MFA Second year Weekly Blog

Week 1

12-Oct-2023

This week, I decided to continue my previous research direction, which is: what makes people perceive the creatures I generate with a computer as genuinely lively. After researching a series of works, an article by Casey Reas on Medium, sparked my interest in exploring the Braitenberg vehicle. I noticed that even the most initial models like vehicle1, and vehicle2a and 2b, exhibit entirely different behaviors due to different sensor connection methods - people often project subjective imaginations onto them, such as fear, aggression, liking, and love. This is quite fascinating, so I am currently trying to reproduce them using code. However, I quickly found that at the level of constructing the code logic framework, it is difficult for me to precisely define sensors and motors, and sometimes sensors are not even necessary. Ultimately, it turned out to be akin to some simple particle systems, only involving some more accurate vector mathematics between the targets and the vehicles.

Moving forward, I plan to continue auditing courses in physical computing, learning how to use Arduino on my own, and based on the Braitenberg Vehicle's original definitions, striving to create these vehicles physically and tangibly. I also intend to conduct experiments on various surfaces because I want to introduce more elements of chance, such as varying degrees of surface roughness, different inclinations, and variations in light intensity, etc. Bringing all of these elements into the physical realm can facilitate better observation and adjustment of these uncertain variables. At the same time, I find this to be a thoroughly enjoyable process. It feels as if I am creating a lively toy that belongs to me. On a theoretical level, I am delving deeper into reading related literature such as 'Contingent Computation', further exploring the element of chance in computational art, and contrasting it with the randomness encountered in my previous fine art experiments (e.g., the trembling of a hand while painting, the flow of paint in water, the texture of the canvas, different material brushes, and so on)."

Week 2

12-Oct-2023

This week, I started exploring a few directions that piqued my interest. The p5.js code related to the Braitenberg Vehicle is finished, but I am preoccupied with some exhibition collaborations recently, so I haven't started on the physical computing part yet.

In previous discussions with teachers and classmates when sharing my work, I've been inspired a lot. I was repeatedly asked why I'm so fascinated with simulating life forms and natural laws. I answered that, firstly, I'm deeply drawn to the aesthetics of microscopic photography: These tiny, primitive life forms appear transparent and exquisite, possessing a surprising vitality. Secondly, I'm captivated by certain commonalities between life, humans, and machines. However, someone pointed out that I, too, am a life form, and we humans are part of the natural laws, with no real barriers separating us from them. When I create these simulations, I am, in fact, indulging in the pleasure of playing a creator. This is something I had vaguely considered but didn't want to admit because I don't wish to introduce too much politics and power into my work. Yet, it's an intriguing thought, and I will continue exploring this perspective. I will no longer shy away from the topic of 'politics' as it's inescapable—even genuine biological labs have their politics. Perhaps it's time to delve deeper into understanding what true post-humanism really means, and the role 'power' plays in my creative process.

Additionally, learning Max.msp has familiarized me more with the patterns of coding. I've come to realize that sound art is a realm I've never ventured into. While I have a smattering of classical piano training, it might not necessarily qualify as sound art. What defines good sound art? I've decided it's time to delve into this, trying to craft something using this software.

Week 3

26-Oct-2023

Starting from late September, I've had the privilege of collaborating with artist Liu Xin. Our joint project has now entered an intensive phase, focusing on finalizing details and coordinating personnel exchanges. This marks my first part-time job in London, and it's gratifyingly aligned with my professional skills and abilities. My role extends beyond that of an illustrator and graphic designer; I am also contributing as a computer artist.

For me, this is an unprecedented and exhilarating experience. In the project, I am primarily responsible for creating the visual content for the LED displays, editing videos, and designing the overall layout for glass stickers. The process, from initial sketches and coding frameworks to the final completion, has been incredibly fulfilling.

Working with Liu Xin has been an enlightening journey; she's an exceptionally talented artist. Her background in mechanics and engineering, quite distinct from the purely artistic backgrounds of my friends, brings a structured rhythm to life, something I've deeply appreciated while working in her London studio. She shared with me that, as artists, maintaining a healthy lifestyle—eating well, staying hydrated, keeping a regular sleep schedule, and taking timely breaks—is crucial. This disciplined approach, vastly different from our typically chaotic lifestyles, I believe, is a positive step forward and greatly beneficial for mental well-being.

Week 4

9-Nov-2023

Today, our project officially launched at the Shanghai Biennale in the West Bund Art Museum. I feel a tremendous sense of accomplishment. Although we faced many unforeseen challenges during the final phase of the project, we managed to resolve them effectively, and the results were impressive.

My learning journey with Max.msp has entered a new phase. I've learned to use nodes for basic facial recognition tasks, transforming facial positions on the canvas into elements like colors and sounds. The mindset required for node-based programming is similar yet distinct from traditional coding. Instead of memorizing syntax, I need to understand the function of each node and what it can achieve. Although I had some prior experience with Unity's visual scripting, Max.msp often surpasses my initial understanding, because it contains lots of sounds data processing and debugging can be less straightforward. However, for quickly creating prototypes, visual scripting is much faster than traditional coding.

Meanwhile, I'm working part-time as a creative coding teaching assistant at my alma mater, the Central Academy of Fine Arts. It's an engaging role, where I teach third-year students with no coding background how to write code using p5.js. I've introduced them to fundamental concepts and AI-assisted tools like ChatGPT. For students who are likely to pursue careers in visual or fine arts, learning to drive AI to assist with coding and achieve previously unattainable results is vitally important.

Week 5

23-Nov-2023

On November 20th, another one of my exhibitions opened in Beijing, China. This marks the first time in my career as an artist that I've started participating in exhibitions far and wide, prompting me to seriously contemplate what exposure means for an artist. While it might seem a bit repetitive to talk about these things, I believe it's extremely important to document these feelings.

As many know, my previous research focused on virtual, computer-generated life. I've joked with friends that I wish to be a cybernetic life form living inside a smartphone. However, recently, remotely coordinating with friends in China to set up my exhibition has been a challenging task. Video calling friends to guide them through setting up my exhibition, instructing them on how to configure my programs and devices, I felt akin to an electronic pet. I was unable to do anything by myself; I couldn't physically adjust the placement of cameras on the display stands or change the viewpoint of the video call. How bright are the lights in the exhibition hall? What kind of atmosphere do the dimensions of the screen create? I couldn't experience or adjust these aspects firsthand. I had to convey all information verbally to my friends, reminiscent of the process of programming—a computer doesn't know anything and will only do what you tell it to. In this scenario, my friends were the computer. Moreover, the entire process was as anxiety-inducing as programming, prone to bugs, as communication between people isn't always straightforward. I had to convey my instructions in the most efficient and understandable manner possible. Interestingly, this made me feel the process was quite computational. At the same time, it led me to new reflections on the feedback loop discussed in control theory.