process & showcase MEDA302

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This new approach see’s the physicality of the effects of updates from internal software. I want to dive into the questions surrounding the capitalist mindset of some companies within technology and what this means for future ownership of devices. And then are these implications going to surround all new technologies.

For context, the idea that I’m very sentimental with my devices has got me thinking about what it is about certain elements of technology and devices that people look and empathise with me. This can be cameras, phones, audio equipment, basically anything that was later replaced by something more digital.  eg. Phones were replaced by touch screen phones, walkmans replaced by ipods, ipods inevitably replaced by phones, PCs replaced by laptops again replaced by phones. The hardware still operates okay, as we see with people returning to old hardware such as vinyl records to keep the nostalgia alive.

So is what’s killing technology and any future development the software element? To focus on one particular device, the iPhone. The software updates have become known to be used by the company so that eventually the phone will run slower and the apps will not work unless you do so, causing you in shorter and shorter amounts of time to purchase a new one and discard the original. This is something that I feel if some people didn’t HAVE to change, they wouldn’t. So I believe this works on a digital level. The digital software is perhaps what’s halting alot of technology. So I looked into a technology that uses an abundance of software to perform the newest forms of technology and I stumbled into 3D printing.

3D Printing utilises millions of lines of code that are then programmed into a piece of hardware that releases a physical form. So my question is, as a technology that uses so much software to operate, can it survive? or will it be the destruction of so many other things we’ve had to now rely on photos or memories to enjoy?


Project pitch for Media Arts project // Inanimate to Life

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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.

Project Proposal: RandomAccessMemory

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Project Proposal:

The space that will be transformed into an existential dimension will consist of a door that doesn’t have a prerequisite for entry or denial.  Each person will approach a door that has the words:







These are guidance points for the audience responder, the next move from the audience interaction is my way of exploring the wonderment aesthetic. The use of a movement sensor will operate the lights underneath each word, which will be completely randomised and have no influence on the person and could be different on multiple interactions with the same people. I want to explore the idea of class and how the choices and decisions controlled by the digital realm has no ‘cost of entry’.Perhaps a strange take on the actions of the internet promoting anonymity, and how the rear of the door that is  covered in black spray paint and wax could represent another dimension of the internet.

After attending New Romance: art and the posthuman at the Museum of Contemporary Art I found Patricia Piccinini & Peter Hennessey’s work Alone with the gods, 2016 very interesting in the way that it could transform everyday household furniture and items into some kind of surrealist or uncanny space. I drew particular attention to their subtle use of wax and crystals in the way they could allude to a new experience. I took this creative element along with a childhood experience that I associated with wonderment was the arrangement of magnetic letters on a fridge. This idea fascinated me as a kid as if I had something within the food storage that couldn’t be opened if i arranged the words “No”.


(Patricia Piccinini & Peter Hennessey, Alone with the gods, 2016, installation view, New Romance: art and the posthuman, Museum of Contemporary Art Australia, mixed media, image courtesy and © the artist, photograph: Alex Davies)

“explore ideas of secret societies, parallel worlds, genetic modification, evolution and mutation in their new collaborative workAlone with the gods (2016). Designed to be an ‘immersive narrative space’ the installation is based on a story the artists wrote about a fictional isolationist cult.” (MCA, 2016)

The idea and the organisation of the work will have a door frame connected to a pair of ropes that gives the idea of hanging in space. The front side will have an LED lighting arrangement (currently using Christmas lights) that will be hooked up to an arduino movement sensor so that when the audience member gets close enough, the sensor will trigger a random word to light up via the coloured lights. The word that is given to that person will hopefully trigger a curiosity element or perhaps even a rebellious streak for them to look around the behind of the door. This will hopefully lead them to discover the free-lance nature the internet creates and that we’re free to understand the world behind instructions. I like the idea that i’ll have no control over the responses nor whether the “instructions” on the front of the door will be obeyed by the responders.

From the above prototype, the changes in the lights arrangement and the times they come on will be varied slightly different when the movement sensor is added. This is to showcase the aesthetic I’m aiming when they change individually. Through class discussion and feedback when presenting the prototype I was told that the general colour arrangement was an aesthetic in itself. I was also encouraged to explore a lighting set up that would make the words easier to read. A suggestion that was also an interesting interpretation was the choice to leave the lights all on and turn off the desired response as an instruction. The next step with this project is to acquire technical support so that I can understand how the lights can be wired and arranged to the intentional purposes. The location was something that was given a warm reception to have it slightly in the middle of the space so that it wasn’t really essential to see the worded side of the door first, perhaps showcasing the accidental nature of wonderment. Perhaps the most interesting suggestion is the use of a mirror at the rear of the door to represent perhaps a parallel view. The idea that if you go against the authoritative instruction you’ve only got yourself or your own reflection to ponder on.