𝔗𝔥𝔯𝔬𝔲𝔤𝔥 𝔯𝔢𝔰𝔢𝔞𝔯𝔠𝔥 𝔞𝔫𝔡 𝔢𝔵𝔭𝔢𝔯𝔦𝔪𝔢𝔫𝔱𝔞𝔱𝔦𝔬𝔫 𝔴𝔦𝔱𝔥 𝔭𝔯𝔦𝔰𝔪𝔰, 𝔚𝔢𝔰𝔩𝔢𝔶 𝔅𝔲𝔩𝔩 𝔥𝔞𝔰 𝔰𝔬𝔲𝔤𝔥𝔱 𝔱𝔬 𝔲𝔫𝔠𝔬𝔳𝔢𝔯 𝔱𝔥𝔦𝔰 𝔫𝔞𝔱𝔲𝔯𝔞𝔩 𝔭𝔥𝔢𝔫𝔬𝔪𝔢𝔫𝔬𝔫 𝔞𝔫𝔡 𝔯𝔢𝔠𝔯𝔢𝔞𝔱𝔢 𝔦𝔱𝔰 𝔢𝔭𝔥𝔢𝔪𝔢𝔯𝔞𝔩 𝔮𝔲𝔞𝔩𝔦𝔱𝔦𝔢𝔰 𝔦𝔫 𝔞𝔫 𝔞𝔯𝔱𝔦𝔣𝔦𝔠𝔦𝔞𝔩 𝔯𝔢𝔞𝔩𝔪 𝔦𝔫 ‘𝔓𝔯𝔦𝔰𝔪𝔰𝔠𝔬𝔭𝔢”. ℑ𝔫 𝔱𝔥𝔢 𝔤𝔞𝔩𝔩𝔢𝔯𝔶, 𝔩𝔦𝔤𝔥𝔱 𝔭𝔞𝔰𝔰𝔢𝔰 𝔱𝔥𝔯𝔬𝔲𝔤𝔥 𝔱𝔥𝔢 𝔟𝔢𝔳𝔢𝔩𝔢𝔡 𝔤𝔩𝔞𝔰𝔰 𝔬𝔟𝔧𝔢𝔠𝔱 𝔱𝔬 𝔠𝔯𝔢𝔞𝔱𝔢 𝔞 𝔯𝔞𝔦𝔫𝔟𝔬𝔴, 𝔰𝔭𝔦𝔩𝔩𝔦𝔫𝔤 𝔬𝔲𝔱 𝔟𝔢𝔶𝔬𝔫𝔡 𝔱𝔥𝔢 𝔣𝔯𝔞𝔪𝔢 𝔱𝔬 𝔲𝔰, 𝔬𝔣𝔣𝔢𝔯𝔦𝔫𝔤 𝔱𝔥𝔢 𝔳𝔦𝔢𝔴𝔢𝔯 𝔱𝔥𝔢 𝔢𝔵𝔭𝔢𝔯𝔦𝔢𝔫𝔠𝔢 𝔬𝔣 𝔱𝔥𝔦𝔰 𝔳𝔦𝔰𝔲𝔞𝔩 𝔴𝔬𝔫𝔡𝔢𝔯 𝔱𝔥𝔯𝔬𝔲𝔤𝔥 𝔰𝔦𝔪𝔲𝔩𝔞𝔱𝔢𝔡 𝔪𝔢𝔞𝔫𝔰.
Cymatics represents a sound box that intakes sound and translates the intersection of music and physics to surpass sensory boundaries. The complexity of the music is represented by the particles that dance with musical vibrations, which serve as a medium to translate audible experience to a visual experience.
Virtual Vegetation visualizes the disparity in digital accessibility across select U.S. cities. One central data-set is used to generate each plant, and variables such as climate, materiality, and urban landscape inform the digital environment representing each location.The generated plants’ growth and movement are then simulated for a final visual output.
The Topographic Pin Generator translates two – dimensional topographic maps into three – dimensional landscapes, inspired by the Pin Art Toy created by Ward Fleming in the year 1987. The machine creates three – dimensional reliefs of topographical information by using an array of pins that move on the z-axis, based on the height information of recorded topographical maps.
Soften Your Untouch reckons with extreme isolation experienced during the pandemic. Time became distorted and everlasting, touch was stigmatized, and our connection with others was dramatically altered. In this project, Althemia Marsland investigates cooking bioplastic forms with thermochromic properties as a way to reconnect. The bioplastics record a visual demonstration of time through an exploration of touch. The human body temperature activates the thermochromic pigments recording touch as a time-based action. Althemia then molded the bioplastics into a meal placemat, to reference their key experience of connecting through cooking during the pandemic.
Is the human body a machine? Love of Labor utilizes the body working in tandem with a decades-old printing press, pushing the boundaries of what both are capable of. Amongst the repetition, a uniqueness emerges in the printed characters, each subject to influences of human, machine, and environmental factors.
Irregular Manufacturing explores the power dynamic between machine and its designer through an imprecise machine built to turn singular input into varied output. This form finding system is designed to make mistakes and change each time the code is run, relinquishing the details of the final structure to the machine’s choices.
Object of My Affection invites the viewer to interact with their phones in playful new ways. Through speculative phone prosthetics the phone becomes a site of material imagination, a speculative and theatrical prosthetic. The phone touches back, undrawing the boundaries between self and other.
Entangle is an experimental research and design exploration of knitting, arising from its common perception as an outdated, gendered symbol of domesticity. The project challenges the traditional perceptions of knitting by experimenting with alternative materials and using visual storytelling to educate and imagine the role of knitting in sustainable, speculative futures.
Portable Analog Audio Archive (PAAA) uses the analog technology of cassette tapes as method and metaphor to interpret memories. By restricting the sound archive to analog tapes, PAAA facilitates intimacy and nostalgia while mimicking the real-life—sometimes haphazard—experience of remembering. Recorded fragments can be rewound and replayed over and over again.
There’s an intrinsic connection between two separate beings or objects of the same nature. This piece plays with the line between human and object interaction, so the relationship between both becomes a two way emotional exchange.
To get a reaction, reach for both hands at the same time.
International Collective Project with WDKA and ST LUCAS ANTWERPEN Driving Questions:These were the main driving questions we asked ourselves during…
Can we communicate the complex experience of presence and absence, nearness and distance that is a feature of embodied existence…
CONGJIA JIN, GD MFA 2020 Congjia Jin, a research-oriented designer who embraces graphic design, strategy and technology. Her practice focuses…
This project is a recreation and interpretation of Iannis Xenakis’s stochastic synthesis model as proposed in Formalized Music and featured…
Singapore’s endeavor to reclaim land is paradoxical: it occupies large areas of existing land to store sand for more land to be made, creating sand “mountains,” incongruous to, yet surreal in, Singapore’s landscape. Sand Reserve Museum is a speculative museum showcasing these sand ‘mountains’ as beautiful works of nature to the public.
An Ontology Dinner is an offering to our ancestral and future environment captured through a cyclical, non-hierarchical system, creating new food myths to provide a contemplative mirror to view the ways in which humans and non-humans are entangled and imagine a symbiotic future world.
I’ve started a doomed effort to create a situation exploring the relationship between art and intent, and how I can escape the responsibilities of intentional art. This project can’t succeed because I can’t actually remove my intent, but creating a flash that fires randomly (to capture attempted flight) is how I’ll mitigate it.
Can you manufacture love for an object? Affinity aims to test this question by presenting the viewer with a synthetic version of the beginning of a relationship with an object. By concentrating the key experiences of meeting an object one could love, the relationship could be accelerated – and in turn manufactured.
In Sound Bath for News, Anjali Nair focuses on the recent amplification of the aural, tonal and visual volume of primetime news in India that can only be described as outfoxing the Fox. Anjali explores the use of a sound bath, a westernized version of a meditation technique using Himalayan singing bowls, to calm the news.
In Memento Vitae, McKenzie borrows from the practice of mourning jewelry to create a set of adornments that pay tribute to three faltering habitats: forests, coral reefs, and glaciers. Through the intimate act of donning each piece, users redefine their relationship with damaged ecosystems, channeling ecological grief into a tactile object while celebrating its beauty.