TWO_PI); } this.vel3.x = cos(theta); this.vel3.y = sin(theta); class Obj2 { this.pos3.add(this.vel3); PVector vel2; } PVector pos2; float t2; boolean isFinished() { float lifeMax2; this.life3 -= this.step3;//step goes larger, the brush goes smaller because float life2; it minus a larger number float step2; this.d3 = map(this.life3, 0, this.lifeMax3, 0, this.dMax3); float dMax2; if (this.life3 < 0) { float d2; return true; color c2; } else { return false; Obj2(float ox2, float oy2) { } init(ox2, oy2); } } void display() { void init(float ox, float oy) { fill(this.c3); this.vel2 = new PVector(0, 0); ellipse(this.pos3.x, this.pos3.y, this.d3/3, this.d3/3); this.pos2 = new PVector(ox, oy); } this.t2 = random(0, noiseScale2); }
Introduction Video Link: https://youtu.be/yKOJAWPxn_Y
Before the interaction begins.
During the interaction, as one walks, the sand creates organic patterns on the ground. The sounds produced by walking generate images reminiscent of drip paintings in the surroundings.
After the interaction, showcasing the projection, sand, and the entirety of the installation.
Upon completion of the interaction
PRODUCT
The expanded part can be used as a bird feeder and bathtub
SKETCHES:
folded together to resemble a house for large bird.
DESCRIPTION: An adjustable bird nest equipped with a camera on the top. The nest has a partition in the middle to divide the area, accommodating birds of different sizes. When smaller birds occupy the nest and do not use all the space, the remaining part can be expanded into a feeder or a bathtub.
A list of components, including three partition boards, a stand, and a small camera.
Rendered Image