When thinking of a project we’re always looking for the perfect “aesthetic”, and myself included, find this the hardest part of finding an intrinsic motivation to see a project out. This semester we’ve been challenged to reverse engineer our own thinking and take into account where we think our practise could take us. What is my field we were tasked to question, and as a continuum we have been preparing a project pitch if we were to create a work based on our expertise, skill-set and research throughout our career. I’ve always had a passion for creating projects and am always looking to carry over curiosity into further classes and trying my luck as a career, this task is no different.
Inanimate to life
This is something that resonates really closely with me and something I have a very unique passion for. I am really interested in the way humans respond and act towards inanimate objects and more specifically technology that emerges through rapid prototyping and seeing the results through trial and error. The idea of Inanimate to Life stroked me during a workshopping exercise at the innovation campus. I want to create the aesthetic I was completely blown away with on the excursion to the Powerhouse Museum of the timeline type set up of the old Mac and Apple products and prototypes. Without realising I’ve accumulated a lot of old tech that has either broken or been given an upgrade by a newer device. These range from a phone, tablet, laptop to video cameras and drones to small simple robotics. The physical arrangement of these devices and showcasing what little use they have left I believe would create a dialogue between the works they’re capable of producing.
I would like to have perhaps a series of working video cameras, videoing the cameras that perhaps don’t work anymore. I’d love to have a drone that works perhaps carrying another via a piece of string, and then another tied to a wall that just hovers and also becomes part of the installation that doesn’t move, however not by the autonomy of the device, gps assistance or even pilot control, but by its constraint to a piece of string. Perhaps these devices serve a different purpose now and it’s how they work in sync with one another is how the aesthetic is created. I have the vision of a confetti crazy space designated to this technology on their last limbs of life. Battery running out or malfunction would resonate the sacrifices made to connect to the user and get the particular content.
Interesting tangent on how when left alone with full autonomy, these devices interact with one another. This project proposal is inspired by the works of Cirque du Soleil, ETH Zurich, and Verity Studios that showcases the device gaining a life like quality of curiosity and automation through the use of movement and sound to create a visual aesthetic that we disassociate with the technology of quadcopters.
short film featuring 10 quadcopters in a flying dance performance. The collaboration resulted in a unique, interactive choreography where humans and drones move in sync. Precise computer control allows for a large performance and movement vocabulary of the quadcopters
I’d like to explore the life-like qualities we give these devices and other devices to interact, so that the responder and audiences feel like that when they step into the installation, their interactive expectations are shut down as I want them to step into a room of crazy interactions and dialogues between the technologies. The power in the way they work/don’t work or assist one another is the experimental art work I hope is achieved and creates something with visual interest. While ever there is devices that are slowly beginning to stop working, have broken already and are serving as a type of graveyard or shell prop, mixed with those fully functional and aiding the decent of the inevitable of the others I believe could be an interesting exploration in what we expect and the pressures we exert onto devices we consume regularly in media arts.