“Dopplehanger” Research 3

I will focus on the research of the presentation in public: from experimental film to video installation, audio-visual performance, especially as my research grows from graphical to spatial, from linear to multi-dimensional. On October 10th, I will present the second part of the research as audio visual performance at the Treehouse NDSM in Amsterdam. During the performance, the generation of images and sound frequencies are entirely controlled by data movement. Meanwhile, sound artist JiaXia will live translate its velocity from alpha numbers to soundscapes. Later on,  the performance will be developed with genre and narrative, which we will present in Neck of the woods (Rotterdam) or V2 unstable (Rotterdam) in early December.

In reflection of my work so far: it is insufficient to focus merely on sound collection/visualization as it does not illustrate the integrity and objectivity of the connection between the data, me, and the physical world. For the next experiments, I will concentrate on how to deconstruct/reconstruct data-generated images in the virtual space that I built during the first experiments, and how the data frequency interacts with sound frequency.

New insights: In my artistic research, the data, which is not composed and presented by a single element or object, is an immediate interaction and derivation of sound, image, and visceral-virtual space. The generation of frequencies is the bridge that connects all the mediums to express the emotion of data, which I consider to be complex and multidimensional. During the pandemic I was trying to connect to my hometown, my physicality, my consciousness, my situation in the virtual space through the frequencies derived from the online data. After the pandemic my behaviors are reshaped by the physical world, my perceptions, my migratory experiences and through the frequency of local data. Most of the time, the data we are exposed to is cold and conclusive, while the virtual space composed of data is structured and complex. I want to explore another possibility through the medium of frequency: the evolution of frequency is a process of decentralization. When I discuss how multicultural contexts justify their physical existence in contemporary times through a virtual environment, I don't need to take polarized attitudes towards the conclusion. It is about experiencing randomness, the possibility behind frequency. In the beginning, I struggled to find the conclusion of self-identity through frequency in the virtual space. But through my art practice, I found that my identity and my cultural background have already been integrated into my art creation, and the possibility that emerged was that through the experiment of exploring frequency.