Event 3: Delete Me: UCLA DESMA MFA Exhibition

The entrance of the exhibit, displaying fluorescent sculptures below.

On May 18, I visited the “Delete Me” DESMA MFA Exhibition. Upon entering the exhibition, I was immediately in awe of all the beautiful exhibits. Eventually, I found my way to an exhibit that had fluorescent sculptures with projected images onto two walls. I read the title of the exhibit, which said “SHANZHAI REMIX” and displayed several Chinese characters. After using Google Translate to translate the characters into English, I discovered that this phrase meant “copycat.” Now knowing this, I looked around and thought that this artist’s exhibit shows viewers the different copies of her original fluorescent sculptures because the projected images displayed those same figures but in different representations. Interested to learn more about the meaning behind this exhibit and whether my thought process was on the right track, I talked to the artist, Yuehao Jiang.

       

            The first wall of projected images, showing
         copycats of the fluorescent sculptures.

A zoomed-in image displaying
specifically how the fluorescent
sculptures such as the shoe and the girl
are altered in different manners.

Jiang said that the purpose of this exhibit was to show viewers the copycat culture and the importance of intellectual property in the world we live in. Originally from China, Jiang witnessed firsthand that Chinese companies copy many products from around the world and re-sell these products at a cheaper cost. As a result, Chinese consumers may not know the culture behind specific images that they find on products such as T-shirts, stuffed animals, or toys. For instance, in America, we recognize the yellow, animated minions from the movie, Despicable Me. However, in China, some companies sell products with the image of a minion with slight distortions. Chinese consumers may not recognize these minions as the lovable characters from the Despicable Me, but instead, just see a cute figure on an affordable product. These consumers only know the image, but not the full story, robbing the meaning behind the original minion. This then robs the creators of the minions from Despicable Me credit where it’s due, showing the problem of intellectual property theft in this day and age.

Impressed by this intricate back-story for the purpose of this exhibit, I then discussed with Jiang my interpretation on the use of her art pieces to bring about that this copycat theme. With my ideas in the right direction, she explained that the sculptures and the images on the wall were her own copycats. With the original being the product that she was inspired by, the sculptures were copycats because they were 3D-printed pieces based off of the original product. The computer-designed graphics on the walls were copycats of the 3D-printed sculptures, displaying a second generation of copycats. Then, on the screens on the other wall, she displayed fake products that Chinese websites were selling and overlapped these products with a her own 3D-model of that product, showing another second generation of copycats, where the Chinese company was the first copycat and Jiang’s model is the second copycat.

                     

                         The second wall of projected images,
                         showing the copycat Chinese product
                          as the background of each screen, with
                          Jiang's 3D-model of this copycat product.

One of the copycat screens showing
how a flying toy was copycat of
two generations now.

 Overall, Jiang believes that copycats are unacceptable. Many people don’t care about buying false products, but Jiang loves the real products because they are more authentic and intimate, providing consumers more meaning behind these products. I also share Jiang’s belief - original products do provide a more intimate meaning because through them, we can imagine the creators’ vision artistically coming to life through the production of this product. However, with copycats, all this meaning is gone. Instead, these products are just less expensive with a somewhat nice exterior. In today’s society, intellectual property plays a very important role. With rapidly developing technology and products, the theft of such intellectual property can result in legal repercussions. Though many Chinese companies thrive on copying other countries’ products and many consumers approve of this due to the products’ affordable nature, I believe that this is fundamentally wrong. No matter how cheap products are, by purchasing these copycats, we are encouraging the theft of intellectual property from the products’ original creators. Seeing Jiang’s interpretation of the copycat culture through her exhibit, I recognize that copycats can indeed be beautiful in their own way. These “fake” products can still be appealing to the public. However, the underlying meaning behind the exhibit is that this culture is unfair to the original creators and should not be encouraged for the sake of creators’ ownership of their intellectual property.

This exhibition was my first DESMA graduate exhibition, and I loved it. I highly recommend that everyone take time out of their week to see what these students are working on. Artists such as Jiang, who specializes in computer graphics and programming, communicate their views on life through these spectacular works of art, conveying deeper meanings that all of us should consider. Before this exhibit, I have heard about this copycat culture, but I never realized the negative ramifications of this culture. Now, I will make a conscious effort to look for intellectual property theft and encourage others to do the same.

Proof of Attendance: Picture of myself as well as a classmate (left), Sarah Chin, and the artist (middle), Yuehao Jiang.

Unit 9: Space + Art

Space is a prevalent part of history and a contributing factor on how our lives have changed over time. Ever since the beginning of the space race between the USSR and United States in 1957, the world’s imagination for space and the unknown exploded (“8 space”). Specifically, the space race sparked interest in the television industry, music, and the arts.

The cast of Star Trek: The Original Series
Source: http://www.indiewire.com/

To this day, there are television shows and movies about space and extraterrestrial life. Shows such as The Jetsons, Lost in Space, and Star Trek were the very beginnings of space in the television industry (“Space pt6”). Incorporating space into television indicates that science is influencing the media, stirring the audience’s imagination for the unknown.

In regards to music, Marc Battier, a French composer, shows that music can be used within the topic of space. Through the composition of exciting music for orbital debris data simulations for the US Collision II Project (where the goal is to document debris in space), he expresses the language of science into an artistic audible interpretation, invoking emotions from the audience (Clar).

Additionally, space has created a new realm of art as artists are basing their work from related scientific discoveries. Inspired by zero gravity in space, German artist Thom Kubli created “Float” (Forde). This exhibit allows viewers to experience floating as they are submersed in salt water at room temperature, replicating the buoyancy effects in zero gravity (Forde). This allows participants to ponder their thoughts whilst floating in the tank, bringing the concept of zero gravity to deeper level of self-reflection. Another example of an artist influenced by space is B.E. Johnson, an astronomical and space artist (Johnson). Ranging from paintings, animations, photographs, and glass-work, Johnson focuses his artwork on space and its implications (Johnson). This combination of space and art indicates that the gap between science and art isn’t as far as we imagined. Space art is a perfect example of art and science working together, each encouraging imagination beyond human understanding, allowing us to learn more about our universe.

"A New Horizon"
by B.E. Johnson
Courtesy of: http://imperialearth.com/

Kubli's exhibit, "Float," showing the tank filled with
salt water at room temperature.
Courtesy of: http://fresh.thomkubli.de/

Overall, I believe that space is indeed the largest connection between a science and art. By modeling the relationship space has with art, the gap between science and art will soon be nonexistent and the two will coexist together with a dependent relationships.

References

1. uconlineprogram. “8 space pt2 1280x720” Online video clip. YouTube. YouTube, 29 July 2013. Web. 30 May 2017.
2. uconlineprogram. “Space pt6” Online video clip. YouTube. YouTube, 30 May 2012. Web. 30 May 2017.
3. Clar, Richard. "Art Technologies." COLLISION II: An Orbital Debris Constellation Sculpture. Art Technologies, 2003. Web. 30 May 2017. <http://www.arttechnologies.com/site-2005/projects/collisonII.html>.
4. Forde, Kathleen. "Art & Zero Gravity." Dancing on the Ceiling. Curtis R. Priem Experimental Media and Performing Arts Center, 2010. Web. 30 May 2017. <http://zerogravity.empac.rpi.edu/>.
5. Johnson, B.E. "The Space Art of B.E.Johnson." N.p., 2017. Web. 30 May 2017. <http://imperialearth.com/>.

Unit 8: NanoTech + Art

The Lycurgus Cup with two different
colors: green in the daylight (left)
and red when illuminated from
within (right).
Source: http://www.amusingplanet.com/

In middle school, I did a research project on nanotechnology and learned about the developing processes in the application of this interesting technology operating under a scale of within 1-100 nanometers. However, since then, progression in this field has increased exponentially, as proven with Kurzweil’s technological exponentially growing trend (Kurzweil). Even in 400 B.C.E., nanotechnology was present in art-forms, as seen by the Lycurgus Cup (uconlineprogram). Interestingly, this piece of Roman pottery is green in daylight, yet red when light is inside the cup, due to the use of nano-size gold particles (uconlineprogram). Then, with the invention of the Scanning Tunneling Microscope in 1981, scientists can now visibly see atoms as well as purposefully move around atoms and molecules, recording their effects (Gimzewski). This invention allows scientists to further advance their research of nanotechnology

An example of socks with silver
nanoparticles to eliminate foot odor.
Source: https://www.nanosilver.eu/

and seek how to apply it to our daily lives. Today, nanoparticles are everywhere - whether it be in socks, fridges, or tennis balls (uconlineprogram). The thought of this technology being a prominent part of our lives surprises me because we can use hundreds of nanotechnological products in a week yet not be aware of the impressive technological feat we are taking advantage of. All of these nanotechnological advancements from 400B.C.E. to present-day are clear indications that our understanding and application of this subject are growing to this day.

The incorporation of nanotechnology into the arts is growing as well. Nano-Scape is an example of nanotechnology and art combining into one form, as this piece uses a wireless magnetic force-feedback interface in the form of a ring to allow users to modify the properties of nano-particles underneath their hands (Art Base). With this metal ring, users can feel strong magnetic forces or slight shocks from the nanoparticles, allowing users to interact with these intricate particles (“Art”).  Nanoscience is also used in art conservation because nanoparticles do not alter the original properties of artifacts during the elimination of their nano-sized deformations, displaying the dependent relationship art and nanoscience have for each other (“Nanomaterials”). The application of nanotechnology is vast as it can be implemented towards anything with the ability to alter properties on a nano-scale. Art, medicine, clothing, house supplies - all of these are currently incorporating nanotechnology as an integral part of their functions. I believe that in the future, nanotechnology can be used to increase the variety of products, art, and medicine.

Users wearing the metal rings in the Nano-Scape exhibit.
Source: https://art.base.co/

References

1. Kurzweil, Ray. "A university for the coming singularity." TED. Feb. 2009. Web. 26 May 2017. <https://www.ted.com/talks/dennis_hong_my_seven_species_of_robot>.
2. uconlineprogram. “Nanotech Jim pt3” Online video clip. YouTube. YouTube, 21 May 2012. Web. 26 May 2017.
3. Gimzewski, Jim, and Victoria Vesna. "The Nanomeme Syndrome: Blurring of Fact & Fiction in the Construction of a New Science." The Nanomeme Syndrome: Blurring of Fact & Fiction in the Construction of a New Science. N.p., n.d. Web. 26 May 2017. <http://vv.arts.ucla.edu/publications/publications/02-03/JV_nano/JV_nano_artF5VG.htm>.
4. "Art in the Age of Nanotechnology." Art.Base. The Art Base, n.d. Web. 26 May 2017. <https://art.base.co/event/2104-art-in-the-age-of-nanotechnology>.
5. "Nanomaterials in Art Conservation." Nature Nanotechnology. Springer Nature, 2015. Web. 26 May 2017. <http://www.nature.com/nnano/journal/v10/n4/full/nnano.2015.38.html>. 

Unit 7: Neuroscience + Art

Anker's FMRI Butterfly
Courtesy of: http://blogs.plos.org/

The combination of neuroscience and art is an impressive feat of bridging the gap between science and art. Through technology, we are able to fully understand the brain, and when we fully understand the brain, we are able to grow in our artistic capacity. For instance, through the development of brain-scanning technology, Suzanna Anker created the FMRI Butterfly in 2008, where she overlapped an image of a butterfly on 15 identical brain scans (uconlineprogram). This created an optical illusion, where each image looked different from each other even though the butterflies are identical in print. Anker utilized neuroscience in order to create a unique form of art that uses science to create a work of art. William Straten also explored the realm of neuroscience in his invention of special glasses that inverted images upside down (Vesna). When someone wears these glasses, they live in an inverted world - where up is down and down is up. This expands upon the notion that art is evident in our day-to-day lives because users live in this inverted, artistic world. Instead of someone looking at a painting of an upside down world, they are living it, experiencing the art around them.

An image of what the world would look like upside down, wearing Straten's glasses.
Courtsey of: https://www.pinterest.com/

Real-time monitored brain activity
created by deCharms.
Courtesy of: https://www.ted.com/

The fascination of the brain extends to all nations in the world, as seen by the Global Consciousness Project where researchers from many countries are exploring scientifically-validated interconnected consciousness (Nelson). While the GCP has been going on for 35 years, other advancements in neuroscience have occurred such as the discovery of areas of the brain being linked with specific emotions (Wheeler). Studies have proven that it is mediation that allows people to access all these elements of the brain. In fact, one day, we will be able to control our brains. Christopher deCharms and his team created a machine that allows users to monitor their own brain activity in real time (deCharms). Through technologies such as this, people will be able to have a better handle on their emotions and how to control them by accessing certain parts of the brain. Overall, I believe that through advancements in neuroscience technology, both scientists and artists can work together to learn more about the brain as well as create an interactive learning environment for all different professions to learn about neuroscience through the form of art.

References

1. uconlineprogram. “Neuroscience-pt1.mov” Online video clip. YouTube. YouTube, 17 May 2012. Web. 20 May 2017.
2. Vesna, Victoria. “Neuroscience-Mark Cohen.mov” Online video clip. YouTube. YouTube, 12 May 2017. Web. 20 May 2017.
3. Nelson, Roger. "Introduction to GCP." The Global Consciousness Project. N.p., n.d. Web. 20 May 2017. <http://noosphere.princeton.edu/gcpintro.html>.
4. Wheeler, Mark. "How to Build a Bigger Brain." UCLA Newsroom. UCLA, 12 May 2009. Web. 20 May 2017. <http://newsroom.ucla.edu/releases/how-to-build-a-bigger-brain-91273>.
5. deCharms, Christopher. "A look inside the brain in real time." TED. Feb. 2008. Web. 20 May 2017. <https://www.ted.com/talks/christopher_decharms_scans_the_brain_in_real_time?language=en>.

Event 2: Design Media Arts Graduate Solo Show by Jonathan Moore

The entrance to the exhibit, with proof
of attendance of me taking a picture
with the worker at the front desk.

On April 25, I attended a Design Media Arts graduate solo show by Jonathan Moore, which was one of the most exciting art shows I’ve been to.  At the entrance to the cardboard exhibit, I could see very stern “workers” in tan uniforms, looking like they didn’t want to be there. I watched people in front of me in line give their IDs to the woman at the front desk. She looked everyone up and down, sometimes rolling her eyes annoyed. She was skeptical of everyone’s identities - even being rude and mean.  Consequently, I felt scared and nervous, wondering if this was part of the exhibit or if we needed to have a legitimate ID instead of a BruinCard.  When it was my turn to give the woman my ID, I handed it to her and she looked at me up and down, then back to the card, then back to me.  My heart was racing, and she spoke for the first time, raising her eyebrows while doing so, demanding “What is your ID number.”  I quickly recited my ID number, and she widened her eyes and continued to compare my face to my ID.  Finally, with a serious expression, she said “This doesn’t look like you,” but allowed me to pass through.  

Then, I walked through a metal detector and placed my backpack onto the conveyor belt.  The next worker, scanned me with a hand-held metal detector.  He yelled, “ARMS TO THE SIDE!” and aggressively scanned my body with the detector, glaring at me, which made me nervous.  He repeated the process twice, then allowed to me pass without saying  a word.

The worker scowling at a student,
interrogating her as he retrieves
a bag from the conveyor belt. 

Next, as my bag passed through the conveyor belt, the worker at that station yelled, “WHO’S BAG IS THIS?!” I stepped forward to claim the bag.  He then interrogated me about the substance in my water bottle and was doubtful to my response. I was scared and wondered what he would do if he never believed me.  He finally returned my bag to me and gestured towards a box with a black joystick.  Copying the people in front of me, I touched it and moved it. Then, he grabbed a colored sticker titled “OK”, slammed it on my shoulder, and continued to intensely interrogate the next person’s belongings.  I believe that depending on how you touched the joystick, you received a certain sticker titled “OK,” “REJECTED,” “ACCEPTED,” or “DO NOT USE.” While I was watching other students get assigned stickers, someone yelled “SWITCH,” and all the workers switched positions.

The sticker variations as well as the mysterious
joystick.

Proof of attendance, showing me in the exhibit with my "OK" sticker.

Then, another worker crammed five people through a door of a small room, showing no respect towards personal space as we could barely fit into the room and felt very uncomfortable.  Inside, a microphone hung from the ceiling, indicating we were recorded.

A worker opened the door for us to exit the room and we proceeded to walk towards the next worker.  She stopped the student in front of me, who was wearing an “ACCEPTED” sticker, and asked her a series of questions for a survey, including: “Did you enjoy your visit?,” “Was the staff courteous?,” “Would you come again?,” and  “Would you recommend this to a friend?”  When the student answered these questions in a positive manner by saying she enjoyed her visit, would come again, and would recommend it to a friend, the female worker approved.  However, when the student stated that the staff wasn’t courteous, the worker quickly responded, “I’ll take that as a yes, we were courteous,” disregarding the student’s actual response.  Once the student left, I asked if I was supposed to answer the survey as well, but the worker gestured me away, leaving me confused.

               

                   The small room, in which the workers
                            crammed five people in.

The microphone hanging inside
of the room.

I believe the purpose of this exhibit is to show that humans are treated as products in today’s society - as we were aggressively handled without courtesy, uncomfortably shoved in a room, and unappealing answers were disregarded.  Discrimination could also be a theme. Everyone is treated poorly from the beginning; however, after receiving a sticker, they are treated differently depending on the sticker.  The worker only surveyed people with the “ACCEPTED,” since they were “accepted” by the workers and were more likely to answer positively.  Workers becoming machines could be another theme, as none of them showed any emotion and all of them performed their jobs without common levels of respect.  

Overall, I would recommend this thought provoking event to others.  These themes connect with how art and science are one in the same as this art exhibit used forms of technology to convey these deeper meanings about society as a whole.

Unit 6: BioTech + Art

Above is an image of a transgenic rats.
Courtesy of: http://nprs.co.uk/

Unity between biotechnology and art has created ethical controversy regarding the implications of this unique art form. For instance, inserting foreign DNA into rats -- called transgenic rats -- to research cures to diseases is widely debated (High). Is it ethical to treat animals as research tools, rather than living beings, by altering their genetic code? Kathy High proves that these projects are indeed ethical as she truly cares about her transgenic rats, posting “Status Reports,” where she documents how happy, sad, and nervous she gets as the rats react to different environments (High).

Eduardo Kac holding
Alba.
Courtesy of: http://www.ekac.org/

This ethical issue also applies to the fluorescent bunny, Alba, an albino bunny with genes from a fluorescent jellyfish. Since some of Alba's body parts are fluorescent, these can be observed without intrusive observations, which can later be translated to human applications (Kac). Eduardo Kac, the biological artist who created Alba, addressed these ethical concerns by describing Alba’s birth. Throughout the entire process, Kac carefully monitored the potential harm the fluorescent protein could cause, but discovered that it was harmless and won’t result in mutagenic effects.  When Kac looked at Alba after her birth, he immediately felt an enormous sense of responsibility for her well-being like a member of his own family.

Another example of biotechnological art projects benefiting human health is the Revival Field, which addresses the environmental problem of metal pollution remaining in the soil (“Revival Field”). Genetically-created plants, called hyperaccumulators, pull metal from the soil and into the shoots, converting the plant  into recycled ore upon burning (“Revival Field”). This biotechnological work of art renews ecology by cleansing soil and renewing life.

Stelarc displaying his third ear.
Courtesy of: https://news.artnet.com/

Bioart can also be used to expand our definition of beauty, ranging from horticulturalist Edward Steichin’s hybridized flowers to Stelarc’s subdermal implant of a third ear on his arm (uconlineprogram; “Ear on Arm”). Steichin’s flowers show us the range of nature’s beauty, and Stelarc’s third ear exhibits the body modification subculture and the beauty of transhumanism (where science and technology will help improve the human condition and overcome human limitations).

I believe the benefits of these projects outweigh the ethical implications because they benefit human health as well as introduce a new meaning of beauty. The merging of art and science results in a broader understanding of the world around us, not allowing social constructions to stunt humanity’s growth.

References

1. High, Kathy. "All About Transgenic Rats." Embracing Animal. Web. 13 May 2017. <http://www.embracinganimal.com/transrats.html>.
2. Kac, Eduardo. "GFP Bunny." RABBIT REMIX. Kac Web, 2000. Web. 13 May 2017. <http://www.ekac.org/gfpbunny.html#gfpbunnyanchor>.
3. "Revival Field." Mel Chin. Web. 13 May 2017. <http://melchin.org/oeuvre/revival-field>.
4. uconlineprogram. “5 BioArt pt5” Online video clip. YouTube. YouTube, 17 May 2012. Web. 13 May 2017.
5. "Ear on Arm." STELARC. STELARC, 2017. Web. 13 May 2017. <http://stelarc.org/?catID=20242>.
   

Midterm - MassageBots: The Beginnings of Better Health

To learn more about MassageBots, as seen above, click on the following link:

https://drive.google.com/MassageBots