In short, Expanded Theatre is a performance project merging science and art, in which sound, visual elements, and the hydrodynamic quantum analogs are involved.
When I saw the video of walking droplets for the first time, I was shocked and amazed. The phenomenon is like a glitch in the Matrix, giving such a feeling of unreal; but at the same time, the elegant bouncing, walking, dancing droplets also create a unique aesthetic. As the video went on, I started to imagine the bath as a stage in a theatre, and the droplets as performers presenting themselves to me. Thus, I came up with the name “Expanded Theatre”. During my experiments of recreating the phenomena with soap and water, I observed the ways of how the droplets move, and the imagination changes: they are more like people dancing freely and uninhibitedly in a nightclub than rigid performers on a formal and dignified stage. So, I decided to make it into a performance that includes DJ, VJ, living coding, and the incredible droplets, but the name “Expanded Theatre” is kept, as I thought it still describes the work well, and it’s cool.
In 2019 I had a chat with an artist in Zurich and he said that in all the art and science projects, the artists seem to tend to just grab what the scientists have found as material/media of their work. I try to do this project in another way: at first, I did a lot of experiments, and really tried to understand the phenomenon as well as the mechanism behind it, and tried to get inspiration for the art project in the experimenting process. I think this might be a better way: with more understanding and knowledge from the science part, art and science merge better, and the result is more surprising.
Below is a embedded version of the work, might need a few seconds to load.
This is a work related to the social movement in Hong Kong in 2019. It is also about the subtle effects brought by the fact that there is different spoken languages and writing script of Chinese, especially in the context of Hong Kong and Mainland China.
The source text is written by Leung Man Tao (梁文道). A writer and critic who is active in Mainland China, Hong Kong, and Taiwan. He was attacked by some people online from both Hong Kong and Mainland China for his neutral stand in the social movement in 2019. He’s the only public figure I know that received attacks from both regions, and after reading posts from the attackers, I noticed that, although the people who attacked him from Hong Kong and Mainland have very different ‘political stands’, behind the stands, they have very similar logics and ways of thinking. This work, to some degree, tries to show, explore, and raise questions about these similarities.
I collected Leung’s essays published in 2019 (the ones in traditional Chinese are published in Hong Kong, and the ones in simplified Chinese are published in Mainland China), tokenized the essays into sequences of words with a customized Chinese tokenizer (which is based on CC-CEDICT dictionary) and put them into a simple Markov model to generate new paragraphs.
Most of Leung’s articles in 2019 are about serious topics like politics, culture, and art, but after going through the Markov model, the generated text appears to be, somehow, meaningless, absurd, confusing, and ridiculous. I like this contrast because it somehow reminds me of the fact that the Internet (which is also the space where the attacks happened) is deconstructing discussions. That is not necessarily a good thing or necessarily a bad thing. It all depends on how we react. With the deconstruction, can we jump out of the existing perceptions and stereotypes? And after deconstructing, can we find a way back to the original question and settle down on an answer?
Reflect on one essay in the input of Leung about Cantonese, and the fact that in recent years Cantonese has been given a kind of political meaning. I wrote an algorithm to randomly choose two words in the text, replace one of them with a word that sounds similar to it in Mandarin (in simplified Chinese), and do the same to the other but with Cantonese (and traditional Chinese), then repeat the process every few seconds. Due to historical reasons Mandarin, simplified Chinese, and Mainland China are closely bound together, and so are Cantonese, traditional Chinese, and Hong Kong, although there is a population in Mainland China that speak Cantonese and write in simplified script and vice versa in Hong Kong. This impression, or stereotype, of spoken languages and writing scripts, creates boundaries for people to discuss and understand.
The algorithm makes the text change slightly over time. After a while, because of the replacements, the text becomes more and more senseless in terms of the literal meaning of the characters, but since the replaced words share the same or a similar pronunciation with the original ones, the visitors can still guess what words were in the places before and then get a fuzzy idea of the unreplaced text.
What happened to the text is a metaphor for what happened to Leung (and others) in real life: people quote, then ‘interpret’ and twist, what he (and they) wrote/said to support their opinions on him (and them), then A’s twisted quotation is quoted by B, and B’s by C… The meaning of the words in their quotation goes further and further away from the original one. Thus, it is harder and harder for people to get to the original idea of the text.
It is also a metaphor for the more and more divided society. With algorithms on social media and the instigation from some individuals and groups, the space for neutral opinions is lost. You are either part of us or the enemy. There is no place in between, and there is nothing in common between “us” and the enemy. Thus, the possibility of discussion and negotiation is gone. Only hate and attack are left.
Pronunciation data collected from open Cantonese dictionary, CC-Canto database and CC-CEDICT database, pre-processed by me.
ScreenShots (Click on the picture to view the original resolution version)
I really recommend you to play the game and experience the story. Here is just a screenshot of (one of) the beginning paragraph(s) to give you an idea of how it looks like (in case that the embedded content above is not working).
The main concepts behind this artwork are the molecular discourses in contemporary biopower and the self-rule elements in ethopolitics. The HGP(Human Genome Project) creates a mosaic of human genes, then new surveillance techniques applying big data and bio-technologies, especially genetic technologies, derived. The work is also related to the current situation that with the spreading of COVID, the debate of whether we should track down the patients (and other people) becomes popular again.
Based on the concepts, I imagine an anti-utopia future, in which everyone is identified by their genes recorded in a genes ID (I create a simple barcode format for it). In such a world, your genes are your name, your faces, and your identity.
In the game you play as someone in power – a form checker, to decide whether the form should be approved or not. The forms are generated with context-free grammar, so there is always the next form for you to check.
In short, the WiFi Killer 2000 is an interactive WiFi Jammer that can chase people and jam the WiFi signal nearby, modified from an old WiFi router.
I am not against having online life, to be honest I spend most of my time online, too, especially in 2020. But it is just a truth that disconnecting, or living offline is much more harder now, not need to compare to 10 years ago, just compare to the days in 2015 or 2016 when IoT and social media are not such huge things.
In my vision, WIFi Killer 2000 is a light joke. The experience of being chased by a moving WiFi jammer might be a bit annoying for those who have business meetings all the time but I believe it is over all funny. I hope when people are trying to run away for it they can also think about these two questions: “Why am I doing this?“ and “Why is it doing this?”
with Karlie ZHAO, Wynn Leung, Joyce GE, Summer Yau
Light, shape, image…
Combining real-life scale laser-cut slices of deformed 3D models of our body parts with the corresponding one-to-one scale drawings and data visualisation patterns, we assemble a “cursed Kirby”.
It can be about lots of things: perception, gender issues, human mechanism and etc. But we don’t claim any here.
“The crazily spreading vines on the building are the sweet revenge on the expanding urban area that is nibbling the wild.”
Animated images, generated according to special algorithms, as an abstract representation of how giant vines might possibly grow on the skyscraper’s surfaces are shown on the surfaces via the facade.
By making the vines climbing on ICC tower, I want to address the conflicts between human and nature, urban and wild, us and the other. The images remind us a possible ending of the conflicts, a future that we fail to build a harmony relationship with nature.
Physicist Simulator is a game, or you might want to call it an interactive web page. There are some “physical” rules in the game world and lead to certain phenomena in the game. The task for the player is to find out those rules and to understand them.
The work encourages human participants to make friends with trees, to talk to it and to hug it, during which a situation of human and tree (nature) participate together is created and relationships between humans and trees are formed.
As a original resident of a village in the city(城中村) that has spent almost his whole life outside the village, I am, somehow, obsessed with the create density of the village in the city, and the huge contrast between the village and the city around it. The village in the city is the Mainland version of Kowloon Walled City, with the aesthetic of dystopia, where is, however, the place for dream.
By this work I want to create a window, a bridge, an opportunity for two completely different groups of people to have a view of something they might have never seen in their life. The tenants in the village can hardly imagine that people living in the same city, just a kilometer away, can afford abroad travels twice a year. What does the outside world looks like? Those who travel abroad every year, might have no idea that there is still people living in such an environment, in the village, although the village is just a kilometer away from their home. They live in the same city, but in two universes.
We have seen so many cyberpunk cities in movies and novels, Guangzhou (and many cities in Mainland) might just become one in the future. Urbanization always shows its bright side to us, and leave the dark side in shadow. It promises with the stories of the minor that realized their city dreams, so we often ignore the major of the new immigrants who are the loser in the game, struggling in the edge, under the shadow of the CBD towers.
But they have not submitted, they still have their dreams, and that is enough for them to be admirable.
If you are a potential sponsor, click here for the budget or contact me @ real.john.chueng@gmail.com
