Transformation.

My works mainly show my perception of life and my change of thought. The world is full of changes, and the pandemic has disrupted our lives. Many people, including me, are confused about the world. Philosophy and my observation and thinking about the world helped me to have a clearer understanding of the world. My paintings Licia, Butterfly Woman, and Live with Covid reflect my understanding of German philosopher Arthur Schopenhauer\u27s theory of empathy. Within my art, I also use another German Philosopher Theodor W. Adorno\u27s theory of the culture industry to deepen my understanding of some social phenomena. My 3D installation Kill a Butterfly is my awakening to social control and resistance to the assimilation of thought. Chinese philosopher Zhuangzi\u27s thoughts helped me to establish a complete self-system and to reflect on the relationship between my true self and society. The Butterfly dream series officially represents this aspect of my understanding

Intricate Webs of Nature From the Microscopic to the Cosmic

The thesis paper explores an interdisciplinary and research based practice as a means to interpret the intricacies of webbed patterns in the universe. It examines the existence of patterns at a microscopic and macroscopic level in order to reinterpret them in a contemporary art context. The practice draws on theories from philosophers, mycologists, ecologists, and physicists such as Michel Foucault, Suzanne Simard, Lisa Randall, Bernie Krause and Carl Sagan. Through an investigation of their ideas, the paper highlights the presence of these patterns in nature and as an artistic influence. The structure of webbed patterns in fungi, the human body, land, roots, the cosmos, and animal architecture are a continuation of the artistic investment in biological patterns, large and small. The thesis artworks discussed here will emphasize how a research based practice is intertwined with material, form and process through a series of installations. This interdisciplinary and process based research practice builds an awareness of the pervasive patterns in the universe

Immersive Imagined Cultures: Communicating the lived experience of cultural identity and memory through video installation

In recent years a proliferation of video installation has been created concerning the notion of cultural identity and cultural memory. Highlighting the complexities of these themes, video installation provides the artist with an opportunity to create an affective environment for the viewer, through which the lived experiences that inform cultural identity may be expressed, shared and understood; while the experience of viewing becomes a part of the process of becoming that cultural identity continues to undertake. It is the central argument of this thesis that the strengthening relationship between video installation and the concept of cultural identity is intrinsically linked to the medium’s ability to create an immersive sensory field involving sight, sound, time, space and movement, in which the viewer undergoes a phenomenological experience and engages in an active questioning of how cultural identity is formed, experienced and evolved. Drawing on phenomenological, postcolonial and feminist theory, I critically analyse the sensory elements of three video installations that are global representatives standing for this body of arguments; Shirin Neshat’s Rapture, Dana Claxton’s Sitting Bull and The Moose Jaw Sioux and Nalini Malani’s In Search of Vanished Blood. Relevant due to their themes of cultural identity and the poetics of memory, and their use of all the sensory components of video installation as a means of communication, these artworks illustrate the diverse issues that cultural identity can include, along with an evolution in the complexity of the medium itself. Moving beyond issues of representation, this thesis delves into the communication of cultural identity and memory between the artist and the viewer

Space-Time Experience in the Meta-Environment: A Cybersemiotic Analysis

Space-time Experience in the Meta-environment: A Cybersemiotic Analysis Written from the perspective of a reflective technoetic art practitioner, this thesis investigates Human-Computer Interactions in interactive hybrid environments and their influences on mediated consciousness. It argues that practices established during the advent of computer graphic interfaces have limited the interactive potential of such environments. It examines interactive processes among user, information, and interface; proposes a closer look at representational paradigms of space and time; suggests potentially illuminating parallels with complex adaptive systems; and explores their theoretical and practical co-implications. Influenced by Marcel Duchamp’s conceptual-interactive art experiments, Brazil’s syncretic Tropicalismo movement, and Roy Ascott’s technoetic art, this thesis deploys Søren Brier’s Cybersemiotic framework to bridge practice and theory. It presents the interactive hybrid installation Mixing Realities (2009, 2014) as contemporary example, analyzing its physical and digital components, aesthetic and conceptual goals, and reception by various users. This thesis suggests that, as products of the mechanical age, space-time representational paradigms emphasizing embodiment rely on linear visualization and episodic memory, thereby restricting digital information’s potential and preventing more balanced integration among user, information, and interface--a triadic relationship identified as “meta-environment.” This thesis observes that current theoretical frameworks have dissonant understandings of information, communication, process, perception, and meaning, which impedes integration of user-information-interface in a manner that accords them equal weight and acknowledges their mutual influences. The current understanding is that information is either exclusively human perception or computer interface process. Søren Brier’s cybersemiotics integrates phenomenological perceptions and feedback processes, thereby enabling study of the meta-environment with focus on how individual elements influence one another in dynamic triadic relationships. Visual representations of this analysis suggest that each element at some point works as mediator of interactive processes. The possibility of understanding these interactions as dynamic complex adaptive systems creates the potential of expanding how humans interact, perceive space and time, and mediate consciousness

The Muses Labyrinth Beneath: Reproducing life inherent in musical form with architectural composition

My thesis explores on how to reproduce life inherent in the musical form with architectural composition. The beauty of music attributes to its high degree of life inherent in its holistic form, which is affective, adaptive and generative. In my research paper I approach the quote "I call architecture frozen music "by Johann Wolfgang Von Goethe in a metaphysical way. Relationship between form, composition and phenomenal experience are explained in terms of “flow” and “Bodies”. Space and time are understood in terms of virtual flowing force acting on bodies, that they are actualized as sounds in music and “frozen” as materialistic objects in architecture, affording our sensational experience. Composition, is understood as synthesizing of individual bodies with order into a holistic body, in which tensions are created by the differential relationship of its constituent bodies. Music, is the transitional interactions between our human bodies and the musical body actualized. While in architecture, “audiences” set their bodies into actions, empathizing with the frozen transitional form through time, synchronizing the physical body experience with the inner mental experience.My thesis design reflects on the shift of architecture experience from existentially plastic and spatial experience, to mere time-compressed striking visual image, with the loss of experiential depth, under the information age. As an inverted version of “allegory of the cave”, my building functions as an immersive labyrinth with ambiguity and mystery hidden beneath ground, affording a retreating experience to urban wildscape explorers. It fulfilled the timeless task of architecture as stated by Pallasmaa – “understand and remember the shapeless flow of reality and, ultimately, to recognize and remember who we are.” The building situates itself in Paris, at the intersection of the abandoned La Petite Ceinture, an urban wildscape experiencing the transition from ruin to regeneration, and the Parc des Buttes-Chaumont, where the histories of underground mining hidden beneath. The memories of two places intertwined at this counterpoint and synthesize into a frozen melody, as the body of the labyrinth. Though her body the labyrinth brings collective memories to present individual explorers. The spatial variations embodied promotes sequences of scenarios and potentials. Me as a composer, imagines different scenarios and interactions involving individual urban explorers as “audiences” orArchitecture, Urbanism and Building Science