The previous six weeks have been stepping stones in laying down a well informed foundation for the practice and field I associate with and desire. The vision of creating images both moving and still has lead me to discover and analyse the ways in which opportunities arise and the skill sets required for such times, influential individuals already established in the field (historical and contemporary) and tease ideas that stem from these notions through my own interpretations and further interests.
The concept of ‘Cybernetics’ was erected in a previous post, formally defined as ‘the science of control and communication in animals, men and machines.’. Cybernetics takes as its domain the design or discovery and application of principles of regulation and communication, communication with itself and the environment around; treating not things but ways of behaving. I want to combine the notion of Cybernetics within my field and practice where a story is emphasised through images, though materialised in a way that challenges responders to interact with the work by bring to life something that does not represent a human essence.
The project I am proposing is an installation that incorporates a small screen-based work embedded within a material machine. I want to incorporate the notion of intelligence to manmade mechanisms by using Arduino to influence movements of the materials by actions of the viewers. I want to convey a narrative that has had historical ramifications on parts of the world and for me personally the course of my family. The Second Indochina War (The Vietnam War) was officially fought between North Vietnam and the government of South Vietnam. The North Vietnamese army was supported by the Soviet Union, China and other communist allies and the South Vietnamese army was supported by the United States, South Korea, Australia, Thailand and other anti-communist allies. This historical event led to the nation’s engulfment of communism and my family’s asylum to Australia. My work aims to depict mechanical flowers that are connected to Arduino sensors, and when subjects reach vicinity triggers the pedals of the mechanical flowers to alter (open/close). In the centre of each flower I envision the use of small screens where one depicts content of North Vietnam perspective and the other South. Each flower will have it’s own in-ear sound source to accompany its ambience and feel, one flower emphasising victory and the other defeat. I aim for the responder to become invested and connected with the images and therefore the flower which symbolises a bounty of nature both positive and negative, permanent and transient.
My Minimal Viable Project idea is inspired by Apichatpong Weerasethakul’s single channel video installation ‘Fireworks (2014)’. It is projected onto a large screen centred within the gallery space depicts Thai/Lao mystic, cult-leader, and sculptor Bunleua Sulilat’s temple-cum-sculpture garden located in northern Thailand. The installation is accompanied by the sounds of fireworks and the occasional gunfire, which creates a scattered ambience. Fireworks (Archives), functions as a hallucinatory memory machine; the work deals personal, political, and social issues. To Apichapong the work evokes the charged political climate of the artist’s home region in northern Thailand, the work conveys the region’s arid land and political force from Bangkok which drove people to dream beyond the everyday’s reality.
The way Cybernetics is aiming to be applied fosters the images of utopian and dystopian environments through computational process, materials and media. Through this proposal I intend to converge the material and the digital through a historical filter where a narrative in the form of still and moving images are presented in an unconventional way.