My project is called its_ok and is a series of both art pieces and software tools that I built. It includes web applications, terminal applications, websites, live performance tools, that I will demo in the show.
An immersive installation that explores the distortion of memory and the unstable processes of remembrance through photographs that come alive in response to the position of the onlooker.
Here and There is an interactive installation that immerses the spectator in the world of abandoned and faded memories with distorted photographs that light up and trigger sound when the user 'selects' them with their hand. The project uses tracking devices and projection mapping to design an voyeur-like audiovisual experience that creates a sense of awe and nostalgia in the spectator and strives to connect them to their own memories.
For my final, I wanted to discuss race, racism, and especially the idea of “Whiteness.” I did so by creating an Interactive Audio Visual Mixtape. I created sight distortion tools that manipulate colors in a way that reveals my hidden messages. I then placed those hidden messages within highly stimulating graphics. The graphics' meanings and information changes with the use of the different ocular devices. Sounds accompany these visuals to create a more immersive and interactive experience.
Light was used in the past to bridge over long distance communications, through chains of bonfires that were lit on top of mountains. A light house signals a safe shoreline to passing ships. Now, we use optical fibers to carry light and illuminate our cities. A glowing screen is last thing that we see as we drift to sleep, and the first thing we wake up to in the morning. Our light is our communicator; turned on means awake, alive, turned off is asleep, closed, out of power.
In Light Scapes, I used volumetric photography to create a series of three 3D sculptures that explore the relationship we have with light. A neon sign that washes the street in pink light, a television that unites people around its glow, a man opening a fridge in the middle of the night.
It takes the form of a geodesic sphere, seven feet in diameter, mounted on a short wooden platform, with a small door near the bottom. The viewer enters through the door, and sits down on a cushion on the floor, and the door shuts. And everything is completely dark.
After a short time, there is a flash of light, and all surfaces inside are revealed as mirrors – there is no fixed point, except for one’s own body, and in that moment, the viewer becomes the only real and defined thing he or she can visually perceive.
And then it’s dark again, and the lighting begins to respond to the viewer’s body, dimming and brightening with movement and stillness to transform space, hide and reveal the body, and encourage both exploration and contemplation.
“The Undelivered Letters” is an immersive journalistic virtual reality project that pays tribute to victims of the Taiwanese White Terror. It aims to shed light on stories that have been buried in archives for decades, and breathing new life into the realm of history and politics through VR. <br />
“The Undelivered Letters” is an immersive journalistic virtual reality project that pays tribute to victims of the Taiwanese White Terror. It aims to shed light on stories that have been buried in archives for decades, and breathing new life into the realm of history and politics through VR.
When the user dons the VR headset, she will be transported to the main home scene — a dingy jail. She or he will be able to freely explore private belongings of White Terror victims, strewn about in the cell. Gazing any such belonging will transport the user to a new scene, related to the object’s owner. The user may listen to the victim’s letter and explore the intimate anecdotes about it. After the user listens to the entire narrative, which will allow for a humanizing transformation (not just a “victim,” but a father, son, grandson, etc.) she will be sent back to the main scene to explore another story.
In a world where our new technologies have the name “reality” in them, it seems as we are trying to tweak and change the reality we live in. Using image recognition technologies, Reactions explores the way surface react to our touch.
A floating frame with transparent acrylic is hanged from the ceiling. From above, a camera is detecting the user's touch of the surface. On the floor, a projector is projecting a grid on the surface. The users can use their hands to create ripples on the grid and making sounds.
Nothing: Creating Illusions, The World, Pixel By Pixel
An immersive adventure of nature enabled by magical paintings.
“Dreamers” is an interactive art installation that dissolves the line between the virtual and dream worlds. Our aim for this project is to allow users to experience unlimited expressions of a virtual fantasy. We combine generative mapping and physical objects to create possibilities for expression and transformation to a virtual world. When users place one or multiple objects of small paintings on the table, digital animations will generate on the frosted acrylic surface as the camera detects them. Each animation will show immersive space that reflects virtual paintings. The paintings are designed based on natural elements found in this city such as grass growing between rocks or inside the cracks of stone. Thus, the elements can dream in the new virtual space. Users and painting objects become the adventurer, dreamers, and floaters in exploring the imaginative place.
Nothing: Creating Illusions, Open Source Cinema, Readymades
As anyone who has fallen in love understands, the mind can physically affect the body. Reciprocally, there is growing evidence that bodily experiences can shape our cognitive states, an idea known as embodied cognition. emBody is an exploration in encouraging a body-mind connection through the use of movement sonification and the latest motion capture technologies.
The Museum of Funny Ladies, A Museumette is an immersive exhibit that tells a piece of the history of women in comedy, showing that yes, ladies are hilarious. This experience transports visitors to the 1970s and into the writers room of pioneer comedy writer Sybil Adelman, where they can interact with the objects in the space to experience her story as a groundbreaking female comedy writer navigating the male-dominated writers world of that era.
The Museum of Funny Ladies, A Museumette brings to life a moment from history of women in comedy, the 1970s, when pioneer lady comedy writers broke into an industry primarily dominated by men. This exhibit transports visitors back to the 1970s, and places them in the writer’s seat of pioneer TV comedy writer, Sybil Adelman. From a typewriter to scripts, telephones to a television, visitors can interact with objects in the space that were part of a writer’s daily routine, and experience what it was like to be the only woman in the room, through Sybil’s eyes. The Museumette is an excerpt from my design plan for the Museum of Funny Ladies and acts as a proof-of-concept for this larger museum design. You’ll laugh, you’ll sigh. And you will leave knowing that with chutzpah and humor, women were able to navigate their way to success in this male-dominated world.