Sunday 26 December 2010

_Reading*

"In/Different Spaces" & "Warped Space"
_Burgin somehow helped me reinforced my previous understanding.
"The most fundamental project of Lefebvre's book is to reject the conception of space as 'a container without content,' an abstract mathematical/geometrical continuum, independent of human subjectivity and agency."
"Representational space is space as appropriated by the imagination; Lefebvre writes that it 'overlays physical space, making symbolic use of its objects' and is predominantly non-verbal in nature."
_I am a bit scared to go further on with theoretical readings at the moment, as I am not sure where it will take me (the scariest is maybe nowhere)...I definitely want my thesis to be a more technical-based one.

Saturday 25 December 2010

* season greeting *

Greeting test from Vivian Cheung on Vimeo.


Merry Christmas & Happy New Year to all my dears out there~
everything *fingers-crossed*

Wednesday 22 December 2010

OMG my christmas present

Hello Vivian Cheung,

sarah breen lovett just added film05 . spaces of the imagination to expanded architecture

expanded architecture is a Group created by sarah breen lovett

Love,
Vimeo

_>u< i know that it might seem nothing (or not a big deal) to others, but i did feel happy when i saw this and it does mean something to me. i'm really glad that someone likes my work (not to mention that it's not yet a perfected version) - being appreciated is a great feeling~ i will keep up the good work~*

Tuesday 21 December 2010

desire or passion?

_I think no one can imagine this book was published in 1985 - its ideas are still so trendy - a really inspiring and interesting book about desire/passion.

"Consuming Passions" by Judith Williamson
[p.11] We are consuming passions all the time - at the shops, at the movies, in the streets, in the classroom: in the old familiar ways that no longer seem passionate because they are the shared paths of our social world, the known shapes of our waking dreams.
[p.91] When I rummage through my wardrobe in the morning I am not merely faced with a choice of what to wear. I am faced with a choice of images: the difference between a smart suit and a pair of overalls, a leather skirt and a cotton dress, is not just one of fabric and style, but one of identity. You know perfectly well that you will be seen differently for the whole day, depending on what you put on; you will appear as a particular kind of woman with one particular identity which excludes others. Often I have wished I could put them all on together, or appear simultaneously in evert possible outfit, just to say, How dare you think any one of these is me. But also, See, I can be all of them. (how true...this just correlates with one of my ideas for my next move.)
[p.172] 'Film Noir' gets its name from a visual style - an abundance of darkness and shadows, sharp contrasts of light and dark, night scenes and murky interiors rather than brightly-lit sets and daylight landscapes. It also serves as a metaphor for aspects of content: a sense of moral uncertainty, difficulty in knowing the 'truth' and in distinguishing between appearance and reality. (for half a second, i want to rename my film05 as 'something'-noir...not only because the style has a bit of 'noir' in it, but also the uncertainty embedded within. however, naming is tricky - i need some guidance.)
[p.205] Personal ownership...property brings with it security and independence. (Margaret Thatcher, election broadcast)
[p.205] In the world of fear, people cling desparately to their own possessions.
[p.206] Home is not property, it is belonging somewhere. Who owns the view from my window? What makes a street more homely than a house, a Council Estate safer than Real Estate, the whole of London more personal than a back garden?
[p.209] The walkman is a vivid symbol of our time. It provides a concrete image of alienation, suggesting an implicit hostility to, and isolation from, the environment in which it is worn. (just like the mobile phones nowadays...)
[p.210] Individualism, Privatization and 'Choice' - The walkman is primarily a way of escaping from a shared experience or environment. It produces a privatized sound, in the public domain; a weapon of the individual against the communal. (i guess this is slightly different from now - we want to privatize still, but we want to share what we privatize.)
[p.210] It attempts to negate chance: you never know what you are going to hear on a bus or in the streets, but the walk-person is buffered against the unexpected - an apparent triumph of individual control over social spontaneity. Of course, what the walk-person controls is very limited.
[p.210] The wearer of a walkman states that they expect to make no input into the social arena, no speech, no reaction, no intervention. Their own body is the extent of their domain. The turning of desire for control inwards towards the body has been a much more general phenomenon of recent years.
[p.210] While everyone listens to whatever they want within their 'private' domestic space, the pecularity of the walkman is that it turns the inside of the head into a mobile home.
[p.211] In all media, the technology of this century has been directed towards a shift, first from the social to the private - from concert to record-player - and then of the private into the social - exemplified by the walkman, which, paradoxically, allows someone to listen to a recording of a public concert, in public, completely privately. (<3)
[p.211] In urban life 'the streets' stand for shared existence, a common understanding, a place that is owned by no-one and used by everyone.
[p.229] The academic idea of 'postmodernism' where, because no meanings are fixed and anything can be used to mean anything else, one can claim as radical almost anything provided it is taken out of its original context.
[p.230] Marx chose to begin his great study of the capitalist system with - the commodity; not because of its economic role alone, but because of what it means.
[p.230] The conscious, chosen meaning in most people's lives comes much more from what they consume than what they produce. (i'm not that sure about this yet.) Clothes, interiors, furniture, records, knick-knacks, all the things that we buy involve decisions and the exercise of our own judgement, choice, 'taste'.
[p.230] Consuming seems to offer a certain scope for creativity, rather like a toy where all the parts are pre-chosen but the combinations are multiple.
[p.230] Consumerism is often represented as a supremely individualistic act - yet it is also very social: shopping is a socially endorsed event, a form of social cement. It makes you feel normal. Most people find it cheers them up - even window shopping. People's wants and needs are translated into the form of consumption.
[p.230] Buying and owning, in our society, offer a sense of control.
[p.232] The TV and video boom shows not only a trend towards the privatization of entertainment but offers the ability to control. In analyzing these products we can understand more about the society which both produces and uses them. What are potentially radical are the needs that underlie their use: needs both sharpened and denied by the economic system that makes them.

_ultimate (?) reasons behind those social networking actions: we are scared to be forgotten & we want to be known/understood.

Franz Kafka (1883-1924)

"By believing passionately in something that still does not exist, we create it. The nonexistent is whatever we have not sufficiently desired."

Saturday 18 December 2010

. bits & pieces of history _UK edition .

. "The motto ‘Everything for Everybody Everywhere’ (Omnia Omnibus Ubique) and telegraphic address of ‘Everything London’ reflected its ever-widening range of merchandise and services. During this period of retail revolution, Harrods, innovative as ever, introduced Britain’s first ever escalator and pioneered telephone shopping." (History of Harrods)
. Stalls _regularly set up & dismantled -> Shops _permanent with living space above or behind -> Shopping Arcade _covered pedestrian alley -> Shopping Mall _multi-level (Researching the history of shops in the British Isles)
. "Previously, stores were austere places. Shoppers would be escorted in simply to buy. Browsing was forbidden. ... The American entrepreneur stumbled on his concept accidentally on his first visit to London. ... Women, who were only just beginning to enjoy walking alone without gentleman escorts, wanted something more - and Selfridges became the perfect day out." (Selfridges celebrates 100 years of shopping: The first ever mall)
. The Covered Market (market) - 1774; Harding Howell & Co. (1st department store) - 1809; Burlington Arcade (covered shopping arcade) - 1819; Harrods (single shop) - 1849; Liberty (department store) - 1875; Harrods (department store) - 1880; Selfridges (department store) - 1909; Westfield (shopping mall) - 2008
. "Harrods featured one of the world's first escalators in 1898." (History of Harrods department store)
. "Shopping, that had become the fashion among the upper class women in the 18th century, now came into its own. ... Although the Royal Exchange, the first ever British shopping mall, opened already in 1568, the time of the shopping mall, the galleria and then department store was just beginning." (Regency Shopping)
. "In 1786 Sophie von Roche marveled about Oxford Street that 'behind the great glass windows absolutely everything one can think of is neatly, attractively displayed, and in such abundance of choice as almost to make one greedy'. With larger windows interiors also became better lit. No longer must the customer of a fashionable shop take the product offered into the street to view it properly. Window-shopping became the new pastime of both mistress and servant." (Regency Shopping)

_Almost everything happened at Oxford Street, no wonder why from the beginning I like that street the most in London.

. Tron (1982) .

"Dumont: All that is visible must grow beyond itself, and extend into the realm of the invisible."
"Tron: He is creating a junction. Flynn: Elementary Physics - A beam of energy can always be diverted."
"Dr. Walter: Computers and the programs will start thinking and the people will stop."

-end of line.

Friday 17 December 2010

Post-Crit 05 _Christmas Crit


film05 . spaces of the imagination from Vivian Cheung on Vimeo.

_feedback & self-evaluation:
. started the year with: challenging the preconception (of space)
. what kind of drawing is it? [it will be interesting if it's both perspectival section or sectional perspective...]
. be propositional & spectacle in the next step, more than just reflective
. film01 - a bit cartoony [negative/neutral?]; film05 - more convincing
. film05 mapped out the actual experience of shopping - the spatial experience & relationship suggested
. things are as they are now... [it's not entirely...but i guess i need to have more to exaggerate that a bit.]
. try augmented/virtual dimensions intermingle with real action reality
. there should be more tags!
. we are bombarded by data & information.
. spatial geography = landscape of information + physical built structure
. something seemingly quite everyday - embedded with complex spatial dimension
. my role as an architect
. community . social network . communal experience . media surface . social interaction - my position
. hybridity of space & identity
. NEW space & time continuum [yay! this is what i want...]
. ...where law of physics will not apply - i have my own rules~
. no objective/subjective structure - relativity theory - only stretch, twist, etc. (which is shown in my drawing _for film01) - it's like 2 poles, just connecting each other ignoring space-time, strong attraction that merge together, the connectivity. [i should use this principle of parametric functions/fermentivity to structure the environment...]
. try to control the theory of network
. multiple characters carrying their identity tags themselves [magnify it]
. proliferate spaces
. look back into film04 - different parts of spaces lead into different scenarios with different scales - the HETEROGENEOUS ATTITUDE towards space! [develop more in that sense - transition...]
. be explicit to lead between the spatial regime - part of the intention of it...
. read the 3 films together = a strong vocabulary
. think where i want to take my next film...
. think about CUT.
. with something closer/further (more variation) will inform spatial ideas
. try mixing the line drawing with collage (i'm better at line drawing at the moment) - find the approach to be more spatial describing~
. physically in one space but interact with/in multiple spaces

Sunday 12 December 2010

. concept .

pre-production_conceptual drawing
. shop-window reality .

[idea] The Mind-Absorbing* Shopping Experience
[narrative] The film started when a shopper was attracted by one of the shop-windows and started to engage with it by imagining oneself inside. Whilst one's physical body had to be remained on the street in front of the shop-window, one's mind - in the form of a wind-up toy - was powered to get in. Inside, the shopper engaged with other shoppers and enjoyed the pleasure of shopping in unlimited dimensions. Bombarding with excitement, the shopper got lost in this 'reality'. The end of the film marked that the shopper could only 'end' it when the spring (of the toy) got back to its original position, i.e. losing the power.
[extra: interpretation on 'power' is up to individual]

_the 'production' of space - the space is produced through how people perform in it.

Saturday 11 December 2010

intelligent & sensible

omg...i like Johnny Hardstaff.





_Thanks Nic for suggesting the above ident. It really is a nice piece - good to learn from it.

::sidetrack:: If everyone likes David Lynch, and you aren't particularly fond of his works, is that a problem? Does that mean you are not good enough?

Thursday 9 December 2010

_coloured or not . testing

_Taking the comments from Tuesday's tutorial, I tested out again about the potential of the background. [Originally I just planned to prove that "mono-tone" is better.] Thinking to give "coloured-tone" a last chance, I tried a little bit more this time - by altering the colours along with the timeline; and to my surprise, I like it more. Having colours with the real footage does not only display well "the idea: lost in city of lights [taking lights as desire metaphorically]", but also add a bit of joyfulness to the film [I hope it's a bit fancy with a bit of seriousness]. I guess now my decision is re-made.


Monotone Test from Vivian Cheung on Vimeo.


General Overall Atmospheric Test from Vivian Cheung on Vimeo.

_Apart from testing the colour, the above test also serves as an estimate of the final atmospheric version of my film [of course, with more characters, more footages and more effects]. And, lessons learnt: 1) The speed seems a bit too fast, I shall make some adjustment at the end. 2) It is extremely time-consuming and computer starts to run slow, I'd better find some ways to increase my speed (e.g. in terms of workflow)

Monday 6 December 2010

"Kingdom Come"


_This is an article that is very interesting to read. I picked it because I heard that Ballard's "Kingdom Come" is about shopping centre, I don't think I am interested in whether it is Fascist or not. However, from it, I learnt that Nazism is actually a psychological 'revolution' - and it makes me wonder "are we not still going through that right now somehow?"

"Why do I dislike the Bentall Centre so much? Because it’s so… cretinous. [The consumers] seem to be moving though a kind of commercial dream space and vague signals float through their brains." [‘JG Ballard: The Comforts of Madness’, interview in The Independent, 15 September 2006.]
"If there is no principle restricting who can consume what, there is also no principled constraint on what can be consumed: all social relations, activities and objects can in principle be exchanged as commodities. This is one of the most profound secularizations enacted by the modern world … [and] places the intimate world of the everyday into the impersonal world of the market and its values. Moreover, while consumer culture appears universal because it is depicted as a land of freedom in which everyone can be a consumer, it is also felt to be universal because everyone must be a consumer: this particular freedom is compulsory." [Don Slater, Consumer Culture & Modernity, Polity Press (Cambridge), 1997, p 27.]
"Consumerism rules, but people are bored. They’re out on the edge, waiting for something big and strange to come along. … They want to be frightened. They want to know fear. And maybe they want to go a little mad." [JG Ballard, Kingdom Come, op cit, p 101.]
"Therefore the conventional ways in which we viewed the world, which had been buttressed by traditional social structures and conforming behaviours, have weakened their hold over us. The external environment has become fictionalized, and ‘reality’ – that which is of most significance in our lives – has retreated inside our minds, to be represented by our hopes, desires and obsessions." [Some of Ballard’s clearest comments on the fictionalization of the external world and the interiorization of reality as a consequence of increased prosperity are to be found in an unpublished interview with the Canadian Broadcasting Corporation, c1974, available at http://www.jgballard.ca/interviews/jgb_cbc_ideas_interview.html, accessed 6 May 2010.]
"Nowadays, an understanding of events and objects cannot simply be read off from the external world, nor can we link them in a straightforward temporal manner."
"In the 1960s and 1970s, Ballard chose to emphasize the use of our imaginative powers as a way of providing us with different perspectives and of transcending our conventional outlook on the world." !!! <3
"Using the imagination and following one’s obsessions may, perhaps, be rewarding, but it certainly doesn’t sound easy psychologically, more like hard work."
"The reasons for concern are clear: if we do not use our imaginations and obsessions, we are at risk of being governed by forces outside ourselves which still operate, such as capitalism or purposeless social conformity. Ballard has drawn attention to the way in which moral structures and decision-making powers have been externalized out into the environment by technology – from traffic lights to CCTV cameras – providing us with a safe passage through our lives, [‘Interview by Graeme Revell’, Re/Search 8/9: J. G. Ballard, Re/Search Publishing (San Francisco), 1984, p. 46.] and in like manner we may find it psychologically easier to decline the freedom to utilize the imagination that comes with a safe and prosperous, but individualistic, society. People might instead be content to be governed by forces of social conformity, and to let themselves be directed by their emotions – which Ballard thinks of as tending to reinforce existing social conventions and as restricting, rather than expanding, the possibilities for action." (This is what I tried to say in my earlier post as well...)
"Peter Stearns points out that the growth of consumer behaviour was closely connected with the decline of long-established social structures under the pressures of industrialization and urbanization. In earlier times, social hierarchies were much more rigidly observed, and any crossing of social boundaries or individualistic behaviour tended to be viewed negatively, especially by the upper-classes. The latter had luxury, i.e. their wealth was displayed, rather than consumed, and in standard formats with an absence of individuality or any concern about fashion. [Peter N Stearns, Consumerism in World History: The Global Transformation of Desire (2nd edition), op cit, pp 1-14.] However, once this social edifice began to lose its grip, consumer behaviour helped people cope with the resulting uncertainty and insecurity about social status, and with the disruption to established patterns of behaviour, by providing alternative ways of fulfillment and by enabling an individual to demonstrate personal achievement, no matter how limited." (worth thinking about - it might be somehow true...)
"I buy things in order to try and reassert my identity, but as the marketplace grows I am offered an increasing variety of goods and services, and associated ways of living, from which to choose. Now my identity is even more in question, because it is something that I myself have to select and realize. The impact is heightened as the material prosperity of society increases – even something as basic as food becomes no longer a matter of survival and physical well-being, but a decision about life-style." [Anthony Giddens, Beyond Left and Right: The Future of Radical Politics, Polity Press (Cambridge), 1994, p 224.]
"Yet the evidence is that people with a rich variety of social connections are less likely to suffer depression and anxiety than those without. [Michael Marmot, Status Syndrome: How Your Social Standing Directly Affects Your Health, Bloomsbury (London), Chapter 6; Robert H Frank, Luxury Fever: Money and Happiness in an Era of Excess, Princeton University Press, 1999, pp 86-88.] As well as support that I might obtain directly from others, I am better able to cope if I am ‘not just the local lawyer, but also the coach of the cricket team, the friendly neighbour, and the person who always sings at the christmas party’, as a setback in one role is of less significance to my sense of identity and self-esteem. [Daniel Nettle, Happiness: The Science Behind Your Smile, Oxford University Press, 2005, p 180.]
"The more we are allowed to be the masters of our fates, the more we expect ourselves to be. We should be able to find education that is stimulating and useful, work that is exciting, socially valuable, and remunerative, spouses who are sexually, emotionally, and intellectually stimulating and also loyal and comforting. Our children are supposed to be beautiful, smart, affectionate, obedient, and independent. And everything we buy is supposed to be the best of its kind. … [Hence,] almost every experience people have nowadays will be perceived as a disappointment, and thus regarded as a failure – a failure that could have been prevented with the right choice. [Barry Schwartz, The Paradox of Choice: Why More is Less, Harper Perennial (New York), 2004, pp 210-211.] In such circumstances, the temptation is to seek comfort and easy pleasures. But experimental psychology suggests that the systems of the brain which control desire are not the same as the systems that control pleasure. [For example, when rats have their brains stimulated to eat food, they don’t show the typical ‘liking behavior’ that normally accompanies pleasurable activities – indeed, if anything, they show ‘disliking behavior’. Conversely, the rats can be drugged so that they have no desire to eat, but show liking behavior when a sweet solution is put onto their tongue. See also Daniel Nettle, Happiness: The Science Behind Your Smile, op cit, Chapter 5.] Hence, some things – sex, good food – will both activate desire and bring pleasure, but others – such as a bigger, higher-definition TV – may provoke desire but not add much to our happiness. Biologically speaking, happiness is a spur to action, not some end-state that we are programmed to seek out, and this is reflected in the wealth of data indicating a lack of correlation between absolute levels of income and happiness (other than at extremely low levels of income), whether it be between different societies, different individuals in the same society, or individuals over time. [Daniel Nettle, Happiness: The Science Behind Your Smile, op cit, pp 48-52, 70-75; Robert H Frank, Luxury Fever: Money and Happiness in an Era of Excess, op cit, pp 71-74.]"
"...in a world that no longer makes sense, emotions appear a surer guide than reason."
"‘What’s the point of privacy if it’s just a personalized prison? Consumerism is a collective enterprise. People here want to share and celebrate, they want to come together. When we go shopping we take part in a collective ritual of affirmation. … Shared dreams and values, shared hopes and pleasures’, claims Sangster in Kingdom Come." [JG Ballard, Kingdom Come, op cit, p 85. It is interesting to note that Fromm uses the term ‘automaton conformity’ to describe the form that the attempt to escape from freedom takes in modern democracies (as opposed to fascist dictatorships); see Erich Fromm, The Fear of Freedom, op cit, pp 159-178.]
"The fictionalization of the external world means that Ballard’s ‘exit door’ through the use of our imaginative faculties is gradually closing, as these powers of the imagination become colonized by the fantasies around us and by our own emotions. This enables consumerism to satisfy our needs, not directly via the goods and services that we purchase, but indirectly by meeting our psychological requirements through our involvement in the activities of consumer society – shopping, media, leisure. The disassociation between our desires and pleasures – which might be seen as threatening the consumerist system once we discover that satisfying our desires is unfulfilling – can now be bridged: we desire the goods and buy them, but our rewards come from elsewhere, from our very participation in the system itself … from our attendance at Ballard’s Metro-Centre."
"The ambiguity of Ballard’s narrative is in keeping with the self-reflexive nature of the society that he is describing, where the transgressive gesture rapidly becomes another media item that can be purchased for cash, and an attempt at escape puts you right back at the centre. Any effort at political action or opposition becomes pointless, because this is not – on Ballard’s view – a conspiracy of false needs and false consciousness: by accepting the emotional lie and the feel-good fairy story, we are ourselves complicit in the consumerist society. But if this is right, then we can see the point of Ballard’s long-held insistence that we must, as he puts it, immerse ourselves in the most dangerous elements and hope that we can swim to the other side [See, for example, ‘An Interview with J. G. Ballard’, Mississippi Review op cit, p 33. And the following brief quote well-illustrates Ballard’s reasoning: ‘I certainly do believe that we should immerse ourselves in the destructive element. Far better to do so consciously than find ourselves tossed into the pool when we’re not looking’, interview in The Paris Review #94, 1984, p 143.] – a view that infects both the ‘extreme hypothesis’ of Crash and the studied ambiguity of Kingdom Come.

Sunday 5 December 2010

Junkspace = Junk Food for Mind

_i guess junkspace is like junk food. it's not necessarily good for physical health, but one needs it to maintain a good mental health when necessary. and if we are what we eat, then we are all somehow junk-ed in some sense.
_out of the whole passage, i must say not all that I agree - but below are some bits that i found interesting...and i kind of enjoy the sarcasm within.

"Junkspace" by Rem Koolhaas
"Continuity is the essence of Junkspace; it exploits any invention that enables expansion, deploys the infrastructure of seamlessness. It promotes disorientation by any means."
"When we think about space, we have only looked at its containers. As if space itself is invisible, all theory for the production of space is based on an obsessive preoccupation with its opposite: substance and objects, i.e., architecture."
"Brands in Junkspace perform the same role as black holes in the universe."
"Regurgitation is the new creativity; instead of creation, we honor, cherish and embrace manipulation... Superstrings of graphics, transplanted emblems of franchise and sparkling infrastructures of light, LED’s, and video describe an authorless world beyond anyone’s claim, always unique, utterly unpredictable, yet intensely familiar."
"Junkspace is post-existential; it makes you uncertain where you are, obscures where you go, undoes where you were."
"Junkspace knows all your emotions, all your desires."
"Junkspace heals."
"In the third Millenium, Junkspace will assume responsibility for both pleasure and religion, exposure and intimacy, public life and privacy."
"The office is the next frontier of Junkspace. Now that you can work at home, the office aspires to the domestic; because you still need a life, it simulates the city. Junkspace features the office as the urban home, a meeting-boudoir."
"The global spread of Junkspace represents a final Manifest Destiny: the World as public space..."
"Conceptually, each monitor, each TV screen is a substitute for a window; real life is inside, cyberspace has become the great outdoors..." [i like this.]

[this always sounds cool.] AMO will collect forces from media, finance, technology and art to consult in the architectural thinking where strategy and concept have a higher importance than realisation.

Friday 3 December 2010

_Testing on Background

Responding to one of the comments I received last tutorial, I tested out some possibilities in the backdrop of "Des(hopping)ire Land" - to make the film more dynamic and spatial.


Background Test 01 from Vivian Cheung on Vimeo.

Having the backdrop in motion itself, indeed, increased the dynamic. However, I think the current backdrop is not good enough to show the jubilee in shopping - therefore, I tried another route.


Background Test 02 from Vivian Cheung on Vimeo.

I think this one is much better than Test 01 in terms of spatial quality and atmospheric expression. The ecstasy in shopping is the feeling of lost in the bubbles of fanciness.


Background Test 03 from Vivian Cheung on Vimeo.

I tried to change the scale and orientation of it (just like what I did as well in my previous films - to look for different qualities of space) and decided to use a range of variation to achieve the goal [dynamic . spatiality . jubilee]. Right now, the backdrop is too wobbly, I will have to shoot some more footages later.

Evolution of Shopping

_Credit: The Evolution of the Modern Marketplace (22 January, 2010)


Marketplaces have always created value. Since the early inception of marketplaces, to the development of a mobile marketplace, connecting buyers and sellers has always been the focus. This linking, in creating a buy-and-sell environment – whether in a physical, or virtual (cyber) way – has always been about reducing friction to facilitate greater commerce. Once a market is established, its value, whether recognized or not, becomes ingrained in both the minds and the actions of those who engage the marketplace.

While the marketplace has developed in many ways over the centuries, it is important to note that each development has played an important role in evolution of the marketplace at its introduction, and today as part of the composition of the modern marketplace. Today, the marketplace is not just a bazaar, or a mega-store; and, it’s not just e-commerce or mobile shopping. It consists of the various in-roads, and the very diversity itself is its value.

Wednesday 1 December 2010

After Effects Meeting with Simon

After discussing with Simon, I know solving the 'edge' problems with Roto-Brush is apparently not a path worths going through. I will stick with key-lighting Green-Screen shots then. In addition, I hope it is still not too late to know 720p uncompressed footage should always be used to work on and should only be compressed to H264 at the very last step. (Although it means that I have to re-convert all the Green-Screen footages into uncompressed format again.)

Hard-Boiled Wonderland and the End of the World

it took me ages - but i finally finished reading it.
"Hard-Boiled Wonderland and the End of the World" is a 1985 novel by Japanese writer Haruki Murakami. It was awarded the prestigious Tanizaki Prize in 1985.
Its plot structures 2 parallel stories, happening in 2 different worlds, intertwining with each other. The two storylines converge, exploring concepts of consciousness, the unconscious mind (or as it incorrectly referred to, subconsciousness) and identity. [This is a good inspiration for me on how to construct my narrative in my film.]
i can't believe the name of "J. G. Ballard" appears in it - i feel that my life is now constantly surrounded by his name.
. i like Murakami .

Tuesday 30 November 2010

. social space .

"The Production of Space" by Henri Lefebvre
[p.68] 'Nature' itself, as apprehended in social life by the sense organs, has been modified and therefore in a sense produced.
[p.68-69] (In the mind of Marx and Engels): products. This narrowing of the concept brings it closer to its everyday, and hence banal, sense - the sense it has for the economists. As for the questions of who does the producing, and how they do it, the more restricted the notion becomes the less it connotes creativity, inventiveness or imagination; rather, it tends to refer solely to labour. [Did Mark Smout just mentioned 'economist' today - asking if my thesis somehow related to economists? On the first thought, I personally don't want to go down that path. But I guess maybe I could re-think the potential in that direction.]
[p.69] 'Who produces?', 'What?', 'How?', 'Why and for whom?' Outside the context of these questions and their answers, the concept of production remains purely abstract. In Marx, as in Engels, the concept never attains concreteness.
[p.69] What constitutes the forces of production, according to Marx and Engels? Nature, first of all, plays a part, then labour, hence the organization (or division) of labour, and hence also the instruments of labour, including technology and, ultimately, knowledge.
(So production is the end-product or the process?) [p.70] A work has something irreplaceable and unique about it; a product can be reproduced exactly, and in fact is the result of repetitive acts and gestures.
[p.71] Production in the Marxist sense transcends the philosophical opposition between 'subject' and 'object', along with all the relationships constructed by the philosophers on the basis of that opposition.
[p.71] All productive activity is defined less by invariable or constant factors than by the incessant to-and-fro between temporality (succession, concatenation) and spatiality (simultaneity, synchronicity).
[p.72] The phrase 'production of knowledge' does make a certain amount of sense so far as the development of concepts is concerned: every concept must come into being and must mature. But without the facts, and without the discourse of social beings or 'subjects', who could be said to produce concepts?
[p.73] A city - a space which is fashioned, shaped and invested by social activities during a finite historical period.
[p.74] A city has, after all, 'composed' by people, by well-defined groups.
[p.75] It is obvious, sad to say, that repetition has everywhere defeated uniqueness, that the artificial and contrived have driven all spontaneity and naturalness from the field, and, in short, that products have vanquished works. Repetitious spaces are the outcome of repetitive gestures (those of the workers) associated with instruments which are both duplicatable and designed to duplicate. [It is then important for us to view the 'homologous' spaces differently by ourselves in order not to be 'bored' by them I guess.]
[p.75] Space is undoubtedly produced even when the scale is not that of major highways, airports or public works.
[p.77] Social space contains a great diversity of objects, both natural and social, including the networks and pathways which facilitate the exchange of material things and information. Such 'objects' are thus not only things but also relations.
[p.81] How can illusion and reality be distinguished in the realm of pleasure?
[p.86] (Can I use this to summarize/describe what is shown in my film "Des(hopping)ire Land"?) We are confronted not by one social space but by many - indeed, by an unlimited multiplicity or uncountable set of social spaces which we refer to generically as 'social space'. No space disappears in the course of growth and development: the worldwide does not abolish the local. The intertwine of social spaces is also a law. Considered in isolation, such spaces are mere abstractions. As concrete abstractions, however, they attain 'real' existence by virtue of networks and pathways, by virtue of bunches or clusters of relationships. Instances of this are the worldwide network of communication, exchange and information. It is important to note that such newly developed networks do not eradicate from their social context those earlier ones, superimposed upon one another over the years, which constitute the various markets: local, regional, national and international markets; the market in commodities, the money or capital market, the labour market, and the market in works, symbols and signs; and lastly - the most recently created - the market in spaces themselves. Social spaces interpenetrate one another and/or superimpose themselves upon one another.
[p.87] Visible boundaries, such as walls or enclosures in general, give rise for their part to an appearance of separation between spaces where in fact what exists is an ambiguous continuity. The space of a room, bedroom, house or garden may be cut off in a sense from social space by barriers and walls, by all the signs of private property, yet still remain fundamentally part of that space.
[p.91-92] The real knowledge that we hope to attain would have a retrospective as well as a prospective import. Its implications for history, for example, and for our understanding of time, will become apparent if our hypothesis turns out to be correct. It will help us to grasp how societies generate their (social) space and time - their representational spaces and their representations of space. It should also allow us, not to foresee the future, but to bring relevant factors to bear on the future in prospect - on the project, in other words, of another space and another time in another (possible or impossible) society.

-stop here for now- as the book has to go back to the library because someone has requested it :S
will get it back later if needed.

Monday 29 November 2010

Green-Screen Day

. Sony HDR-SR1E filming Canon G10 taking this photo .
Spent an entire day (totally exhausted at the end) learning green-screen shooting for my very first time...Compared to Roto-Brush I tested out last week, Green-Screen is really way more efficient. However, not sure whether it's the definition of the footage or the setting up of the green-screen or whatever reason, there are some 'edge' problems :( I am dealing with that at the moment, and re-thinking should I do Roto-Brush frame by frame instead...

think harder or i shall test that out in action.

Friday 26 November 2010

revised Thesis texts

Shopping is a therapy. Shopping Mall [enclosed shopping streets] which shelters us from unfavourable weather conditions (like rain, wind, sun, pollutes from traffic, etc.) and its all-in-one feature - representing convenience and efficiency - is something we desire in a city of the 21st century. On the other hand, combining with the help of Facebook, Twitter, and other kinds of social networking apps [which allow us to constantly exposing ourselves both actively and passively], shopping thus represents a kind of life-style - a new mode of living.

My previous projects, looking at the pleasure experience in shopping and how the performance of spaces are perceived differently [with infinite variety of events - regardless of orientation and scale - happen and interlock with each other at the same time], are the stepping stones to explore the possibility of this new mode of life. The reasons which catalyses the liberation of this are our change of perception in the speed of time and the essential desire to look for something better.

Inspired by the Situationist's idea and my technique of using collage to represent spaces, perhaps allow me to make an analytical guide on how do we shop nowadays and develop that into something visionary for the coming 5-10 years' time.

Related Words: Shopping, Living, Desire, Display, Objectification, Subjectivity, Media, Publicity, Public/Social Space, Control, Surveillance, Phenomenology, Cultural Regionalism, Mobius Strip, John Locke, Perspectivism, Fetishism

Virus Infection - Twitter

Okay, I am now on Twitter. Thanks to the event below.
[...not sure if I will keep up with it though. It's pretty scary.]

Thrilling Wonder Stories 2: Stranger than Truth


omg...live streaming available here: http://www.aaschool.ac.uk/VIDEO/live.php
brilliant go* <3 (i hope they have live streaming for every lecture. otherwise, they do already have online videos for other lectures, like Mark Cousins's ones.) who needs to leave the house now?

"I lived in London all my life, and I suddenly realised I had never been to the mouth of the Thames and it was disappointing. That's when I became painfully aware of the importance of psychogeography." -Will Self
"I don't want to take up too much time. We're all dying." -Will Self :D
"Walking is the least filmic experience imaginable. It's 360 degrees. You can't cut it." -Will Self
"Some people (...they are wrong) say design is about solving problems, but so do dentists. Design is about social invention." -Jack Schulze
"What happens when your email account has more credibility in a digital society than your physical address? What happens when your Twitter account has more legitimacy than your physical address?" -Antony Johnston

indeed quite an inspiring series...and amazingly frightening on Twitter.

Wednesday 24 November 2010

DeS(hopping)ire Land

. Animatic .

DeS(hopping)ire Land from Vivian Cheung on Vimeo.

_feedback & self-evaluation:
. having thought twice again, i like the style i'm pursuing now [kind of unique i hope - anyone knows any similar style is welcomed to let me know, so i can take that as a reference and improve mine] and shall explore more later to flavour it up
. better if the backdrop is not just static [good to be more dynamic, i will do some tests on it...]
. the drawing should be bigger to be more immersive, also then the cartography of the film would be shown clearer
. need to start putting the characters in fairly soon
. technically should try to constrain the characters moving in still sequence only
. the monochrome actually plays a few roles: 1) the immersion of oneself into the action of shopping where the idea of attention is coloured within a monochrome surrounding, the perception of the viewer is then highlighted 2) i see that as part of my style set-up
. i can see the soundtrack i have now is only part of the background - other sounds shall be used to express more in other aspects [it's a little happy to get the comment 'this soundtrack is so you.' but at the same time, i wonder if i should define my style of sound in that way so soon...]
. becareful with the motion of the camera . the speed of it
. improve the film spatially with more 3D-ness [initially i thought simon suggested that i should have 3D objects in the film in order to achieve that - thanks to kibwe :) for further clearing my concept that more layers instead of a really 3D object will help]
. try not to go over 2.30 mins and focus more on quality
. it's nice to have a look at bella's work...i can slightly see a tiny bit of myself in it...the choreography of space...joel's one is quite fancy too...irene's one is quite spatial but maybe i don't like that 'village' style much personally...all in all, it's good to learn from them~
. i guess i want to be as serious and somehow philosophical/intellectual as possible but express in a fun/chill way
. i'm pleased that some of my unitmates like my animatic too~ ^^

Sunday 21 November 2010

Project Five . Spaces of the Imagination

_Objective:
I am going to use this film to express the sensuous pleasure in shopping for me, how I experience the spatial quality of movement in the ideal environment and how others (like me) immerse themselves into the ambiance of shopping.
_Inspiration:
Psychogeography (with Theory of the Dérive) "offered a sense of violent emotive possession over the streets. Exotic and exciting treasures were to be found in the city by those drifters able to conquer her, able to overcome the exhaustion and euphoria of the drift." [Simon Sadler, The Situationist City, The MIT Press (Cambridge, Massachusetts, 1998), pp.81] "The power of psychogeography, it seemed, lay precisely in its intoxicating combination of subjective and objective - fetishistic and militaristic - approaches to urban exploration. Psychogeography was merely a preparation, a reconnaissance for the day when the city would be seized for real. The drift, Debord explained, 'takes on a double meaning: active observation of present-day urban agglomerations and development of hypotheses on the structure of a situationist city.'" [Simon Sadler, The Situationist City, The MIT Press (Cambridge, Massachusetts, 1998), pp.81]
_Idea of Experience:
Along a shopping 'street', different brands of shops are arrayed to show their utmost welcome to you. The space you experience is not only one physical 'street' space, but the juxtaposition of different cities in the world where each shop represents its place of origin. And it is this overwhelming 'augmented' space excites every pedestrian on that street.
'augmented' space of shopping experience
_Important Element:
Apart from the 'products', people is a crucial element in shopping. One could imagine shopping would not be as fun if there was no one on the 'street' to shop with. Having said that, I think every other people on the 'street' are actually the projections of oneself. From them, you see yourself. I discovered a phrase from Marx - "Men can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive."
_Shopping Representation:
Walking down the 'street' is very much like walking down the runway in my shopping world. People dress to show themselves to others on one hand, and look for new trend from others on the other. (Despite an old saying 'Do not judge men by mere appearance', appearance does mean/signify something, just like the spectacle*.)
_Camera & Sound:
Shopping, to me, is endless and fluid. I decide to use a single continuous shot (representing a disembodied me) to show the flow of drifting among various spaces. Moreover, 2.5D helps to create a freeze-still atmosphere which will happen when one does shopping. The self-consciousness dominates the surrounding busy environment, resulting in a calm atmosphere (with only oneself) is expressed. The sound I use shall represent desire, taking it metaphorically, just like tunes from toys in children's mind.

All of the above are some of the criteria I set for my up-coming film. I would like to extract and express all the essences of shopping in it and find the possibility in turning them into some proposition/programme in the future.

_Note: *Project comes before Thesis, then Thesis pushes the Project. *A lot of drawings should be coming up to go with the text above. *To me, the motivation of drifting comes from the uncanniness and ephemeralness in space.

Saturday 20 November 2010

s.h.o.p.

why do i like shopping? it is definitely not necessarily only buying stuffs. its about the experience instead of acquisition. the searching of new paths in order to come out with something new, different and interesting, both materially and spatially.

initial fragment of idea: with the widespread use of web-cams, CCTV cameras, mobile phones, etc. multiple places and individuals are all connected via video and audio links to a virtual venue (the common ground) where interaction can take place in real time and maybe record the collective contributions of all parties for other possible uses.

more storm...

Heterotopia is a concept in human geography elaborated by philosopher Michel Foucault to describe places and spaces that function in non-hegemonic conditions. These are spaces of otherness, which are neither here nor there, that are simultaneously physical and mental, such as the space of a phone call or the moment when you see yourself in the mirror. ‘Heterotopias of deviation’ are institutions where we place individuals whose behavior is outside the norm (hospitals, asylums, prisons, rest homes, cemetery). Heterotopia can be a single real place that juxtaposes several spaces. A garden is a heterotopia because it is a real space meant to be a microcosm of different environments with plants from around the world. 'Heterotopias of time' such as museums enclose in one place objects from all times and styles. They exist in time but also exist outside of time because they are built and preserved to be physically insusceptible to time’s ravages.
(i think i am designing a space of heterotopia...)

With their ideas rooted in Marxism and the 20th century European artistic avant-gardes, they advocated experiences of life being alternative to those admitted by the capitalist order, for the fulfillment of human primitive desires and the pursuing of a superior passional quality. For this purpose they suggested and experimented with the construction of situations, namely the setting up of environments favorable for the fulfillment of such desires. Using methods drawn from the arts, they developed a series of experimental fields of study for the construction of such situations, like unitary urbanism and psychogeography. The sense of constructing situations is to fulfill human primitive desires and pursue a superior passional quality. The experimental direction of situationist activity consist of setting up temporary environments that are favorable for the fulfillment of such desires. Drawing from Marx, which argued that under a capitalist society the wealth is degraded to an immense accumulation of commodities, Debord argues that in advanced capitalism, life is reduced to an immense accumulation of spectacles, a triumph of mere appearance where "all that once was directly lived has become mere representation". The spectacle, which according to Debord is the core feature of the advanced capitalist societies, has its "most glaring superficial manifestation" in the advertising-mass media-marketing complex. Elaborating on Marx's argument that under capitalism our lives and our environment are continually depleted, Debord adds that the Spectacle is the system by which capitalism tries to hide such depletion. Debord added that, further than the impoverishment in the quality of life, our psychic functions are altered, we get a degradation of mind and also a degradation of knowledge. In the spectacular society, knowledge is not used anymore to question, analyze, or resolve contradictions, but to assuage reality.
(i have liked Situationist for a while, but not until now i discovered they were anti-Capitalism...whilst as i mentioned from my previous post i kind of support Capitalism...i guess i like their thinking and just not that agree with their reason behind that. also situationist ideas exerted a strong influence on the design language of the punk rock phenomenon of the 1970s...and that explains why i kind of agree to the punk culture...well...excluding the aesthetic sense.)

Whereas modernism was primarily concerned with principles such as identity, unity, authority, and certainty, postmodernism is often associated with difference, plurality, textuality, and skepticism. People involved: Martin Heidegger, Michel Foucault, Jean Baudrillard, Fredric Jameson, etc.

Hans-Georg Gadamer's hermeneutics is a development of the hermeneutics of his teacher, Heidegger. Gadamer asserts that methodical contemplation is opposite to experience and reflection. We can reach the truth only by understanding or even mastering our experience. Experience according to Gadamer isn’t fixed but rather changing and always indicating new perspectives. The most important thing is to unfold what constitutes individual comprehension. Gadamer points out in this context that prejudice is a (nonfixed) reflection of that unfolding comprehension, and is not per se without value. Being alien to a particular tradition is a condition of understanding. Gadamer points out that we can never step outside of our tradition; all we can do is try to understand it. This further elaborates the idea of the hermeneutic circle.
"The methodological sense of phenomenological description is interpretation."

Thursday 18 November 2010

style . communication . bricolage

"Subculture: The Meaning of Style" by Dick Hebdige
[p.102] By repositioning and recontextualizing commodities, by subverting their conventional uses and inventing new ones, the subcultural stylist gives the lie to what Althusser has called the 'false obviousness of everyday practice' [Althusser, L. and Balibar, E. (1968), Reading Capital, New Left Books.], and opens up the world of objects to new and covertly oppositional readings. The communication of a significant difference, then (and the parallel communication of a group identity), is the 'point' behind the style of all spectacular subcultures. (that's what i am doing~)
CASE-EXAMPLE [p.103] In The Savage Mind Levi-Strauss shows how the magical modes utilized by primitive peoples (superstition, sorcery, myth) can be seen as implicitly coherent, though explicitly bewildering, systems of connection between things which perfectly equip their users to 'think' their own world. These magical systems of connection have a common feature: they are capable of infinite extension because basic elements can be used in a variety of improvised combinations to generate new meanings within them.
[p.103-104] [Bricolage] refers to the means by which the non-literate, non-technical mind of so-called 'primitive' man responds to the world around him. The process involves a 'science of concrete' (as opposed to our 'civilized' science of the 'abstract') which far from lacking logic, in fact carefully and precisely orders, classifies and arranges into structures the minutiae of the physical world in all their profusion by means of a 'logic' which is not our own. The structures, 'improvised' or made up (these are rough translation of the process of bricoler) as ad hoc responses to an environment, then serve to establish homologies and analogies between the ordering of nature and that of society, and so satisfactorily 'explain' the world and make it able to be lived in. [Hawkes, T. (1977), Structuralism and Semiotics, Methuen.]
[p.104] Together, object and meaning constitute a sign, and, within any one culture, such signs are assembled, repeatedly, into characteristic forms of discourse. However, when the bricoleur re-locates the significant object in a different position within that discourse, using the same overall repertoire of signs, or when that object is placed within a different total ensemble, a new discourse is constituted, a different message is conveyed. [Clarke, J. and Jefferson, T. (1976), 'Working Class Youth Cultures' in G. Mungham and C. Pearson (eds), Working Class Youth Culture, Routledge & Kegan Paul.]
[p.105] The radical aesthetic practices of Dada and Surrealism - dream work, collage, 'ready-mades', etc. - are certainly relevant here.
[p.105] Breton's manifestos [Breton, A. (1924), 'The First Surrealist Manifesto', in R. Seaver and H. Lane (eds), Manifestoes of Surrealism, University of Michigan Press, 1972. & Breton, A. (1929), 'The Second Surrealist Manifesto', in R. Seaver and H. Lane (eds), Manifestoes of Surrealism, University of Michigan Press, 1972.] established the basic premise of surrealism: that a new 'surreality' would emerge through the subversion of common sense, the collapse of prevalent logical categories and oppositions (e.g. dream/reality, work/play) and the celebration of the abnormal and the forbidden. This was to be achieved principally through 'juxtaposition of two more or less distant realities' [Reverdy, P. (1918), Nord-Sud.] exemplified for Breton in Lautreamont's bizarre phrase: 'Beautiful like the chance meeting of an umbrella and a sewing machine on a dissecting table' [Lautreamont, Comte de (1970), Chants du Maldoror, Alison & Busby.].
[p.105-106] In The Crisis of Object, Breton further theorized this 'collage aesthetic', arguing rather optimistically that an assault on the syntax of everyday life which dictates the ways in which the most mundane objects are used, would instigate 1)...a total revolution of the object: acting to divert the object from its ends by coupling it to a new name and signing it. 2)...Perturbation and deformation are in demand here for their own sakes. ...Objects thus reassembled have in common the fact that they derive from and yet succeed in differing from the objects which surround us, by simple change of role. [Breton, A. (1936), 'Crisis of the Object', in L. Lippard (ed.), Surrealists on Art, Spectrum, 1970.]

- BRICOLAGE -
The term is borrowed from the French word bricolage, from the verb bricoler, the core meaning in French being, "fiddle, tinker" and, by extension, "to make creative and resourceful use of whatever materials are at hand (regardless of their original purpose)". In contemporary French the word is the equivalent of the English do it yourself, and is seen on large shed retail outlets throughout France.
(i'm so amused that my beloved Gondry is under this category~ i love bricolage.)

Wednesday 17 November 2010

...finishing off with Roland

[p.156] ...whatever its mistakes, mythology is certain to participate in the making of the world.
[p.157] The mythologist is condemned to live in a theoretical sociality; for him, to be in society is, at best, to be truthful: his utmost sociality dwells in his utmost morality. His connection with the world is of the order of sarcasm. Utopia is an impossible luxury for him: he greatly doubts that tomorrow's truths will be the exact reverse of today's lies. History never ensures the triumph pure and simple of something over its opposite: it unveils, while making itself, unimaginable solutions, unforeseeable syntheses. For him, tomorrow's positivity is entirely hidden by today's negativity. (oh dear mythologist...)
[p.158-159] In a word, I do not yet see a synthesis between ideology and poetry (by poetry I understand, in a very general way, the search for the inalienable meaning of things).
[p.159] The fact that we cannot manage to achieve more than an unstable grasp of reality doubtless gives the measure of our present alienation: we constantly drift between the object and its demystification, powerless to render its wholeness. For if we penetrate the object, we liberate it but we destroy it; and if we acknowledge its full weight, we respect it, but we restore it to a state which is still mystified. It would seem that we are condemned for some time yet always to speak excessively about reality. This is probably because ideologism and its opposite are types of behaviour which are still magical, terrorized, blinded and fascinated by the split in the social world. And yet, this is what we must seek: a reconciliation between reality and men, between description and explanation, between object and knowledge.

Sunday 14 November 2010

storming...

"Mythologies" by Roland Barthes
[p.53] All the toys one commonly sees are essentially a microcosm of the adult world; they are all reduced copies of human objects, as if in the eyes of the public the child was, all told, nothing but a smaller man, a homunculus to whom must be supplied objects of his own size. (yeh...like -boys: toy car vs real car ; -girls: barbie doll vs clothing)

"Subculture: The Meaning of Style" by Dick Hebdige
[p.13] There is an ideological dimension to every signification: A sign does not simply exist as part of reality - it reflects and refracts another reality. Therefore it may distort that reality or be true to it, or may perceive it from a special point of view, and so forth. Every sign is subject to the criteria of ideological evaluation....The domain of ideology coincides with the domain of signs. They equate with one another. Whenever a sign is present, ideology is present too. Everything ideological possesses a semiotic value. [Volosinov, V. N. (1973), Marxism and the Philosophy of Language, Seminar Press.]

Phenomenology is both a philosophical design current in contemporary architecture and a specific field of academic research, based on the experience of building materials and their sensory properties. Though interest in phenomenology has waned in recent times, several architects, such as Steven Holl and Peter Zumthor are described by Juhani Pallasmaa as practitioners in phenomenology of architecture. [i was once so impressed by "The Eyes of the Skin – Architecture and the Senses" by Juhani Pallasmaa...] Present-day architectural phenomenology has widened its scope to include theorists whose modes of thinking are bordering on phenomenology, such as Gilles Deleuze and Henri Bergson, and Paul Virilio (urban planner).

Critical regionalism is an approach to architecture that strives to counter placelessness and lack of identity in Modern Architecture by utilizing the building's geographical context.

Marx argues that reification is an inherent and necessary characteristic of economic value such as it manifests itself in market trade, i.e. the inversion in thought between object and subject, or between means and ends, reflects a real practice where attributes (properties, characteristics, features, powers) which exist only by virtue of a social relationship between people are treated as if they are the inherent, natural characteristics of things, or vice versa, attributes of inanimate things are treated as if they are attributes of human subjects. This implies that objects are transformed into subjects and subjects are turned into objects, with the result that subjects are rendered passive or determined, while objects are rendered as the active, determining factor.

Thoughts:
_Okay, to be honest to myself, what do i like? and what do i like to do when i am free (or most likely to do)? Well...despite the fact that it might sound shallow and cheesy, i think i do like shopping much, particularly in shopping mall (which most people hate)...but honestly, i can't see any reason not to like it...it shelters us from unfavourable weather/environment (rain/wind/sun/pollutes from traffic/etc) and most importantly - ALL in ONE - you can get whatever you need at once [convenience/efficiency]...
earlier drawing
 showing octopus card in HKG (aka. oyster card in LDN) and iphone carry the ALL-in-ONE feature in them

_Like what i have done in the previous projects, i am interested in a space (warped space?) which infinite variety of things/events (regardless of orientation and scale) can happen at the same time. (and somehow find out how one event is actually related to another no matter how it doesn't look like to be?)
_Why am i doing it? Erm...because [A] i think nowadays time is more precious than it was in whatever time in history (?) because a lot of things are going on simultaneously that if one slows down 1 second, he/she will lose track of the whole wide world (?) so time is running faster relatively (?) people age sooner (?) so things (even architecture aka. space) should be efficient/flexibly-adaptive (?) [B] it's interesting to look at something in a different perspective instead of a general/generic one (?) because i think it's healthier (mentally?) to always question the things in life (?)
_How am i going to do it? [A] I am intrigued by the thoughts from Archigram (well...who doesn't?) - Plug-in City/Walking City...so using them as a prototype and think deeper into social issues which they neglected about (?) [B] Shopping = Owning? The importance of owning? How about just borrowing? Look into precedent studies about how perception changes with human psychology (?) To use daily un-noticed object and make them into (new) objects and test that out with the public of their representing meanings (?)
_[Second Try: Something that is more related to camera (/public goes over private) .] In the 21st century, with the help of Facebook, Twitter, and other kinds of social network apps, we fall into a tendency of exposing ourselves all the time. (Again, this constitutes to the shortening of time and spaces between one another, warping the spaces metaphorically.) And passively, we do expose ourselves all the time under the surveillance of camera everywhere, especially in London. So how did this continuous exposure of ourselves affect our perception/usage of space? More behaved/disciplined? How that lengthens short-distance and shortens long-distance (?) resulting in using the space that is not originally designed to be (?) And what can be the role of the camera - just for surveillance? Or other sort of records that provokes us to re-think the existing unnoticed space?
_Set up the cameras in both shopping mall and shopping street in London - 1) To observe the behaviour of people with a noticeable camera 2) To figure out the relationship of the camera and the space 3) To compare the modes of shopping from the recording (?)

Related Words: Shopping, Living, Desire, Display, Objectification, Subjectivity, Media, Publicity, Public/Social Space, Control, Surveillance, Phenomenology, Cultural Regionalism, Mobius Strip, John Locke, Perspectivism, Fetishism

Self-Note: *Performance of Space = Usage of Space *I may agree with the punk ideologies - DIY ethic, freedom to express, environmentalism, etc. but i definitely don't agree with stereotype punk fashion aesthetically. Re-think 'is there any subculture involved in my brain-storming above?'.

human/public involvement

. sunflower seeds @ tate modern .

i was not impressed so much by the installation itself than the film that recorded the process of it. i guess that's because it is restricted to walk/play on the seeds. but then that just prove that i think physical connection/interactions/experience is important (than simply look-at) with arts.

Thursday 11 November 2010

wanted: improvement

Representing Familiar Unfamiliar Spaces from Vivian Cheung on Vimeo.


[in this edit, i tried eliminating the fading of figures in order to fill the fluidity of shot. still think that it isn't perfect yet - but i have to move on for now...]

flooding...

- PUN -
The pun, or paronomasia, is a form of word play which exploits numerous meanings of a statement, allowing it to be understood in multiple ways for an intended humorous or rhetorical effect. Henri Bergson defined a pun as a sentence or utterance in which "two different sets of ideas are expressed, and we are confronted with only one series of words".

The Möbius strip is a surface with only one side and only one boundary component. The Möbius strip has the mathematical property of being non-orientable. It can be realized as a ruled surface.

Locke's theory of mind is often cited as the origin of modern conceptions of identity and the self, figuring prominently in the work of later philosophers such as Hume, Rousseau and Kant. Locke was the first to define the self through a continuity of consciousness. He postulated that the mind was a blank slate or tabula rasa. Contrary to pre-existing Cartesian philosophy, he maintained that we are born without innate ideas, and that knowledge is instead determined only by experience derived from sense perception.
(i think i agree to his idea. Francis Bacon + Empiricism = YES)

Perspectivism is the philosophical view developed by Friedrich Nietzsche that all ideations take place from particular perspectives. This means that there are many possible conceptual schemes, or perspectives in which judgment of truth or value can be made. This implies that no way of seeing the world can be taken as definitively "true", but does not necessarily entail that all perspectives are equally valid.
Richard Schacht, in his interpretation of Nietzsche's thought, argues that this can be expanded into a revised form of “objectivity” in relation to “subjectivity” as an aggregate of singular viewpoints that illuminate, for example, a particular idea in seemingly self-contradictory ways but upon closer inspection would reveal a difference of contextuality and of rule by which such an idea (e.g., that is fundamentally perspectival) can be validated. Therefore, it can be said each perspective is subsumed into and, taking account of its individuated context, adds to the overall objective measure of a proposition under examination. Nevertheless, perspectivism does not implicate any method of inquiry nor a structural theory of knowledge in general.

Accordingly, Marx (a materialist) argued that it is the material world that is real and that our ideas of it are consequences, not causes, of the world. Thus, like Hegel and other philosophers, Marx distinguished between appearances and reality. But he did not believe that the material world hides from us the "real" world of the ideal; on the contrary, he thought that historically and socially specific ideology prevented people from seeing the material conditions of their lives clearly.
(this is the bit that i found interesting in Marx's - i find myself struggling to believe in Marx somehow...maybe because i support capitalism in some sense...)

A fetish is an object believed to have supernatural powers, or in particular, a man-made object that has power over others. Essentially, fetishism is the attribution of inherent value or powers to an object. In the 19th century Karl Marx appropriated the term to describe commodity fetishism as an important component of capitalism. Nowadays, (commodity and capital) fetishism is a central concept of Marxism.

Tuesday 9 November 2010

(fashion?) exhibition

. drawing fashion @ design museum .

i must say the exhibits there are not as interesting as the space which holds them. the intertwining of spaces with the framework mounted with white fabric contains the spirit of fashion [textile-wise] - well-executed space.

Monday 8 November 2010

Sunday 7 November 2010

_Reading*

"The Production of Space" by Henri Lefebvre
[p.16] Everyone knows what is meant when we speak of a 'room' in an apartment, the 'corner' of the street, a 'marketplace', a shopping or cultural 'centre', a public 'place', and so on. These terms of everyday discourse serve to distinguish, but not to isolate, particular spaces, and in general to describe a social space. They correspond to a specific use of that space, and hence to a spatial practice that they express and constitute. Their interrelationships are ordered in a specific way.
[p.17] Perhaps what have to be uncovered are as-yet concealed relations between space and language: perhaps the 'logicalness' intrinsic to articulated language operated from the start as a spatiality capable of bringing order to the qualitative chaos (the practico-sensory realm) presented by the perception of things.
[p.26] (Social) space is a (social) product.
[p.33-34] In reality, social space 'incorporates' social actions of subjects both individual and collective who are born and who die, who suffer and who act. From the point of view of these subjects, the behaviour of their space is at once vital and moral: within it they develop, give expression to themselves, and encounter prohibitions; then they perish, and that same space contains their graves. From the point of view of knowing (connaissance), social space works (along with its concept) as a tool for the analysis of society. To accept this much is at once to eliminate the simplistic model of a one-to-one or 'punctual' correspondence between social actions and social locations, between spatial functions and spatial forms. Precisely because of its crudeness, however, this 'structural' schema continues to haunt our consciousness and knowledge (savoir).
[p.34] A further necessity is that space - natural and social, practical and symbolic - should come into being inhabited by a (signifying and signified) higher 'reality'. By Light, for instance - the light of sun, moon or stars as opposed to the shadows, the night, and hence death; light identified with the True, with life, and hence with thought and knowledge and, ultimately, by virtue of mediations not immediately apparent, with established authority. So much is intimated by myths, whether Western or Oriental, but it is only actualized in and through (religio-political) space. Like all social practice, spatial practice is lived directly before it is conceptualized; but the speculative primacy of the conceived over the lived causes practice to disappear along with life, and so does very little justice to the 'unconscious' level of lived experience per se.
[p.35] Social space thus remains the space of society, of social life. Man does not live by words alone; all 'subjects' are situated in a space in which they must either recognize themselves or lose themselves, a space which they may both enjoy and modify.
[p.35] Hence in absolute space the absolute has no place, for otherwise it would be a 'non-place'.
[p.39] Representational Spaces: space as directly lived through its associated images and symbols, and hence the space of 'inhabitants' and 'users', but also of some artists and perhaps of those, such as a few writers and philosophers, who describe and aspire to do mo more than describe. This is the dominated - and hence passively experienced - space which the imagination seeks to change and appropriate. It overlays physical space, making symbolic use of its objects. Thus representational spaces may be said, though again with certain exceptions, to tend towards more or less coherent systems of non-verbal symbols and signs.
[p.42] Representational space is alive: it speaks. It has an affective kernel or centre: Ego, bed, bedroom, dwelling, house; or: square, church, graveyard. It embraces the loci of passion, of action and of lived situations, and thus immediately implies time. Consequently it may be qualified in various ways: it may be directional, situational or relational, because it is essentially qualitative, fluid and dynamic.
[p.42] The only products of representational spaces are symbolic works. These are often unique; sometimes they set in train 'aesthetic' trends and, after a time, having provoked a series of manifestations and incursions into the imaginary, run out of steam.

[Chapter 1 _Plan of the Present Work : done]

N.B. _all the above quotes are something i found clicked with/attached to/interested in - which i might come back and revise on later. i'm looking forward to chapter 2 - probably shall be the one i most concern...

Thursday 4 November 2010

Post-Crit 04 _Open Crit

[i couldn't help re-touching it again...]

Representing Familiar Unfamiliar Spaces from Vivian Cheung on Vimeo.


Constructing Spaces from Vivian Cheung on Vimeo.


_feedback & self-evaluation:
. don't over-simplify drawings . be explicit about the intention
. spatially sophisticated [film] . should be shown on drawings
. i like the infinite variety of [connection in between] spaces
. verbal presentation: talk straight-forwardly
. figures fading in/out needs improvement
. keep the fun/positive spirit
. what is reality? the whole picture is never the reality.
. the transition in between is the key - push it further
. [film01] reason/logic for every shot - figures controlling the camera - convincing
. [film02] the overlaying of sound inside the building bringing back the prior spaces - nice
. abstract but recognizable - nice
. the object [distorted/rotated] becoming a practice landscape shall be carried forward
. personalize the project

Tuesday 2 November 2010

Consolidation

Film 01 . Representing Familiar Unfamiliar Spaces
_Filming a piece of known architecture (i.e. with spaces that are already used in a well-interpreted way) within a short fixed period of time, I wanted to explore and interpret other sides of those spaces [in terms of usage or perception] by using an unique character in films - flexibility in point of view - and variation in scale, orientation & sensation. Having the point of perception from the camera, unlike from our eyes in real nature, I would like to bring in the statement that sometimes we see, perceive and think something as it should be but there might be more other sides which we miss.

Film 02 . Constructing Spaces
_Bringing forward the idea from Film 01, Project Two explored the spaces in the same sense but without the limitation of one fixed architecture within a fixed period of time - meaning different architecture representing different period of time in history are in place. Project Three further released the limitation - using window/door [in a position questioning the difference of the two] as a portal / threshold in between different spaces to allow the camera to jump from one point of time-line to another. Project Four then pushed the same idea - juxtaposition of different spaces - through interweaving sound.