✍️ assessment2: Difference between revisions

From XPUB & Lens-Based wiki
No edit summary
Line 1: Line 1:
==Introduction==
<div style="font-family: monospace; text-align: justify; color: #333;">


Before joining XPUB, I worked as an editor for a government-funded art curation agency in Southern China. My role spanned branding, copywriting, and radio show planning. This experience made me deeply reflective about the relationship between '''systems, body, collectivity, and individuality'''.
<div style="background-color: AliceBlue; padding: 15px; box-shadow: 10px 10px RoyalBlue; border: 2px solid Firebrick; margin-bottom: 30px;">
==<span style="color: Firebrick;"><big>𝒫𝑅𝐸𝐹𝒜𝒞𝐸: Systems & Body</big></span>==
Before joining XPUB, I worked as an editor for a government-funded art curation agency in Southern China. My role spanned branding, copywriting, and radio show planning. This experience made me deeply reflective about the relationship between '''<span style="color: RoyalBlue;">systems, body, collectivity, and individuality</span>'''.


Throughout my time at XPUB, I've explored one recurring theme across all three Special Issues: '''how the body is disciplined by systems, and how we react'''.
Throughout my time at XPUB, I've explored one recurring theme across all three Special Issues:
<div style="text-align: center; margin-top: 10px; margin-bottom: 10px; border-top: 1px dashed RoyalBlue; border-bottom: 1px dashed RoyalBlue; padding: 10px;">
<big>'''how the body is disciplined by systems, and how we react'''</big>
</div>
That is for a <s>good</s> reason! I aim to find the cracks, the glitches, the moments where we can insert our own meanings.
</div>


----
<div style="text-align: center; margin-top: 20px; margin-bottom: 20px;">
<span style="color: Firebrick;">🪷</span> <span style="color: RoyalBlue;">🪷</span> <span style="color: Firebrick;">🪷</span> <span style="color: RoyalBlue;">🪷</span> <span style="color: Firebrick;">🪷</span> <span style="color: RoyalBlue;">🪷</span> <span style="color: Firebrick;">★</span> <span style="color: RoyalBlue;">🪷</span> <span style="color: Firebrick;">🪷</span> <span style="color: RoyalBlue;">🪷</span>
</div>


==SI25==
=<span style="color: Firebrick; font-family: monospace;">'''SI#25 - Broadcast: Invisible Discipline'''</span>=


In SI25, We used sound as a tool to explore invisible discipline. Sound, like call center scripts, is '''repetitive and systemic'''—it shapes behavior in ways we don't always recognize. By editing and transforming these soundscapes, I aimed to create '''moments of agency'''.
In SI25, We used sound as a tool to explore invisible discipline. Sound, like call center scripts, is '''repetitive and systemic'''. By editing and transforming these soundscapes, I aimed to create <code style="background-color: RoyalBlue; color: White;">moments of agency</code>.


We produced collaborative radio shows exploring themes like water, protocols, and customer service systems, using various research methods, like collecting open-source sound files online, reading and rewriting scripts, creating set-up scenes to express ourselves. Also, we experimented with different roles: Writing, VJs, message readers, sound editors, VCV Rack etc.
===<span style="font-family: monospace; color: RoyalBlue;"> [[SI25 Broadcast 3: Underwater Exploration]] </span>===
'''<small><code style="background-color: Firebrick; color: AliceBlue;">Field recording as a tool</code></small>'''


==='''Broadcast'''#3 Underwater Exploration===
Curated a sonic collection of diverse water-related audio samples to investigate the textures of aquatic environments. When water became a metaphor, we had so much room to imagine and discover a visible system. Without discussion, we use an <span style="text-decoration: underline wavy RoyalBlue;">improvisation way</span> to edit and collage them in Radio Worm.
 
Curated a sonic collection of diverse water-related audio samples to investigate the textures of aquatic environments.


<gallery mode="packed" heights="200">
<gallery mode="packed" heights="200">
File:Protocal of Radio.jpg|Collaborative script reading session
File:Protocal of Radio.jpg|Collaborative script reading
File:Claudio as a VJ and message reader.jpg|Live radio performance with VJ and message reading
File:Audio devices.pic.jpg|Audio devices
File:Audio devices.pic.jpg
</gallery>
</gallery>


===Broadcast#5 Protocols For Bad Customer Service===
===<span style="font-family: monospace; color: RoyalBlue;"> [[SI25 Broadcast 5: Protocols For Bad Customer Service]] </span>===
'''<small><code style="background-color: Firebrick; color: AliceBlue;">Script as Narrative Space</code></small>'''


Developed a script exploring the potential of customer service protocols as an unconventional narrative space. This project investigated how the rigid scripts of service labor can be subverted to tell personal stories.
[[File:Week5 BadCustomerService SCRIPTS8.jpg|thumb|right|200px|Bad Customer Service Scripts]]
Sound, like call center scripts, is '''repetitive and systemic'''—it shapes behavior in ways we don't always recognize.  


[[File:Week5 BadCustomerService SCRIPTS8.jpg|frameless]]
This project investigated how the rigid scripts of service labor can be subverted to tell personal stories. We developed a script exploring the potential of customer service protocols as an unconventional narrative space.  


=== A Radio Prototype: The guiline to shadows' mindscape===
<br style="clear:both;" />
[[File:Poster of the radio show.jpg|thumb|Poster of the radio show|left]]


[[File:Radio file.jpg|300x300px|Radio show documentation from Worm Radio|right]]After this exploration, I created a radio show prototype examining '''Chinese artistic labor'''—the intersection of creative work and systemic pressure. This piece was broadcast on '''Worm Radio''', questioning: how do artists survive when their labor is both creative and constrained?
===<span style="font-family: monospace; color: RoyalBlue;"> [[Worm Radio: Chinese Artistic Labor]] </span>===
[[File:Poster of the radio show.jpg|thumb|left|150px|Poster of the radio show]]
After this exploration, I created a radio show prototype examining '''Chinese artistic labor'''—the intersection of creative work and systemic pressure.  


It explored themes of algorithmic intrusion and the laborer's escape from high-pressure artistic environments.
This piece was broadcast on '''Worm Radio''', questioning: <code style="background-color: Lavender; color: Firebrick;">how do artists survive when their labor is both creative and constrained?</code> It explored themes of algorithmic intrusion and the laborer's escape from high-pressure artistic environments.


<br>
<br style="clear:both;" />
</br>


<div style="text-align: center; margin-top: 20px; margin-bottom: 20px;">
<span style="color: Firebrick;">★</span> <span style="color: RoyalBlue;">★</span> <span style="color: Firebrick;">★</span> <span style="color: RoyalBlue;">★</span> <span style="color: Firebrick;">★</span> <span style="color: RoyalBlue;">★</span> <span style="color: Firebrick;">★</span> <span style="color: RoyalBlue;">★</span> <span style="color: Firebrick;">★</span> <span style="color: RoyalBlue;">★</span>
</div>


=<span style="color: Firebrick; font-family: monospace;">'''SI#26 - Face Notation'''</span>=


<div style="background-color: GhostWhite; padding: 10px; border-left: 5px solid RoyalBlue;">
'''Face Notation''' is an interactive website inspired by Chinese physiognomy (face-reading) and web design. I noticed how '''CSS elements''' move and shift when you resize a browser window—just like how facial features supposedly determine destiny in traditional face-reading logic.
</div>


[[File:Face-pazzle1.pic.jpg|thumb|right|300px|Face Notation prototype: Interactive face puzzle]]


==SI26==
The project allows users to '''compose music with their own faces''': a way of reclaiming the body from systemic definition. By turning the face into a musical instrument, I question:


===Face Notation===
<big>'''"Who has the power to define what our bodies mean?"'''</big>


[[File:Face-pazzle1.pic.jpg|thumb|300px|right|Face Notation prototype: Interactive face puzzle]]
In Chinese physiognomy, every mole, every line, every feature carries meaning assigned by tradition. But what if we could reassign that meaning? What if the system of interpretation became <span style="text-decoration: underline wavy Firebrick;">playful, collaborative, musical?</span>


'''Face Notation''' is an interactive website inspired by Chinese physiognomy (face-reading) and web design. I noticed how '''CSS elements''' move and shift when you resize a browser window—just like how facial features supposedly determine destiny in traditional face-reading logic.
[[File:Site si26.png|center|frameless|600x600px|Face Notation interactive interface shown at Varia]]


The project allows users to '''compose music with their own faces''': a way of reclaiming the body from systemic definition. By turning the face into a musical instrument, I question: '''who has the power to define what our bodies mean?'''
<br>
 
In Chinese physiognomy, every mole, every line, every feature carries meaning assigned by tradition. But what if we could reassign that meaning? What if the system of interpretation became playful, collaborative, musical?
 
[[File:Site si26.png|center|frameless|500x500px|Face Notation interactive interface shown at Varia]]
 
----
 
==SI27==


===Observer Clock===
=<span style="color: Firebrick; font-family: monospace;">'''SI#27 - Observer Clock'''</span>=


'''Observer Clock''' is an installation that links '''blinking''' to the flow of time.
'''Observer Clock''' is an installation that links '''blinking''' to the flow of time.


<blockquote>
<div style="width:80%; margin: 0 auto; background-color:black; border-style: dotted; border-width: 5px; border-color: Firebrick; color: AliceBlue; padding: 15px; text-align: center; box-shadow: 5px 5px RoyalBlue;">
'''"Every blink counts. The more you blink, the faster the clock runs."'''
<big>'''"Every blink counts. The more you blink, the faster the clock runs."'''</big>


This work reflects my experience in service jobs where '''attention itself becomes labor'''. When your job is to watch, to monitor, to pay attention—your body's unconscious actions become part of the work.
This work reflects my experience in service jobs where '''attention itself becomes labor'''. When your job is to watch, to monitor, to pay attention—your body's unconscious actions become part of the work.
</blockquote>
</div>


<gallery mode="packed-hover" heights="300px">
<gallery mode="packed-hover" heights="250px">
File:The observer clock .jpg|Observer Clock: Installation view showing the clock interface
File:The observer clock .jpg|Observer Clock: Installation view showing the clock interface
File:The observer clock booklet.png|Documentation booklet explaining the concept
File:The observer clock booklet.png|Documentation booklet explaining the concept
Line 79: Line 88:
'''The central question:''' If attention creates value and shifts time, what do we truly desire from our bodies and technologies? Are we observers of time, or is time observing us?
'''The central question:''' If attention creates value and shifts time, what do we truly desire from our bodies and technologies? Are we observers of time, or is time observing us?


----
<br>


==External work==
=<span style="color: Firebrick; font-family: monospace;">'''External Works & Workshops'''</span>=


===Drifting Down to the Nearby===
=== <span style="font-family: monospace; color: RoyalBlue;">Drifting Down to the Nearby</span> ===
Co-authored a writing project documenting the nuanced life experiences and the concept of the "nearby" through the lens of an immigrant in the Netherlands.


Co-authored a writing project documenting the nuanced life experiences and the concept of the "nearby" through the lens of an immigrant in the Netherlands. This text work serves as a reflection on displacement and connection in a new environment.
=== <span style="font-family: monospace; color: RoyalBlue;">Workshops @ Garage Rotterdam</span> ===
'''Language(s) :KABK x PZI Alumni Exhibition'''


Presenting '''Workshop: "Face Notation / From Face-Reading to Personal Soundscapes"'''. In this 90-minute workshop, participants used <code style="background-color: Lavender; color: Firebrick;">Chinese mole-reading traditions</code> to create music. Each person's face became a score, each feature a note—reclaiming the body from predetermined meanings.


===Workshops===
[[File:Workshop in garage rotterdam.jpg|center|frameless|500x500px]]


* '''Instant Faith Workshop:''' Invited participants to design "faith systems" to examine belief formation mechanisms and exhaustion-driven narratives.
<div style="background-color: AliceBlue; padding: 15px; box-shadow: 10px 10px RoyalBlue; border: 2px solid Firebrick; margin-top: 40px;">
* '''Language(s) :KABK x PZI Alumni Exhibition''' at Garage Rotterdam: 
==<span style="color: Firebrick;"><big>Graduation Proposal: 𝒫lans</big></span>==


Showcasing explorations of body, language, and technology in local art spaces.
My creative practice is evolving toward more '''participatory performance''' and '''interactive workshops'''.  


Presenting '''Workshop: "Face Notation / From Face-Reading to Personal Soundscapes"'''
'''Prototype:'''
* <code style="background-color: Firebrick; color: AliceBlue;">Bladder Runner Field Diary:</code> A visual and textual field diary that employs the bladder as a metaphor to translate visceral bodily experiences from field research in Shenzhen.
* <code style="background-color: Firebrick; color: AliceBlue;">Mundane Spiritual Interface Mapping:</code> Designed an interactive survey website to collect and map individual "spiritual geographies," visualizing the mundane technologies people utilize during states of exhaustion.


In this 90-minute workshop, participants used '''Chinese mole-reading traditions''' to create music. By translating ancient bodily "readings" into sound, we challenged historical interpretations of the body through collective sound-making. Each person's face became a score, each feature a note—reclaiming the body from predetermined meanings.
'''Future:'''
I aim to deepen the intersection of '''programming, sound, and body''' while exploring new modes of engagement with audiences as active co-creators.


[[File:Workshop in garage rotterdam.jpg|center|Workshop in garage rotterdam|thumb|500x500px]]
[[File:Clark’s_proposition_Estruturas_vivas_(Live_structures,_1969),_in_use_probably_in_Paris_in_the_early_1970s._Rubber_bands._Courtesy_“The_World_of_Lygia_Clark”_Cultural_Association,_Rio_de_Janeiro.jpg|center|frameless|300x300px]]
<div style="text-align:center; font-size: 0.8em; color: RoyalBlue;">''Clark’s proposition Estruturas vivas (Live structures, 1969)''</div>
</div>


----
<br>
 
<div style="text-align: center; color: Firebrick;">
==Graduation proposal==
'''<big>♡ THANK YOU ♡</big>'''
 
</div>
My creative practice is evolving toward more '''participatory performance''' and '''interactive workshops'''. I aim to deepen the intersection of '''programming, sound, and body''' while exploring new modes of engagement with audiences as active co-creators.
 
 
===Prototype===
 
* '''Bladder Runner Field Diary:''' Created a visual and textual field diary that employs the bladder as a metaphor to translate visceral bodily experiences from field research in Shenzhen.
* '''Mundane Spiritual Interface Mapping:''' Designed an interactive survey website to collect and map individual "spiritual geographies," visualizing the mundane technologies people utilize during states of exhaustion.
 
'''Plans ahead:'''
* Expand into '''interactive art projects''' that invite audiences to actively participate in shaping the experience.
* Develop '''participatory art performances''' where the audience is no longer passive but becomes an active participant.
* Continue exploring how bodily actions and creative inputs can co-author artistic experiences.
 
[[File:Clark’s_proposition_Estruturas_vivas_(Live_structures,_1969),_in_use_probably_in_Paris_in_the_early_1970s._Rubber_bands._Courtesy_“The_World_of_Lygia_Clark”_Cultural_Association,_Rio_de_Janeiro.jpg|border|center|Clark’s proposition ''Estruturas vivas'' (Live structures, 1969), in use probably in Paris in the early 1970s. Rubber bands. Courtesy “The World of Lygia Clark” Cultural Association, Rio de Janeiro]]
''Clark’s proposition Estruturas vivas (Live structures, 1969), in use probably in Paris in the early 1970s. Rubber bands. Courtesy “The World of Lygia Clark” Cultural Association, Rio de Janeiro''
 
----
 
==Conclusion==
 
My work reflects the complex relationships between '''technology''', '''labor''', and the '''body'''. I create spaces where people can reconsider their role in the systems that govern their lives and explore new possibilities for '''agency''' and '''self-expression'''.
 
Through sound, code, and interactive installations, I ask: 
 
'''How do we resist the systems that discipline us?''' 
 
'''What new forms of being become possible when we reclaim our bodies from systemic definition?'''


In each project—from the repetitive sounds of labor to the reading of faces, from the counting of blinks to the making of radio—I trace a line of inquiry: '''where do we find agency within systems that seem total?''' The answer, I believe, lies not in escaping systems entirely, but in finding the cracks, the glitches, the moments where we can insert our own meanings, our own rhythms, our own resistance.
</div>

Revision as of 00:37, 7 December 2025

𝒫𝑅𝐸𝐹𝒜𝒞𝐸: Systems & Body

Before joining XPUB, I worked as an editor for a government-funded art curation agency in Southern China. My role spanned branding, copywriting, and radio show planning. This experience made me deeply reflective about the relationship between systems, body, collectivity, and individuality.

Throughout my time at XPUB, I've explored one recurring theme across all three Special Issues:

how the body is disciplined by systems, and how we react

That is for a good reason! I aim to find the cracks, the glitches, the moments where we can insert our own meanings.

🪷 🪷 🪷 🪷 🪷 🪷 ★ 🪷 🪷 🪷

SI#25 - Broadcast: Invisible Discipline

In SI25, We used sound as a tool to explore invisible discipline. Sound, like call center scripts, is repetitive and systemic. By editing and transforming these soundscapes, I aimed to create moments of agency.

SI25 Broadcast 3: Underwater Exploration

Field recording as a tool

Curated a sonic collection of diverse water-related audio samples to investigate the textures of aquatic environments. When water became a metaphor, we had so much room to imagine and discover a visible system. Without discussion, we use an improvisation way to edit and collage them in Radio Worm.

  • Collaborative script reading

  • Audio devices

SI25 Broadcast 5: Protocols For Bad Customer Service

Script as Narrative Space

Bad Customer Service Scripts

Sound, like call center scripts, is repetitive and systemic—it shapes behavior in ways we don't always recognize.

This project investigated how the rigid scripts of service labor can be subverted to tell personal stories. We developed a script exploring the potential of customer service protocols as an unconventional narrative space.


Worm Radio: Chinese Artistic Labor

Poster of the radio show

After this exploration, I created a radio show prototype examining Chinese artistic labor—the intersection of creative work and systemic pressure.

This piece was broadcast on Worm Radio, questioning: how do artists survive when their labor is both creative and constrained? It explored themes of algorithmic intrusion and the laborer's escape from high-pressure artistic environments.


★ ★ ★ ★ ★ ★ ★ ★ ★ ★

SI#26 - Face Notation

Face Notation is an interactive website inspired by Chinese physiognomy (face-reading) and web design. I noticed how CSS elements move and shift when you resize a browser window—just like how facial features supposedly determine destiny in traditional face-reading logic.

Face Notation prototype: Interactive face puzzle

The project allows users to compose music with their own faces: a way of reclaiming the body from systemic definition. By turning the face into a musical instrument, I question:

"Who has the power to define what our bodies mean?"

In Chinese physiognomy, every mole, every line, every feature carries meaning assigned by tradition. But what if we could reassign that meaning? What if the system of interpretation became playful, collaborative, musical?

Face Notation interactive interface shown at Varia


SI#27 - Observer Clock

Observer Clock is an installation that links blinking to the flow of time.

"Every blink counts. The more you blink, the faster the clock runs."

This work reflects my experience in service jobs where attention itself becomes labor. When your job is to watch, to monitor, to pay attention—your body's unconscious actions become part of the work.

  • Observer Clock: Installation view showing the clock interface

  • Documentation booklet explaining the concept

  • Detail: Eye-tracking mechanism and clock display

The central question: If attention creates value and shifts time, what do we truly desire from our bodies and technologies? Are we observers of time, or is time observing us?


External Works & Workshops

Drifting Down to the Nearby

Co-authored a writing project documenting the nuanced life experiences and the concept of the "nearby" through the lens of an immigrant in the Netherlands.

Workshops @ Garage Rotterdam

Language(s) :KABK x PZI Alumni Exhibition

Presenting Workshop: "Face Notation / From Face-Reading to Personal Soundscapes". In this 90-minute workshop, participants used Chinese mole-reading traditions to create music. Each person's face became a score, each feature a note—reclaiming the body from predetermined meanings.

Workshop in garage rotterdam.jpg

Graduation Proposal: 𝒫lans

My creative practice is evolving toward more participatory performance and interactive workshops.

Prototype:

  • Bladder Runner Field Diary: A visual and textual field diary that employs the bladder as a metaphor to translate visceral bodily experiences from field research in Shenzhen.
  • Mundane Spiritual Interface Mapping: Designed an interactive survey website to collect and map individual "spiritual geographies," visualizing the mundane technologies people utilize during states of exhaustion.

Future: I aim to deepen the intersection of programming, sound, and body while exploring new modes of engagement with audiences as active co-creators.

Clark’s proposition Estruturas vivas (Live structures, 1969), in use probably in Paris in the early 1970s. Rubber bands. Courtesy “The World of Lygia Clark” Cultural Association, Rio de Janeiro.jpg
Clark’s proposition Estruturas vivas (Live structures, 1969)


♡ THANK YOU ♡

Retrieved from "https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=✍️_assessment2&oldid=319778"