2018- 2019 Design documentation in Architecture Association by yingaijin2018

Spatial Performance and Design(MA)

22 00 11 89

Tutors Theo Lorenz, Tanja Siems, Andrew Dean, David McAlmont, Malgorzata Dzierzon, Renaud Wiser, Heiko Kalmbach, Kyriaki Nasioula, Argyris Angeli, Mauricio Pauly, Joel Newman.

AIJIN YING

PORTFOLIO

DESIGN DOCUMENTATION

AAIS

TERM1 / TERM2 / TERM3

Index TERM 1 (01.10.2018-14.12.2018) Mainly consists of six workshops, ranging from writting to installation.

009

TERM 2 (14.01.2019-14.03.2019) London Event “ Portrait of Human ” practice.

042

TERM 3 (23.04.2019-15.06.2019) Athens Event “Processing...” practice.

194

EDITOR:AIJIN YING

Email: Aijin.Ying@aaschool.ac.uk

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2018-2019 Agenda

OTHERIST We are other. We come from hometowns, but it is important that readers and listeners do not mistake us for provincial. It is not essential that we list territorial backgrounds. We are neither home-towners or mere natives. We are the geopolitic. We are other. We walk the art areas. We look upon modern art and new media. Here uniqueness is all and we pursue it like hounds at the hunt. Here life is given to our work through creating. We are the creators from behind the curtain. Here we step forth into the dazzling light of our summoned suns. We are other. Here we assume (!!!!!!!!!). We expect. Look upon us and tremble for our expectations are mighty. We will align ourselves with those who challenge only. We seek allies who have been exposed to life and its art, certain degrees of criticality and philosophical thought. If there are people such as those, it is vital that they reveal themselves now for our patience wears easily thin. Here the weak-minded will find no facilitation.

Written by AAIS PHASE1. Edited by David McAlmont.

COLLECTIVE MANIFESTO

We are other. The naĂŻve and the unexposed do not challenge, neither do they stimulate. Here life is too short to stick around hoping for the radical. If we offend with ideas of trans cultural identity or political ideology against neo-colonial power, so be it. Here there is awareness: awareness of a world going through a new phase where many sociopolitical structures are ruptured. We are other. Here trans cultural identity matters; Political ideologies against are entertained, rejected or upheld. Here offence taken is not our affair; it is the noose around the neck of those who choose not to see why their views may offend. Here offence is meted out: not because we mean anybody harm, but gender is viewed as fluid; bisexuality is a given. Here it is not important that we prise open the closed mind, but we will not allow it the luxury of our oxygen. We are other. Here sexuality is a spectrum; we scoff at the simplistic nature of man/ woman/ man. Here there only the performativity of gender is identified as slovenly anachronism. Here there is choice. We choose whatever we want to be on any given day Here the pussy is fucked, as is the ass. Here love is allowed to choose. We can choose to make love to those whose parts look like ours. Here partners may don strap ons. We are men who can be with men; we are women who can be with women, we are woman who can be with man and love the female body. This is our performance. And it is the good fortune of the onlooker to behold us in our various hues of glory. We are other. Here boundaries are broken. We embrace our humanity or humanness, but we do not separate our existences from others, from other humans, animals, nature. Where those boundaries are imposed they must be broken down. Here there is ambition: the will to powerful art, an art that stimulates those who experience it. Here live art is chosen; not the art of the stinking walls of collectors; there is no claim on live art; your photographs and contracts are not ownership; space and time are the nemeses of collectors. We are other. We aspire to self-betterment: betterment in some things, in anything! Here there is the ability to strive in any cold storm, any rough night. We spit words in rooms of frozen air that would seek to silence us. We sharpen our pencils like blades with a lust for blood. Here there are words to pierce through canvases, bureaucratic oceans, fogs of despair and mists of misbelief, We are other. Here there is no assumption of what architecture truly is: we do not claim to understand its full nature, but we will find out. We will know the points at which architecture be used to make people feel different emotions? We choose this specific direction, fascinated to see how tempo- rary works, real or imaginary impact upon people, places and things. Here there are no conclusions on offer just our generation of yet new questions.

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We are other. We will be riveting. Here the tethers of political limits and public opinions are broken, stereotypes and passed creative methods are accursed. Here there is a hedonism that seeks to know itself, a hedonism that explores and learns from people; a selfish hedonism that exploits the outside world to better advantage our places of origin. We are other. Here there is design. We have designed many things: industrial, interactive, service, business models. We will design many more. Here there is preference to design for meaningful lives and better worlds, not certain fields. Here limiting definitions architect, graphic designer, interactive designer or whatever else are rejected. Here design is a active. Its horizons are broad, and boundaries are inconsequential. We are other. We choose mixed studio partners from different fields. We reshape ourselves at will, or we begin the process. We are designers who think and thinkers who design. Here voices involve together and motivate self-examination, the font of uniqueness. We reject the homogeneity of millennialism in art and architecture; and vouch for uniqueness in every field. We champion original works of inherent spirit and cultural implication. We are other. Here confusion is allowed without judgment; worry and regret are discouraged because we have the life we want or work towards it with confident resolution. We mock exaggeration, provocation and bedazzlement for exaggeration, provocation and bedazzlementâ&#x20AC;&#x2122;s sake. We pity the art trapped in this vortex, and interrogate the apathy of the followers of such art. Here extreme util- itarianism that affects government is not permitted an easy pass. We are other. Here reality is cruel. We face it! We track uniqueness, heart, dignity and character. Here art has dignity even as we believe it should be feared. We do not copy neither do we follow blindly. We regard fake behaviour with vehement suspicion. Here the plagiarist is one who tells the tales of others with a vulgar megaphone. Here it is believed that the best result of plagiarism is to become a prisoner of the plagiarist. We are other. We are true artists always telling our own stories, only telling our own innate feelings. We are true art created by artists who are forever dignified and independent. Here stories that happen on specific lands express our absolute and im-particular true feelings. Here the career performs the famous, the forgotten, the private or the grand in a sincere and even adventurous way. We are other. Here art should not be separated and divided into different disciplines. We tell stories with a range of approaches, without any limitations, with everything that can touch us. We are true narrators. We are truth narrators!

We are other. We will know spatial performance. We will produce the production from 0 to finale. We are set designers, art directors, scenographers, production designers. We realize my dream. We find our je ne se quoi. We are more than architects. We are collaborators. We choose art, architecture, performance and space as transmitters for our ideas. Here thought is broadcast loudly; opinion is considered vociferously; agreeing societies are a pipe dream, but we still dream. We find our je ne se quoi. We are other. We are more than architects. We are collaborators. We choose art, architecture, performance and space as transmitters for our ideas. Here thought is broadcast loudly; opinion is considered vociferously; agreeing societies are a pipe dream, but we

WE ARE OTHER

still dream. We realize our dreams.

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Workshops in Term 1 Term 2 consists of six workshops, aiming to train our various aspects of our skills. Workshop in Laban 01.10.2018-02.10.2018 Writing workshop 08.10.2018-19.10.2018 Sound workshop 23.10.2018-02.11.2018 Video workshop 06.11.2018-16.11.2018 Choreography workshop 20.11.2018-30.11.2018 Installation workshop 04.12.2018-14.12.2018

Picture. Choreography performance in group 1 presentation.

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01.10.2018-02.10.2018

000

Workshop in Laban. Tutor: Theo Lorenz, Tanja Siems, AAIS Phase 2 students. Collaborators: Trinity laban Phase 1 students. The first trials of installation and dance connections. Between objects and how dancers move around, what sort of choreography could be achieved with an established object. Phase 1 students from AAIS and Trinity Laban were divided into three groups, collaboratively producing performances while interacting with three installations from AAIS.

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STRUCTURES Performative installation

Group 1. Object: “ CORPSE” Structures: THE INFLATABLES (from AAIS 2011)

CHOREOGRAPHY

Group 2. Object: “A Walk” Structures (from AAIS 2017)

Group 3. Object: “UnREAL” Structures (from AAIS 2016)

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Picture. Interview

between

Prof.

Ying

(Aijin

Ying) and Claire Goldsmith (Justine de Penning) in final jury.

08.10.2018-19.10.2018

001

Writing Workshop. Tutor: David McAlmont, Hila Shemer. “Profiling History - Bauhaus 7” “TALK SHOW” PERFORMANCE

This performance is presented in a TV shows setting with an interviewer, interviewee, and the host. The 30 minutes “episode,” of Profiling History- Bauhaus 7 celebrates the 100 years of Bauhaus. Talking about the seven famous characters in Bauhaus, Mies van der Rohe, Lazlo MoholyNagy, Otti Berger, Oskar Schlemmer, Paul Klee, Ivana Tomljenović-Meller, and Xanti Schawinsky.

Poster for the talk show.

Writing workshop jury In form of a talk show.

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Commercials during the inte

erval.

19.10.2018

Auditorium.

PROFILING HISTORY

Picture. Sound performance in final jury. Peformers: Lier Chen, Nasha Bahasoean.

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23.10.2018-02.11.2018

002

Sound Workshop. Tutor: Andy Dean. â&#x20AC;&#x153;SOUNDS OF A MANIFESTOâ&#x20AC;? Perfomantive installation about sounds

Sounds of a manifesto is a 30 minutes sound installation about a collective artist statement which was represented by conveying emotions and feelings into a soundscape. The sound was divided into six different speakers, which spread across the space by following a grid-line floor. The performance was divided into 6 scenes, each of which represented different parts of the group manifesto. The audience member was encouraged to move along the space with a specified coordinate that been given to them before the performance.

Poster for the sound performance.

Sound workshop jury In form of a performative sound intallation.

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Performance and audience in

02.11.2018

nteraction.

SOUNDS OF A MANIFESTO

Picture. Video footage presented in final jury.

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06.11.2018-16.11.2018

003

Video Workshop. Tutor: Heiko Kalmbach. “Everybody othering” Perfomantive installation about videos

This performative installation viewed the topic of “others” from a different perspective. The video shows how ‘other’ could happen between each individual, individual of the past and the present times, individual body parts and things that surround them and individual reflections. The videos we produced spread across the exihibition space and showed one by one in the 20-minutes presentation.

Video experiments Video exercises in the workshop.

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PORTRAIT,LANDSCAPE,PARALLEL MONTAGE VIDEO PRODUCTION

Playing

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USING BODY AS A PROJECTION MATERIAL

Video avaliable : https://vimeo.com/351488267 PASSWORD:1102

INTERACTING WITH THE FIGURE IN LIFE VIDEO

Production

Poster for video performance.

FINAL JURY In form of performative video installation.

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Video and performance.

16.11.2018

EVERYBODY OTHERING

Picture. Dancing performance presented in final jury.

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20.11.2018-30.11.2018

004

Choreography Workshop. Tutor: Malgorzata Dzierzon, Renaud Wiser. â&#x20AC;&#x153;Bodily otheringâ&#x20AC;? Dance performance.`

This performance could be divided into two parts. In the first part we set up a boundary(fabric) between audiences and us. In the second part, we pulled down the boundry and the performance turned to be a dancing class. We delivered our movements to audiences and they became to dance like us. It was the movement that blurred the boundry between performers and the audience, between the one and the other.

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Process Choreography with fabric testing.

BODILY OTHERING

Audience interaction.

Picture. Performative installations presented in final jury.

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04.12.2018-14.12.2018

005

Installation Workshop. Tutor: Theo Lorenz,Tanja Siems. “What else” Performative installations.`

What else is a collective performative installation summarizing the topic of “Others” and the whole workshop series of the AAIS 2018 Phase I. It was represented in seven individual boxes that connect with each other through the medium of text, sound, video, choreography and spatial elements. The “Others” was re-explained through human perception. All of the boxes played the role in manipulating the audience, creating an extended space/private space.

Seven boxes consist of a whole performance.

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WHAT ELSE 1.A miniature box. What weâ&#x20AC;&#x2122;ve seen in the room is what happen inside in real time. The audience could move the miniature while boxes inside the box and see it real time that the actual box moved as well. 2.Perceive to two holes box. The audience were encouraged to write their emotion/ feeling inside the box

4. Mirror box inside the box. A medium where the audience can perceive and see what their reflection 5.The Preceptor. The main box which introduces other boxes at the show. 6.The looking through box. The audience could take a peek inside the box and see half of their reflected face. 7.The choreography in a box. The audience was instructed (by the first movie) to slides the screen in other to see more emotions projected.

Performative installions

3.The music Box. The hanging box where audience persuaded to use wear the box in order to hear more sounds.

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TERM 1

01.10.2018-14.12.2018

01.

SKILL

In general, Term 1 is the skilling phase. We built a general idea of how diverse elements can be constructed through collaboration to create a spatial performance. Bringing the audience comprehensive sensory experience is what we want to achieve.

to express content in Video Workshop, exploring body language in a choreography workshop and comprising every element into a performative installation in installation workshop. These exercises have trained my design integration ability.

Every workshop has the specific training content. I learned how to manifest the artist statement through text in the writing workshop. I also acquired how to convey emotions through sound by composing music clips in the sound studio. Trying to use the camera

Whatâ&#x20AC;&#x2122;s interesting in every performance jury is the audienceâ&#x20AC;&#x2122;s reaction. The way to guide, hint or manipulate audience experience in performative events is an intriguing topic to me.

The collaboration among sole elements makes a big effect.

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PORTRAIT OF HUMAN

TERM 2

14.01.2019-14.03.2019

Term 2 consists of four stages, all of which are the preparation for the final London event-- “Portrait of Human” Object workshop 14.01.2019-25.01.2019 Design week 29.01.2019-08.02.2019 Production week 12.02.2019-22.02.2019 Performance week 25.02.2019-14.03.2019

Nasha Bahasoean, Justine de Penning, Lier Chen,Aimee Lam, Denghui Lian, Aijin Ying. (AAIS 2018)

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2018-2019 Agenda

THE OTHERIST MANIFESTO COLLECTIVE MANIFESTO (VERSION 2)

Modified by AAIS PHASE1. Based on the “The otherist manifesto” in Term 1.

We are other. We are an interdisciplinary collective of seven. We will be the changemakers that define this field for the future to come. We take the AAIS as our meeting point and our home. From here we will go out into the world and make an impact. We are bold, we embrace change both from within and collectively in the world around us. The diversity within the collective, stimulates us to search within ourselves and open up to future possibilities. We learn from chaos. Here binaries are broken and borders are crossed. We create networks wherever we go, location is never a limit. We seek to look through architecture as a lens to explore different realities, both temporal and permanent. We extract the essence of prior knowledge and always aim to innovate further. We reshape ourselves as clay, as more materials are added, our sculpture takes on new form. We are storytellers.

- AAIS 2018 -

Period 14.01.2019 - 25.01.2019

Photo

Tv human charator in final jury. Performer: Aijin Ying. Photo credit: Nikolas Louka.

46 TERM1 / TERM2 / TERM3

001

Object Workshop The object workshop, especially the rehearsal/ object tryouts function as the transition and preparation in producing the London event (Stone Nest). We analyzed and evaluated the findings from Term 1, and carry out trials on how they interact in time and space. We brought some additional materials and tested their applications with other things. We found several characteristics and behavior of spatial elements that we kept for the jury. We developed the findings we found into a series of costume and spatial qualities. This tryout was the basis for the theoretical framework of the London event. Tutors: Argyris Angeli, Kyriaki Nasioula

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Object tryouts 14.01.2019 - 19.01.2019

MATERIALS

Reflective mirror paper, tights, wires, plastic sheet,mirror, elastic fabric,balloons...

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A Portrait of Human Are we human? What is human? When did we become human? Are we still human ? Were we ever human? Are we human yet? -- <Are we Human> ACT 1 – THE INVENTION OF THE HUMAN This act begins with a macro view of the planet, introducing the Blue Marble taken from Apollo 17 space mission in 1971, zooming out, changing our perspective on how we envision our human possibilities on earth. In contrast to this, the selfie land portrays our collective selfie status. Here we start to zoom in, focusing on our contemporary life, our everyday life, the selfie life.

What is the human? is precisely the question we want to explore. The human is not as human as the objects created by humans. The technology was not invented by humans, rather the other way around. Human evolution is leading towards existing outside ourselves, extending our bodies to new limits, which in all other species is only achieved by adaptation. Our brain is the main receptor of this continual change in the human existence, it works as an artifact that is molded in accordance with the material culture. We are an unfinished project whose future will never be certain.

ACT 3 – THE GHOST HUMAN We, humans, are possibly the only animal that has systematically designed its own extinction. In a world where the first genetically modified baby was born last year, when will the last human by evolution die and first human by design take over?

Object jury, 25.01.2019

ACT 2 – THE PLASTIC HUMAN

ACT 1 Photo credit: Nikolas Louka.

“SELFIE LAND”

ACT 2

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PLASTIC HUMAN

Performers: Yuan Gu(Plastic human),Lier Chen (Mirror human). Photo credit: Nikolas Louka.

ACT 3 Performers: Justine de Penning. Photo credit: Nikolas Louka.

GHOST HUMAN

Photos. Plastic human interacting with Mirror human in final jury. Photo credit: Nikolas Louka.

Video avaliable:

https://vimeo.com/351497980

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ACT2

Period 29.01.2019 - 08.02.2019

Photos

Costume design during design week. Creators: Yuan Gu, Aijin Ying.

56 TERM1 / TERM2 / TERM3

002

Design week Design week is a progression on â&#x20AC;&#x153;Portrait of Humanâ&#x20AC;?. During these two weeks, on the basis of the last performance, we went deep into concepts and narrative construction. The design of space and costume was deepened and improved as well. The design jury was done in the format of a role-play round table discussion, where intentional acts of ar- guments were performed to deliver the development progress to the audience - the choreographers from Laban. We presented our progress with the production within separate departments, showcasing the different prototypes we made with various mediums. Tutors: Theo Lorenz, Tanja Siems

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Design jury In form of a table talk.

PROCESS

Discussion with audiences and collaborators.

Period 12.02.2019 - 22.02.2019

Photos

Costume testing in final jury. Performer: Aijin Ying.

60 TERM1 / TERM2 / TERM3

003

Production week The Production Jury was served as a material testing and the last chance to test out thing in a performance format before the final performance at Stone Nest. We took it as a chance to experiment with some of the materials we didn’t use in the Object Workshop along with the designed characters reinacting the scenes without transitions inbetween. By blurring and intertwining the defined boundaries of “disciplines”, we tried to draw connections between tangible and intangible materials. Tutors: Theo Lorenz, Tanja Siems

TEST 2 Performers: Yuan Gu(Plastic human). Photos credits: Leo Zhu.

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PLASTIC HUMAN

TEST 3 Performers: Nasha Bahasoean. Photos credits: Leo Zhu.

BREATHLESS

Photo. Plastic human interacting with TV human in final jury. Performers: Yuan Gu, Aijin Ying. Photo credit: Leo Zhu.

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TEST2

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14.03.2019 - 15.03.2019 Final performance

Portrait of Human Performers List Act 1 - TV Human: Katie Burks (Trinity Laban) Act 2 - Mirror Human: Iris Athanasiadi (Trinity Laban) Act 2 - Plastic fat: Zjana Muraro (Trinity Laban) Act 3 - Breathless: Nasha Bahasoean Space man: Denghui Lian & Yuan Gu Documentation Camera man: Leo Spatial design: Aimee Lam/ Denghui Lian/ Nasha Bahasoean/ Aijin Ying Costume design: Yuan Gu/ Aijin Ying/ Nasha Bahasoean Video production: Yuan Gu/ Aijin Ying Choreography: Iris Athanasiadi, Katie Burks, Zjana Muraro, Ting-Ning Wen, Ania Straczynska (All from Trinity Laban) Music: Lier Chen With the support of: Stone Nest, +lob-design, Trinity Laban Conservatorie of Music and Dance Video avaliable: https://vimeo.com/351492275

Stone Nest, 136 Shaftesbury Ave, London W1D 5EZ

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69 REVIEW Due to a series of incidents, the organisation of the performance becomes one of our biggest challenges. Our production schedule didn’t happen the way we planned, and a lot of the elements we had no time to test on. It was great that the performance took place 5 times, and we made use of the loops to improve the performance each time. A lot of the downfalls had to do with the rush in time and planning, for example in the production of the music and the equipment booking for lights. There wasn’t any noticeable fault, but it can be improved. For the choreography, the choreographers from Laban did a great job coming up with something in such a short amount of time, especially for scene 2, where the inflatable wasn’t produced until the last day before the performance. The fact that the performance date clashed with the dancers’ presentation date didn’t help either. As a result, the choreographers/ performers can’t rehearse much, and adjustments can’t be made before the performance. Luck- ily, the dancers were able to improvise and change the choreography in response to the situation and the response of the audience. The space design did a great job coming up with something in such a short amount of time, under the conditions of in short of two people when setting up. The design of the interval was one of the elements that caught the attention of the audience a lot, making great use of the original space using both visual and auditory elements. It would be even better if we can enhance this and make use of the spatial elements that has been presented to us initially.

It was very interesting to see how the audience chose to respond and interact with the performers and the spatial design. It was more of an uncontrolled surprise to us this time, but we should take it into account and work with it to come up with a more curated experience for the audience. The use of mobile phone as a screen to experience the performance was definitely something we didn’t expect. This coincidental extension to how the audience experience the performance should be developed further and incorporated into the design of the spatial elements such as the inflatable. The biggest downfall of the performance was the narrative and the concept of it, which haven’t been developed since the Object Workshop. A lot of the concepts has been reduced to obvious symbols such as: mirror for vanity, plastic for plastic surgery, etc. The connection between the three scenes at the moment are not strong enough. Perhaps we should consider narrowing the theme down, since at the moment the main elements that we’ve hold on to are social media and modifying ourselves to enter the new age of humans. A possible connection between Scene 1 and Scene 2 can be the concept of “tittytainment”, a concept by Brzeziński the Polish-American diplomat and political scientist, meaning a form of lowest common denominator entertainment designed to appeal to the masses and refrain people from thinking. However, the third scene needs to be reconsidered, as it seems to be too general. The concept of “we are all going to die but there is still hope for mankind” is simply not appealing anymore.

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photo. Scene 1 TV human in final performance. Peformer: Katie Burks(TV Human). Photo credit: Leo Zhu. 71

SCENE1

Spacemen setting up the Inflatable during the transition.

PLASTIC HUMAN & MIRROR HUMAN Two charactors performing outside the inflatable. Performers: Zjana Muraro(Plastic Human) Iris Athanasiadi(Mirror Human) Photo credits: Huace Yang, Leo Zhu.

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Mirror Human performing out

tside the Inflatable, reflecting the audience.

Plastic Human performing in front of the audience.

SCENE 2.1

Performers getting into the inflatable.

PLASTIC HUMAN & MIRROR HUMAN Two charactors performing inside the inflatable. Performers: Zjana Muraro(Plastic Human) Iris Athanasiadi(Mirror Human) Photo credits: Huace Yang, Leo Zhu.

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Audience peeping at the Pla

astic Human via the peep holes on the Inflatable.

Mirror Human interacting with Plastic Human in the Inflatable.

SCENE 2.2

Photo. Breathless performing in final performance. Performer: Nasha Bahasoean. Photo credit: Leo Zhu.

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SCENE3

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Narrative Space Costume Video Music Publication

Details of design The final performance was designed in six aspects: Narrative, Space, Costume, Video, Music and Publicity.

DESIGN IN SIX ASPECTS

These six aspects were collaborated and integrated into a complete performance.

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NARRATIVE In a destructed landscape of future versions and past theories, the piece investigates the notion of what is human in our ever changing world.

Scene 1-TV Human A landscape of the past, a nostalgic version of our imagination, one where the Gameboy and the dialup sound are at home, One where we seek to typer-connectivity as a way forward, we think of technology as the answer to all our problems, as an imagined future, as a dream, as a fiction of sorts.

Scene 2-Plastic Human Leaping into a world where we look at a reflection, is this a reflection or a projection? Gilt, greed, embarrassment, shame, come to light through the character of plastic fat. Plastic and human skins blur together to create artificial flesh, the artifical lends us its form until we reach a point of not being able to distinguish between the two.

Scene 3-Breathless Breathless, out of air, extinguished. Material conditions of a feeling that relateds to a sense of precarious time, lonely time, a time of experience from below. A state of emergency. We end to begin again.

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Space design in scene 1 Enclosed space using white curtains,occupying approximately all of the arches in four sides in order to let audience concentrate on the performance within main stage. Projections displayed on the three sides of the curtains. Inside the enclosure, TV human was performing a flow of act. Using a costume, she was connected to the space, through sleeves, long wire cables attached her to the curtain rails and hand rails from the upper floor balconies.

DETAILS CABLES ATTACHED FROM BALCONY WITH TIMBER

ORGANZA FABRIC FIRE RETARDANT TO BS 5867 GAUZE FABRIC - 9 X 10 M FIRE RETARDANT BLACK SATELITE COAXIAL CABLE DIA - 7 mm, LENGHT: 10-15 M - ATTACHED TO TV MAN COSTUME 136 SHAFTESBURY AVENUE

730

452

CHARING CROSS ROAD 480 522

LEVEL 1 PLAN - SCENE 1

CONTACT: NASHA (+447432026393)

PROJECT

AAIS2018@edu.aaschool.ac.uk

LOCATION

PORTRAIT OF HUMAN LONDON EVENT STONE NEST, LONDON

DRAWING LEVEL 1 PLAN - SCENE 1 SCALE

VERSION

DATE

31/03/2019

1 : 75 @A1

SPACE

2X2 CM TIMB CABLE ELECTRICAL TAPE

DETAIL CABLE ATTACHMENT TO TIMBER

BLACK SATELITE COAXIAL CABLE DIA - 7 mm

480 TIMBER WOOD 2X2 cm

492 414 287 170

SECTION 1 - SCENE 1

245

232

231

500 396

CONTACT: NASHA (+447432026393)

PROJECT

PORTRAIT OF HUMAN LONDON EVENT

AAIS2018@edu.aaschool.ac.uk

LOCATION

STONE NEST, LONDON

DRAWING SECTION 1 - SCENE 1 VERSION

DATE

10/03/2019

SCALE

1 : 30 @A1

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Photo. TV Human connected to the space by wires attached to her body. Performer: Katie Burks. Photo credit: Leo Zhu. 85

SCENE1

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INFLATABLES INFALATED

415 287

inflatable structure comes out and be inflated

SECTION 1 - SCENE 2

SCENE 2

CONTACT: NASHA (+447432026393)

PROJECT

PORTRAIT OF HUMAN LONDON EVENT

AAIS2018@edu.aaschool.ac.uk

LOCATION

STONE NEST, LONDON

DRAWING SECTION 1 - SCENE 2 VERSION

DATE

10/03/2019

SCALE

1 : 30 @A1

Space design in scene 2 According to the limitations as well as the advantages of the previous test, we determined to make a big bubble with only one modular piece. We aimed to make the shape simpler but interactive enough. Thus we played with the process of opening and closing, being inflated and deflated.

DETAILS ORGANZA FABRIC FIRE RETARDANT TO BS 5867 GAUZE FABRIC - 9 X 10 M FIRE RETARDANT 136 SHAFTESBURY AVENUE

INFLATABLE MATERIAL: SILVER RIPSTOP & PVC PLASTIC

INFLATABLES H: 300 - 400 cm

600

300

BLOWER

CHARING CROSS ROAD 480 522

LEVEL 1 PLAN - SCENE 2

CONTACT: NASHA (+447432026393)

PROJECT

AAIS2018@edu.aaschool.ac.uk

LOCATION

PORTRAIT OF HUMAN LONDON EVENT STONE NEST, LONDON

DRAWING LEVEL 1 PLAN - SCENE 2 VERSION

DATE

31/03/2019

SCALE

1 : 75 @A1

SPACE

Production process.

Material Ripstop nylon fabric for the main body, PVC for the peepholes.

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Interaction with the Inflatable.

A metaphor for a human habitat.

Performance inside the Inflatable.

SPACE(Inflatable)

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Space design in scene 3 This scene happened in the middle of the space. Breathless human laid on the floor on “child pose” with a costume made of white balloons. The balloons from the dress covered the performer, so he was not perceived by the audience. As the scene evolved, Breathless human did a series of movements and popped all balloons contained in his costume, one by one, till the end of the performance.

DETAILS ORGANZA FABRIC FIRE RETARDANT TO BS 5867 GAUZE FABRIC - 9 X 10 M FIRE RETARDANT 136 SHAFTESBURY AVENUE

INFLATABLE MATERIAL: SILVER RIPSTOP & PVC PLASTIC

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530

BLOWER

CHARING CROSS ROAD 480

DEFLATED IINFLATABLES, BREATHLESS CHARACTER ON TOP

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LEVEL 1 PLAN - SCENE 3

CONTACT: NASHA (+447432026393)

PROJECT

AAIS2018@edu.aaschool.ac.uk

LOCATION

PORTRAIT OF HUMAN LONDON EVENT STONE NEST, LONDON

DRAWING LEVEL 1 PLAN - SCENE 3 SCALE

VERSION

DATE

31/03/2019

1 : 75 @A1

SPACE

Performer: Nasha Bahasoean. Photo credit: Leo Zhu.

Photo. Breathless Human performing on the inflatable

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SPACE IN SCENE 3 93

Exhibition space in the basement The exhibition space was located at the basement of the performance venue. It was dedicated to explain and exhibit the creative process behind the show. Here, the audience could visualize the costumes, videos and music, get to know more about the narrative of the show. Also, we adapted an area of the space for some pieces of choreography made by the collaborators from Trinity Laban Conservatoire of Music and Dance. As guests arrive to the venue, we used this space to control the flow of the audience that came to see the shows on the different times.

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Photo. Performers performing in front of the costume exhibition. Photo credit: Huace Yang.

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TV HUMAN Tv-human is a creature we created which is inspired by the working mechanism of the network. The network mainly consists of a central processing unit(CPU) dealing with data and electricity flow transferring the information to every corner of the world. The feature of the Network forms the image of the whole design of Tv human. Through the method of personification, we defined Tv human as the controller of the network. The interaction between the character and audience visualize the relationship between virtual reality and reality. To what extent will the technology change the world? Will we choose to live in virtual reality in the future? Will the robots become new creatures, owning the same rights as a human? Will technology redefine what is human?

COSTUME

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TV HUMAN (Version 1)

The idea initially inspired by a selfie software called Faceu. In Faceu, we can record our daily life by applying many beautification functions, various effects, and filters. People tend to record themselves in their electronic devices. Via such technology, they can reshape their figures, cover up some flaws and create better themselves. Is the self in the screen better than self in reality? It is the question we want to put forward. If we are obsessed with the beauty that technology brings to us, will we choose to live in the virtual world or in the real world? What is the next development of human society?

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Costume

Picture. Self-portrait webpage in Faceu where you can select the filters to beautify and reshape yourself.

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DESCRIPTION Tv human version 1 was composed of a Tv box and cable strings. There was an iPhone set into selfie mode in the box. When the audience looked into the Tv screen, they would see themselves on the screen. Such interaction could inspire the audience to be aware of themselves in the display and their communication with the electronic

devices.

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Costume.

TV HUMAN(Version

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1) Photo. TV Human(version 1) performing in the object workshop. Performer: Aijin Ying. Photo credit: Nikolas Louka.

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TV HUMAN (Final version)

Before the case study, we extended our topic to how technology would influence human development in the future. Inspired by the references regarding this topic, we finally defined TV human as a robot, representing the advanced product of technology. What material can manifest the quality of the character? Which form can visualize the relationship between robot and human? According to several questions we put forward, the mood board was integrated to help us figure out the becoming feeling of the costume.

Moodboard references (1) Sonja Baumel - Invisible Mem- brane. Dutch design week, 2009 (2) Kowskivision for NYtimes.com - “you autocomplete me... or are you taking over?”, November 2014 (3) Adela Andea - “A.57” lights installation, Anya Tish 3 Gallery, 2017

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Pictures. Moodboard for TV Human..

Costume

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Material

Photos

Polymorph, black wires.

Material testing in AAIS studio.

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Costume

Photos Costume prototyping in AAIS studio.

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In this version, we extended the scale of the costume to space. Inspired by the image of the network of the Internet, we attached some cables to the ensemble as well as to space. Cables were the connection between costume and space. These cables can be regarded as a spatial restriction to TV human as well as the way TV human manipulating the area. It depends on different peopleâ&#x20AC;&#x2122;s diverse interpretation.

Costume testing in production jury.

Final version

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Video in headpiece Instead of using a live camera, this time we used the video of the human figure for TV human headpiece. The graphic of the video was a screen of surveillance, playing human beingsâ&#x20AC;&#x2122; actions. The footage was created in the video workshop in term 1. When the audience came closer to Tv human, they could realize that Tv Human was monitoring the human world, recording and learning social behaviours.

Headpiece

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Assembling the cables to the space

We assembled the cables to space via the method shown in the diagram. The first step is attaching the wires to the wooden sticks. Then we fixed the sticks to the bottom of the railing with cable ties. The whole installation process is simple. There are several advantages to such a plan. First, it was easy to be transported because each timber holds rolls of cables. We used six wood timbers, 3 for each side, each timber held about 7-8 turns of wires. Second, it saves the time of setting up in the venue. Due to a limited number of people that can set up in the site, by using this method means we can fix cables on the timbers before we entered the venue. Because setting up the wires alone with the wood took half a day with two people doing the job. Third, it was also convenient to set them just by cutting the cable ties, and gaffer tape and then attached them onto the railing. The installation worked very well in the show. It was very stable. More importantly, the demolition process was also convenient. It only took us several minutes to clean all the cables just by removing the wooden sticks.

Assembling

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Cable assembling on the site.

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Photo. TV Human performing in final performance. Performer: katie Burks. Photo credit: Leo Zhu. 115

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PLASTIC HUMAN Plastic-fat human is a prediction of the future, In the future, all the pollution we made now may come back into our body and cause erosions on our skin and body. In the future, People all rely on technology that changes their way of life. Through technology like plastic surgery, human can design and reshape their body. In the future, human combine themselves with machines turn themselves into cyborgs. In the future, Will human still be human?

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PLASTIC HUMAN (Version 1)

Our inspiration started with the idea of erosion by environmental pollution. According to various infection in nowadays, human future might face the causeand-effect transmigration that all the pollution we made may come back into our body and cause erosions on our skin and body. Meanwhile, we also thought about how individual wishes to remove and modify themselves when facing these erosions in the future, which brought us to think of plastic surgery as well. So we created a mood board about transfiguration, deformed and reconfig- uration for costume and make-up as references.

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References. (1) Ling Liu by Lacey for Vogue China December 2015 (2) “La Mue” By Muriel Nisse (3) photo by Anne-Sophie Tschiegg.

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DESCRIPTION We started doing experiments by testing materials connecting with our concept and mood board. All materials were discarded stuff, such as disposable goods from storage or bins, which includes bubble wrap, foam balls, paper mask, plastic bag, balloons, strings, and tights. We tried several combinations and photos above are the final prototypes we chose. In the middle is the bottom part of the costume, which looks like pimples on the body. The movement of squeezing out the acne represented the plastic eroded body shape and willing of self-healing, which is the act that we reserved until the final performance.

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Costume.

PLASTIC HUMAN(Version 1)

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Photo. Plastic Human(version 1) performing in the object workshop. Performer: Yuan Gu. Photo credit: Nikolas Louka.

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PLASTIC HUMAN (Version 2)

After the first jury, we got some feedback from the tutors and audience, most of them like the idea of the costume and want to see more development. Some audience suggested that the shape of the outfit too regular and looks like a human figure; it could be more organic or distorted. We also considered how to make it more wearable since the first version needed to be reproduced every time after one performance. So we looked back to the concept and mood board again to see if we could develop more ideas and details from version one. Photos on the right page are all the references for developments, as you can see this time we focus more on the headset, texture and configuration. We planned to test more materials for the look of fat and design a mask for the character instead of using the ready-made one. Moodboard references (Top to bottom, left to right) (1) Lucy McRae - Perfection: a biometric mirror (2) Terry Gilliam - Brazil (1985 film) (3) Lucy McRae - Make your maker (4) lenscult - Paola KUDACKI (5) Lucy McRae - Body architecture (6) Yong Soon Kwon - “Listen to me”, 2012. Fashion Show, Royal Academy of Fine Arts Antwerp (7) Sinead O’Dwyer - All in: bodied

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Pictures. Moodboard for Plastic Human..

Costume

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Material

Photos

Bubble wrap, plastic bags, plastic wires.

Material testing in AAIS studio.

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Costume

Photos Costume prototyping in AAIS studio.

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Version 2

The movements for scene 2 weren’t change a lot; the only two differences were that we added the act of pulling strings and plastic out due to the change in costume. Such movements could enhance the uncomfortable feeling of disgusting. Another change was that we turned the “mirror human” into a mirror due to the lacking of “mirror human” costume.

Costume testing in production jury.

In the first version, the “Plastic fat” character interacted with “mirror human” character， but this time we wanted to develop more movements between him and “TV human” as a transition scene which represented the relationship between technology and human.

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PLASTIC HUMAN FINAL VERSION For the final performance, we kept the design from version 2 for the body part and redesigned the headpiece for the character. The headpiece consisted of twopart, one was the ready-made silicone mask for holding a facial mask, and another one was a veil usually uses for plastic surgery recovery. We prepared a pair of high-heels and another pair of slippery for the character which was according to the movement in the space. Since the inflatable structure divided the area into two parts: outside and inside, before the character entered the inflatable, he would change his shoes to make sense of entering his bedroom, creating intimacy. For the movement part, apart from previous movements, we developed more between the “plastic human” and “mirror human” like imitating, manipulating, plugging back plastic, interacting with the inflatable and audience such as pushing the structure. All of these have made the character more mechanised and exaggerate between human and puppet.

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Costume fitting with the performer Zjana.

Photo. Plastic human performing in final performance. Performer: zjana Muraro. Photo credit: Leo Zhu.

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Plastic Human

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MIRROR HUMAN “Looking in the mirror is very strange; we see only what we choose to see, good or bad.” Bonnie Langford The mirror human is a representation of self-reflection. People have a different way of looking through their body. The mirror tells everything you wanted to see, yet, which one is real? It’s also a part of looking into social media. How do you see yourself in the realm of others? How do you want others to see you? It displays another image that’s never the true self. Because you put filters, you put coveralls, colors, and other sorts of things. Others and yourself may see different things.

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MIRROR HUMAN (Version 1)

The first version was mostly inspired by Oskar Schlemmer costume style. The style was decided since the existing material (acrylic mirror) was already cut in a circle shape. The first mood board focused on how to treat circle shape into something wearable and moveable. Lots of the research run through Schlemmerâ&#x20AC;&#x2122;s costume because he was able to create a peculiar costume style and yet dancer was able to do the movement with it.

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Costume

Moadboard references. (Top) Oskar Schlemmer. Costumes for the Triadic Ballet, Bauhaus. 1927. (Bottom, Left to right) (1)Morrisons Academy, Art department. Final outcome. (2)Etere Shop. Disco ball flexible mirror costume. Italy. Year unknown. (3)Vogue wedding. liverpool. 2017.

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MIRROR HUMAN (Version 1) The costume was divided into several parts (headpiece, shoulder sleeve, hand and knee pieces) which made dancer/ performer able to wear comfortably, as most of the pieces used a circular elastic band to fit into the body.

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Costume prototype .

COSTUME

Photo. Mirror human performing in object jury. Performer: Lier Chen. Photo credit: Nikolas Louka.

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Mirror human(Version 1)

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MIRROR HUMAN (Final version)

The second version of Mirror Human costume was mainly inspired by broken mirror surfaces. We want to emphasize the incompleteness of the image reflected by the mirror, which is a metaphor for the incomplete or untrue human identity in today’s social media. The profile shown in social media is just the aspect that people select to post, which is only partial and fragmented identity. During the research time, there were lots of exciting costume as an example that we saw. Some we didn’t even know how to make. The images in this page were the important one which triggers the design for mirror costume version 2. As a structure, cutting shape, assembling, and pattern. Moodboard references (1) Levente Gyulai - Visions of the Future: Architectural Fashion with 3D geometric structure; futuristic fashion. year unknown. (2) Hussein Chalayan collection. March 2018 (3) Andrej Pejic - Space Age Androgyny. April 2011 (4) Catherine O’Leary – Fashionectural garment (5) Irin van Herpen - carefully, high voltage! Collection. Spring Summer 2013 (6) Irina Shaposhnikova - Crystal- lographica collection. Antwerp, 2009 (7) ABC Museum, Illustration and Design Center. Aranguren and Gallegos Architecs. Madrid, Spain.

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Pictures. Design sketches for Mirror Human.

Costume

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Material

Photos

Acrylic mirror.

Mirror Human performing in the final performance.

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Costume

Photos Mirror Human interacting with Plastic Human inside the Inflatable.

Photo. Mirror human interacting with Plastic Human outside the Inflatable in the final event. Performer: Iris Athanasiadi, zjana Muraro. Photo credit: Leo Zhu.

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Mirror Human

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BREATHLESS Called breathless, meaning out of air. Where’s the source of the air? Ghost human in no place. Clear, light and airy. It has a feeling of “reborn” and a sense of precarious times. Simple, yet full of experience. Something that you can treat over and over again. Eliminating the air.

COSTUME

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BREATHLESS (Version 1)

Breathless version 1 used the same technique as objects tryouts in week one of the object workshop, which was the form of plenty of balloons being stacked together in a plastic bag, while a person was hiding inside. In the beginning, it looked like an embryo in the womb, and it breathed slowly. Then it started to move. Performer struggled to grab the minimal air in this enclosed space. It is a metaphor for the birth and survival of a new species. Will species mutation be the next step for human evolution?

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Costume

Moadboard references. (1-2) Lois Greenfield - Moving Still, Dance photography. 2015. (3-4) Barthess- Liquified Research. Eindhoven, 8/12/2010. (5-6) Bart Hess in collaboration with HeyHeyHey - Mutants, Netherlands 2011. (7) Opera del espacio - Semele’s Company Creation Festival, 2013. (8) CHINAFOTOPRESS - College students in Xi’an engage in performance art to raise awareness of air pollution, 2013. (9) Richard Finkelstein - Wizard of Oz set Design. Year unknown. (10) Scott Sawyer photography – Cocoon, June 2010.

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Material tesing Plastic bags, balloons.

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Costume.

BREATHLESS(Version 1)

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1) Photo. Breathless Human(version 1) performing in the object workshop. Performer: Justine de Penning. Photo credit: Nikolas Louka.

BREATHLESS(Version

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BREATHLESS (Final version) Breathless final version aimed to be more wearable, which meant the balloons could be fixed on performers body and easy to change. So we sewed a round sheet with lots of pockets which could contain the balloons.

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Pictures. Production process of Breathless.

Costume

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Material

Photo

Tulle, balloon, nylon strings.

Breathless costume testing in production jury.

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Costume

Photo Mirror Human interacting with Plastic Human inside the Inflatable.

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version) Photo. Breathless Human performing in the final event. Performer: Nasha Bahaosean. Photo credit: Leo Zhu.

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Video in Scene 1 We used four different videos for scene 1, three for projection and one for TV humanâ&#x20AC;&#x2122;s headpiece. For the projection part, we used the vintage TV noise combining with text which we used for voice over in the production jury and talking face expression of human figures. The front background came with the noise effect only and for both sides we multipled the video into 9*9 small screens to create an illusion of an immersive digital world.

VIDEO

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Video in scene 1 space Videos were projected on the curtains, surrounding the main stage.

VIDEO

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Video in Scene 2 For the projection on the inflatable, we used the close-up video of texture from TV human costume to create an atmospheric experience. The reason for using TV human texture was to get a sense of transition for scene 1 and keep the existence of TV Human character through a media form. The inspiration of adding mirror effect was from Rorschach psychological test by Hermann Rorschach, according to which subjects’ perceptions of inkblots were recorded and then analyzed using psychological interpretation, complex algorithms, or both. We added this effect to correspond with the “Plastic fat” and “Mirror human” characters to questioning identities.

VIDEO

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Video in scene 2 space The video was projected on the surface of Inflatable .

VIDEO

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Video in scene 3 space An animation was projected on the dome of the venue as a transition between scene 2 and scene 3.

The architectural elements of the venue were extracted to be the inspiration for the video on the dome. Itâ&#x20AC;&#x2122;s a way to form the echo of performance and original space. The video was played over the audienceâ&#x20AC;&#x2122;s head to create a sense of vertigo since two circles kept rotating all the time. This metaphor refers to the collapse and reconstruction of the real world, which effectively led to the theme in scene 3.

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MUSIC

MUSIC COMPOSITION IN SCENE 1 The audio composition of Scene 1 involves a recorded piece of text and the musical composition. The text was a computer-generated piece of text to reflect on the concept of TV man, while the musical elements serve as the build-up for tension and mysteriousness. The main tracks were the two using the instrument “Total Domination”, which created a pulsing for the choreographer to work with. The “Wobble Buzz Bass” adds a subtle buzzing base to the soundscape, filling in the ambient aspect of the composition.

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Screenshot of Scene 1 audio. Composer: Lier Chen.

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MUSIC COMPOSITION IN SCENE 2 The audio composition for Scene 2 was far more complicated comparing to Scene 1. The end product was a 15-layer soundscape mixing both MIDI tracks and live-recorded sound effects. Moving on from the first and second versions produced in the previous juries, there were seven more tracks added, combining the elements from the last two versions. Adjustments have been made to the configurations of the audios and the impact of the environment to the audio qualities. One common element that is present in the audio composition of all the three scene’s is the melody of “Alien Space Probe”, which brings a sense of familiarity to the audience.

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Screenshot of Scene 2 audio. Composer: Lier Chen.

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Music during the transition between Scene 2&3. Comparing to Scene 2, Scene 3 has a much quieter atmosphere, but the tension should not decrease with the act of simplifying the scene. As a result, I created a transition act with the projection of a spiral movement on the dome and an industrial soundscape. By attracting the audienceâ&#x20AC;&#x2122;s attention to the ceiling, the transformation from the setting of Scene 2 to Scene 3 can carry out without disturbance to the flow. By playing with the smart controls of the audio, the movement within the audio is able to synchronize the movement of the visual effect. The intelligent controls involved were: motion, pan, reverb, morph, morph mod, mod rate, attack, release and delay.

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Music composition in scene 3.

Creators Denghui Lian, Nasha Bahaosean.

Pictures

Poster and invitation in final event.

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PR.

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PUBLICATION The final poster was inspired by the “nocturnal animals” movie poster. The base of the poster used a blurry image of the breathless character. There were several edits made for the second version of the poster, adding more layer to the breathless face to make it more inhuman. It was layered with several elements from plastic fat. Considering there was a lack of information regarding the ticket booking for the first version, there’s a barcode in the updated version. The new poster allowed the public to be able to book the tickets when they see the poster.

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Previous poster in object workshop. The object jury poster used seven different images that were taken during the object tryouts. By playing with layers and opacity, it created a new “alien” image. The idea was to compose something human yet mysterious. We used blue as the primary colour temperature based on one of the colour findings at the object workshop. The idea of the poster layout itself came from a concert poster. However, several adjustments needed to be made as there’s more information in our advertisement.

PUBLICATION

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The invitation and poster for final event. A fashion show invitation inspired the Portrait of Human invitation design. Putting the essential information in the card with a large size font. The invitee name was written in calligraphy later on with a black marker. As the invitation was specifically for the VIPs during the opening night, the only one-time slot was written there: March 14, at 7 PM. However, during the process of giving the invitation, more time slot and dates needed to be printed directly on the paper to suit the invitee schedule to watch the show. It was an act of improvisation when giving away the card.

PUBLICATION

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Invitation We delivered the invitation on March 8, 2019, from 3 - 4.30 pm around AA School. The invitee wore TV human version 2 headpiece, with the showâ&#x20AC;&#x2122;s barcode played on the screen. So the public could scan the barcode and booked the tickets directly after seeing the advertisement. She wore space human costume, with a transparent plastic raincoat as outerwear for the accessory. The procession started by giving all the invitation for people who worked in the basement (digital lab), first floor, then went all the way to the third floor (administration office).

PUBLICATION

Invitee character : Lier Chen Documentation : Nasha Bahasoean

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Instagram and Instastory. For the last 9 days before the shows, there was one Instagram/facebook post with 3 - 4 pages of instastory. There was a template for instastory to make it easier for anyone to adjust the story every day. One post for count down, one post of teaser picture and the last for ticket booking.

PUBLICATION

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TERM 2

02. The Object Jury received plenty of positive feedback from the audience regarding the unusual spatial relationship between the audience and the performers. A lot of the comments mentioned that the performance was raw, honest and intimate. Part of this came from the fact that we incorporated the personalities of each performer into the design of the movements, without considering them to be the conventional kind of choreography, as most of the performers (us) were not trained, dancers/choreographers. It was beneficial to have someone giving feedbacks when ob-

PRACTICE

14.01.2019-14.03.2019

serving the movements. Our artistic approach was primarily affected by the mood board we reached with our artist research and the fact that Kyriaki was working closely with us from the very beginning, unintentionally. With the experience of working together from the last semester, we developed the frequent use of both humour and aggression, which is something entirely fresh. We should perhaps think of keeping the elements as a trademark, or even as part of our artist statement.

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The use of the material was a steady development from the past, using materials with familiar qualities but expanding further to create objects of different scales. By allowing ourselves to play with the materials altogether and explore the merits of the possible materials among various aspects, the performance became a multimedia one. The design of space was fascinating, and it was an excellent tactic to manipulate the audience. It made use of the existing objects within the room very well, which saved us a lot of time. After making sure the theme and concept, we quickly dispersed into several teams for the production. Each team experimented and produced at the same time while communicating and collaborating tightly together. The concept team would constantly be completing the concept and feeding the findings to the other groups. To some extent, the success of this workshop is due to the precise allocation of each team members to their strengths. It is much easier to work in separate teams trusting the professional abilities of each member than working as a whole team to progress through each task one by one. On the other side, the downfall of the structure of the performance was the narrative itself being too similar to the construction of the book Are We Human. It felt like the scenes were not connected enough, that they thought a little also separated. There werenâ&#x20AC;&#x2122;t enough recreation moving on from the book. The book was a theoretical approach to the theme. By replicating the content from the paper and translating them directly into performative format didnâ&#x20AC;&#x2122;t work as well. But as an initial trial informing of the actual product, in the end, it was a good starting point.

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PROCESSING ...

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TERM 3 Based on the event of “Portrait of Human”, we extracted and also abandoned some elements to generate a new performance - “Processing...” for the event in Athens. The creation started with the evaluation of the previous event, and the following design process was according to our latest research. The efforts we made in term 3 were all about preparing for “Processing...”.

Nasha Bahasoean, Lier Chen, Denghui Lian, Aijin Ying. (AAIS 2018)

23.04.2019-15.06.2019

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Starting video avaliable: https://vimeo.com/352167966

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14.06.2019 - 15.06.2019 Final performance

Processing... Performer: Katie Burks (Trinity Laban), Li’er Chen, David McAlmont Spatial design: Aijin Ying/ Nasha Bahasoean/ Yuan Gu/ Denghui Lian Costume design: Aijin Ying/ Yuan Gu/ Nasha Bahasoean Music: Lier Chen Graphic design: Nasha Bahasoean Video: Aijin Ying/ Yuan Gu Projection: Nasha Bahasoean/Aijin Ying Lighting: Li’er Chen/ Yuan Gu Choreography: Katie Burks (Trinity Laban)/ Lier Chen/ Nasha Bahasoean Text: Li’er Chen/ David McAlmont Structure:

Aijin Ying/ Nasha Bahasoean/ Yuan Gu/ Denghui Lian

In Association with Gesamtatelier In-kind support of: Romantzo, +lob-design Video avaliable: https://vimeo.com/351494994

Romantzo, Athens, Greece

197 Concept â&#x20AC;&#x153;Processing...â&#x20AC;? is a multi-disciplinary production that aims to raise a conversation with the audience about the identity of human beings in the contemporary world. With the invention of social media, data collection and surveillance, the act of watching becomes highlighted in our everyday life, which transforms us from the subject to the object. We are constantly being observed, as our data becomes collected and forms reports and predictions on our behaviours. We voluntarily upload ourselves online to be seen, but we have no idea and control over who is watching. With the use of installations, choreography and projections, we will be examining the different ways of which people access information in space, both through physical perception and representations of the area. As the creator of this piece, we want to highlight the control of data to emphasize the power relations it brings. The piece examines the connection established between the subject and the object within the act of watching with a humorous twist, transforming the audience into an unpredictable part of the performance. Project description. We have a prelude and three scenes altogether. The prelude is a bit more static, lasting about 5-10 min. There will be an interactive element and a short film being shown as a projection on the wall, in which the content is based on cookie policy, data collection and surveillance. In the first scene, there will be eye-shaped installations of reflective material. The performers would be interacting with the reflective installations, while both of them have wireless cameras attached to their body. The two will be filming each other while the views from the cameras will be projected on the wall. In the second scene, the Inflatable will be inflating. Performer A will start approaching the inflatable, sprinkling flour on the ground to shape a line. When the performer A gets into the Inflatable installation, the UV lights installed onto the Inflatable will switch on, highlighting the lines marked on the performersâ&#x20AC;&#x2122; bodies. When performer A hides in the centre of the Inflatable and interacts with the surface of the installation, Performer B will start to approach the Inflatable according to the instruction of the line drawn by Performer A. In the third scene, the singer will gradually move to the main stage, singing. When the song is over, the live projection, which is controlled from the backstage, will go onto space where the audience is, positioning them within the dots. Parts of the dots will be changed to highlight and interact with the audience. The ending is chaos occurring within the digital patterns, which collapses in the end.

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(From left to right) Xu Bing - Dragonfly Eye,81mins film series, 2017. China. Wang Wo - Surveillance Camera At Tian An Men Square, 2018, China. Ge Yu Lu - Eye Contact with a Surveillance Camera, China.

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References for the theme.

References

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Prelude Scene 1 Scene 2 Scene 3

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The composition of performance The final performance was composed of one prelude and 3 former scenes. Prelude(7 mins video) Cookie policy, data collection, surveilliance. Scene 1(10 mins performance) The relationship between watching subject and object being watched. Scene 2(8 mins performance) The system of surveillance. Scene 3(5 mins audience interaction) Data visualising and processing.

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Audience interaction Our inspiration for sending the audience cookies came from the cookie policy on websites which seems cute and harmless but invading userâ&#x20AC;&#x2122;s information and privacy quietly instead. The user has no choice but to accept it to access the website. By accepting the cookie policy, all the personal data uploading to the digital system and becomes a tool for data analysing which manipulate userâ&#x20AC;&#x2122;s behaviour unconsciously.

PRELUDE

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Cookie packaging. Each package contains two cookie with two different colours.

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Video part 1 - Cookie making Last for 3 mins.

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COOKIE POLICY, DATA COLLECTION, SURVEILLANCE

PRELUDE

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Video part 2 - Surveilliance and data errosion Last for 3 mins and 30 seconds.

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COOKIE POLICY, DATA COLLECTION, SURVEILLANCE

PRELUDE

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Moodboard for video.

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Video production The first part of the prelude video was a process of cookie making in a relaxing and bright way which created a contradictive style with the later part. By creating such a trick for the audience, we were bringing the unexpected second part to them afterwards. Furthermore, we used this part to instruct the audience to eat their cookies, which represented the choice for them to make. The second part happened after the performer eating the cookie, which also represented the users (audience) have accepted the cookie policy. From this point, the video started to enter into a digital world which consisted of data tracking and surveillance. Both of them were invading peopleâ&#x20AC;&#x2122;s privacy through lens and technology method, which seemed to benefit the state security but take control of citizenâ&#x20AC;&#x2122;s behaviour instead. The eating mouth appeared again at the end of this video with the multiple layers of city night scene and signals error, trying to give a warning to the audience about the ubiquitous surveillance system.

NARATIVE IN VIDEO

Video avaliable: https://vimeo.com/351939524

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Photo. Prelude. Video playing on the front screen. Photo credits: Alekos & Christos Bourelias.

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SCENE 1 We created two characters for scene 1. Each of them wore a camera on their hand. Seeing from their movements, the symbiotic relationship of watching and being watching was interpreted. The audience could watch the movement directly or see them through the moving projection, which was led by two â&#x20AC;&#x153;spacemenâ&#x20AC;? holding the projectors on the sides. Different layers of selfies and live feeds from the projection also represented the superfluous surveillance system. This scene mainly contained five elements: Space, installation, costume, choreography, life projection.

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WATCHING AND BEING WATCHED

Photo. Two performers performing in scene 1. Performers: Katie Burks(Trinity Laban), Lier Chen. Photo credits: Alekos & Christos Bourelias.

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Space arrangement

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Space was generally split into two parts. Half of the area consisted of five balloons hanged from the ceiling. During the first scene, performers choreographed movements, attempting to create interactions among balloons. The Inflatable mainly occupies the remaining space. In scene 1, the Inflatable was acted as the auditorium. The audience sat on it and watched towards the main stage.

SCENE 1

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Reflective balloon design

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These eye-shaped balloons were made of reflective mirror paper. The height of the balloons in final performance could be adjusted due to the pully system assembled on the rails.

SCENE 1

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Experiments with the shape.

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Interaction with reflective balloons

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The application of the reflective material gave us an excellent way to interact with the installation. Also, the light effects generated by this material provided an immersive atmosphere to space.

SCENE 1

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Choreography with the balloons.

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Costume design

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There were two costumes in this scenario, one of which was Performer A’s and the other was Performer B’s. The settings of the two characters were trying to visualize the relationship of watching and being watched between them. Performer A played the role of “watching” which was more dominating than Performer B. Seeing from the application of materials, Performer B’s costume was more exposed and with less privacy since he was the character being watched. The camera lens inspired the plastic balls attached to Performer A by magnets.

Performer A

Performer B

SCENE 1

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Costume design for performer A

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Materials: Semi-transparent fabric, reflective mirror fabric,plastic balls.

Moodboard for costume..

SCENE 1

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Production process.

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SCENE 1

COSTUME FITTING - PERFORMER A.

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003

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Photos. Costume fitting - Performer A. Performer: Katie Burks (Trinity Laban). Photo credit: Nasha Bahasoean.

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Costume design for performer A

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Materials: Transparent fabric, nylon strings.

Moodboard for costume.

SCENE 1

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Production press.

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COSTUME FITTING - PERFORMER B.

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003

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Photos. Costume fitting - Performer B. Performer: Lier Chen. Photo credits: Nasha Bahasoean, Denghui Lian.

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CHOREOGRAPHY

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004

The choreography was mainly based on the interaction with the balloons. The main movements were two performers playing hide and seek around five balloons while filming each other with the phones on their hands.

Movement score.

SCENE 1

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Rehearsal for movements.

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Real-time projection

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During the performance, each performer held a phone in their hands which was set into recording mode. The video was sent to two projectors remotely and immediately via bluetooth devices. Two spacemen controlled the direction of two projectors during the performance. The audience could watch performersâ&#x20AC;&#x2122; movement directly or see them through the moving projection.

Scene 1

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Photo. Scene 1. Performers: Katie Burks, Lier Chen. Photo credits: Alekos & Christos Bourelias.

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Photo. Scene 1. Performer: Lier Chen. Photo credits: Alekos & Christos Bourelias.

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Photo. Scene 1. Performer: Lier Chen. Photo credits: Alekos & Christos Bourelias.

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Photo. Scene 1. Performers: Katie Burks, Lier Chen. Photo credits: Alekos & Christos Bourelias.

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Photo. Scene 1. Performers: Katie Burks, Lier Chen. Photo credits: Alekos & Christos Bourelias.

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SCENE 2 In scene 2, the balloons hanged from the ceiling have been removed by performers. The Inflatable started to inflating, pushing the audience to the main stage. Performer A slowly approached the place where the Inflatable was situated, sprinkling the flour on the floor to shape a line. Performer A acted as the controller of the Inflatable, interacting with not only inside but also outside of the structure, while Performer B was moving towards Inflatable along the line drawn by Performer A. This scene mainly contained two elements: Inflatable installation, choreography.

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SURVEILLANCE SYSTEM

Photo. Performer A performing in scene 2. Performers: Katie Burks(Trinity Laban). Photograph credit: Alekos & Christos Bourelias.

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3. Fabricate another middle part with holes on the top and bottom.

1. Originial Inflatable.

Or 5. Attach the zippers to the edge joints.

2. Split the Inflatable into three parts.

Substitute for

4. Insert the tunnel into the middle part.

Inflatable in “Portrait of Human”.

6. Three different ways of connection produce three forms.

Inflatable in “Processing...”.

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Inflatable design. Inflatable is a metaphor for the surveillance system. Acted as the controller of the system, Performer A was the person who mainly interacts with the Inflatable. She could hide in the tube, control the audience’s sights and manipulate the whole structure. The adjustment of the Inflatable was based on the previous design. In “Portrait of Human”, Inflatable acted as an enclosed space for performers to perform inside and the audience watched performance via the peepholes. This time, we inserted a tube in the centre of the installation. Apart from Performer A performing inside the structure, she could also interact with the surface of the Inflatable when standing in the middle tube. When Performer A started tapping the surface, the installation would be in a fluid form. The floating fabric would push the audience to move around the stage, which was more interactive than the previous version.

SCENE 2

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Inflatable digital caculation

001

Produced in Rhino.

Inflatable

1. Attach zippers(13m) to semi spheres. A

Production Logic

5. Stitch PVC holes mark the holes at top and bottom.

5 6

2. Sew 1 with 3, 2 with 4. 1

6.8m 1.9m

1.8m 0.6m

1.9m 0.6m

6. Attach zippers(13m) and stitch two pieces together, reserving the place for zipper(2.5m). 2

B 4

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Plan 3. Attach zipper (2.5m). 3.8m

7. Stitch them into a ring and cut the holes at top and bottom.

3.8m

Elevation 1

4. Finish the inner part.

8. Combine them together.

Elevation 2

2 3 4

Axonometric drawing

SCENE 2

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1.1 4.3 4.2 4.1 3.13

1.2

3.12

1.3

3.11

Cutting line 1.4

Sewing line

3.10

1.5

3.9

1.6

3.8

1.7

3.7

1.8

3.6

1.9

3.5

1.10

3.4

1.11

3.3

Cutting line Sewing line

5.5 1.12

5.6

5.7

3.2 5.4

5.8

5.3 1.13

2.3 2.2 1.14

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3.1

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5.2 5.10

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1.15 5.1 5.11

Patterns for fabric cutting Since the shape that needed to be tailored was irregular, the first step was to make the patterns according to digital layout.

001

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SCENE 2

With the cutting pattern as a sample, the cutting of the fabric pattern became more accurate.

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Sewing the PVC peepholes manually first.

Materials Silver ripstop fabric, PVC, zippers

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Double sewing the PVC peepholes by machine.

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001

Combine the pieces into a tube.

Inflatable fabrication

Stitch the zippers along the joints.

SCENE 2

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Choreography with Inflatable

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Inside and outside the Inflatable.

SCENE 2

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Choreography with costume

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Since the plastic balls were attached to Performer Aâ&#x20AC;&#x2122;s costume by magnets, so they could be detached easily. When the performer hided in the Inflatable, she would throw out the plastic balls out to the audience standing around.

SCENE 2

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Photo. Transition between scene 1 and 2. Performer: Katie Burks. Photo credits: Alekos & Christos Bourelias.

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Photo. Transition between scene 1 and 2. Performers: Katie Burks, Lier Chen. Photo credits: Alekos & Christos Bourelias.

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Photo. Scene 2. Performer: Katie Burks. Photo credits: Alekos & Christos Bourelias.

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Photo. Scene 2. Performer: Lier Chen. Photo credits: Alekos & Christos Bourelias.

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Photo. Scene 2. Performer: Lier Chen. Photo credits: Alekos & Christos Bourelias.

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SCENE 3 Scene 3 started with singing from backstage. Slowly the singer walked towards the stage, singing and reciting the lyrics. Scene 3 was designed for audience interaction by projecting digital coordinates on the main stage and a live video on the screen. When the audience was walking into the projected area, they became data of the system and being traced by the mouse all the time. The colour of the dots also linked to the cookies that we gave to the audience at the beginning. Through this way, the system collected its data and manipulate them. This scene mainly contained two elements: Lyrics and live projection.

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Data visualizing and processing

Photo. Live projection in scene 3. Performers: The audience. Photo credits: Alekos & Christos Bourelias.

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Lyrics

001

Scene 2 to scene 3 ten, nine, eight... dictum, data, diktat, ten, nine, eight... dictum, data, diktat, datum ten, night, eight... zero dictum, data, diktat, datum ten, night, eight... zero dictum, data, diktat, Watching and watching Every night & day Listening, Whispering Observing Surveyed

To be seen In matrices In space Approaching, encroaching Run, run, run Move

SCENE 3

ten, nine, eight... dictum, data, diktat, datum ten, night, eight... zero dictum, data, diktat,

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Lyrics

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Scene 3 Perceive me Conceive me Do you really know what youâ&#x20AC;&#x2122;re watching? Access the intelligence through the windows that you see, And create what you get in the way that you like.

SCENE 3

Faster, smarter, stronger, better. A new world is at your fingertips. Click, slide, roll, tap, Connect your eyes to our newest device. See what you want to see, Do what you want to do, Take what you have to take, And a beautiful new world is at your eyes.

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Live projection

002

The real-time projection was controlled by the software called Heavy M. The dots traced the positions of the audience. This interaction was dominated by the person who managed the Heavy M in the backstage.

SCENE 3

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Animation Animation can be divided into three chapters. The pattern of the first section symbolized loading data. The second section symbolized collecting data. Finally, all the data collapsed and disappeared.

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002

Live projection

SCENE 3

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Photo. Scene 3. Performer: David McAlmont. Photo credits: Alekos & Christos Bourelias.

SCENE 3 IN FINAL EVENT 279

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Photo. Scene 3. Photo credits:

Alekos & Christos Bourelias.

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Photo. Scene 3. Performer: Audiences. Photo credits: Alekos & Christos Bourelias.

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Photo. Scene 3. Performer: Audiences. Photo credits: Alekos & Christos Bourelias.

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TERM 3

23.04.2019-15.06.2019

03. Term 3 was quite tense since the duration was shorter than before. However, due to the training of practical projects in term 2, we are more skilled in arranging various aspects. Also, we had a better understanding of each other, so the teamwork went also much smoother than before. This time, we didnâ&#x20AC;&#x2122;t divide the group into several departments as we did in term 2. Almost everyone had several duties. We were willing to help and offer help, which was the reason that our progress was always on track. The group co-

PRACTICE

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operation this time left the most profound impression on me. Speaking of the final achievements, we have both pride and regret. First of all, the theme and the narrative was much evident. However, since the topic of surveillance is susceptible in China, we did not show our attitudes and tendencies in the performance, instead, used a neutral position to describe the issue, which also led to many audiences could not understand what we want to express.

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The second is about audience interaction. The cookie-selection section in the prelude, using Inflatable to push the audience to the mainstage and tracking the audienceâ&#x20AC;&#x2122;s positions in scene 3 are all ways we want the audience to be more involved in the performance. Some interactions are valid, but some are not. For example, in the prelude, we tried to convey that biscuits of two colours represented two choices. When watching the instructing video, the audience is guided to choose either green one or orange one in the packages which symbolized their choices. However, due to the opaque packaging, the audience could not get what was inside the package. It was hard for them to combine the video instruction with the cookies in their hands. Thus the transmission of information was not that clear. In terms of biscuit packaging design, we emphasized how to make it delicate, but failed to take into account the specific issues regarding audience interaction. In scene 3, we planned to point the audience via a real-time image projection. Also, when the audience was moving around, they could be traced by the dots on the ground. We wanted the audience to be aware that they were being monitored. However, in real performance, most of the audience was standing by the sides. Since they felt the floor with the real-time image projection was the main stage, and as the audience, they shouldnâ&#x20AC;&#x2122;t step on the main stage. So, few people interacted with the dots on the ground. When we designed the interaction in this physical space,we neglected to consider the psychology and the behaviour of the audience. My favourite part is the performer A performing with the Inflatable. The interactive transformed the Inflatable from a spacial installation into a wearable device. Such a change enriches the diversity of the audienceâ&#x20AC;&#x2122;s experience and ingeniously echoes the theme. Generally speaking, I quite enjoyed the production. It inspired me to think a lot about the audience experience, and also provided a direction for my future career.

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TO BE CONTINUED.

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