User:Michel W/Trimester II Assessment

Special Issue22🥀

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As an artist, you have to do it yourself, not let the industry doing for you.

At the outset of Special Issue 22, we gathered at Worm, engaging with various artists as they shared their thoughts. This particular sentence resonated powerfully with me as it aligns closely with one of my core beliefs as an artist.

⊹ Throughout Special Issue 22: Radio Worm: Protocols for an Active Archive, I had the opportunity to explore and participate in various forms of "publishing." For instance, I gained insights into creating experimental radio shows within small groups. On October 10th, Alessia, Zuzu, and I broadcasted a radio show titled "Destroy the Protocool" at Worm. Additionally, I organized a ⊹Protocol Meditation⊹ online event, guiding participants on achieving peace of mind while contemplating the true essence of archives through therapeutic methods. Furthermore, we incorporated the sharing of a beautiful poem by Marissa Micah Schut titled "My Body is an Archive" into our program.

⊹ At the Zine camp event, I learned about negotiating collaborations. We discussed how to integrate collaborative practices with others, sharing our best and worst experiences, personal preferences, and feelings regarding collaboration. We also delved into the challenges of collaborating within a large group and explored the distinctions between collaborative and distributive works.

In addition to these experiences, I identified two intriguing topics that I am eager to explore further: cyberfeminism and visual poetry.

⊹ For SI22 Signal Lost: Archive Unzipped, I created an artistic installation using recycled materials such as tape, wire, earphones, and vinyl records. The installation does not adhere to a specific design or shape; rather, it is loose and improvisatory, mirroring the chaotic nature of an apocalypse catching us unprepared. The predominant colors are black, grey, and neo-green/yellow, akin to the tones found on Worm’s website. Within the installation, the audience can peruse paper notes containing snippets of the narrative and take them away if they resonate. Additionally, a space is provided for visitors to leave messages by writing texts and placing them within the installation.

While I was pleased with the outcome of this art installation, I encountered challenges in seamlessly integrating physical features with digital formats. I am keen to continue exploring how to effectively blend these mediums in future projects.

⭑Destroy Protocool ⊹ Radio show

❥ October 10th 10:00~12:00 AM, which is also the Taiwan national day!

⭑Zine camp! (Nov 4 + 5)

Negotiate collaborations

We discuss how to collaborate practices with others, sharing the best/worst experiences, personal preferences and feelings about it. Also talk about the difficulties of collaborations in a large group, the different between collaborative and distributive works.

(a) collaborative: moving towards a more unified outcome

(b) distributive: sharing of methods, people are free to produce individual outcomes

⊹ Small group collaboration practice in Radio Worm. Learn how to do the team work and make an experimental radio show.

⊹ Zine camp group distribution: Zine/ Radio/ Presentation/ Marketing/ Retails team

⭑Signal Lost: Archive Unzipped

Radio makers, listeners and electromagnetic wave enthusiasts, do you copy? In the middle of an on-going apocalypse what should be preserved, and what forgotten?

This installation object prompts participants to contemplate the fragility of communication and human connection in the face of the Catastrophe. It's a collection of decay, relics from a lost era, tangled wires, vinyls, adorned with symbols reminiscent of a bygone civilisation. At its core lies a mysterious time capsule, a vessel of fading messages left by the wanderers that sought comfort inside our shelter.

Materials for the installation

This installation is not following a particular design or shapes, it is loose and improvisatory, as the apocalypse found us, so not at all ready. It is made with recycling and second-hand materials (ex. tape, wire, earphones, DVD, microphone…etc.).There are different contents of notes on this hybrid creatures which related to apocalypse theme of the Special Issue 22. Audience could read those paper notes and take away if they resonate with the story. Also, if they want to leave a message it's available to write a text and put on the installation as well :) The main colors would be black, grey and neo-green/yellow, similar to the tone of Worm’s website. Hanging on the ceiling if possible.

sketch of theinstallation

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Apocalypse for me would be a poetic, and positive atmosphere which reminds people what do they want to archive and also, letting go with the unnecessary ones. Keep what is wanted and dismiss useless aspects. The concept is similar to the“Decluttering”. Minimize to create a happier and mindful life with meanings. It’s the process(protocol) you decide whether the items(archive) in your mental and physical space are actually clutter and if not, decide where they belong, and action(active) that decision.

Like the graveyard metaphor, it’s time to say goodbye to the files and set a data memorial site. We always have anxiety for preserving everything. Let’s perform a ceremony rituals for decluttering in the digital world.

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Special Issue23🕸️

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A feature of technology would like to added is that it could makes a therapeutic magic to oneself⭑~

A feminist server...?

Why quilt?

⭑A FEMINIST SERVER MANIFESTO 0.01⭑

⊹ At SI23, I have always been fascinated by the concepts of "quilting" and "feminism", which involve weaving, sewing, networking, and the combination of different projects and topics. I am particularly drawn to the idea of drawing parallels between the intricate patterns of quilting and the complex codes and networks of digital spaces, while also exploring the significance of seams, both digitally and physically. Quilting also evokes associations with craftivism and feminist methodologies, prompting me to ponder how these approaches can be creatively integrated.

⊹ During a prototyping class, I encountered the challenge of learning basic Python programming, which I found quite daunting. After discussing with Senka, we decided to embark on creating a "digital quilting game" using Python. The game operates within a terminal interface, allowing players to weave a digital quilt using ASCII art characters and emojis. Fabric is used to create patterns, resulting in a quilt, while scissors are employed to cut it in half. My enduring interest in integrating physical and digital formats into artistic projects led to the concept of being able to print out the completed quilt from the terminal, resulting in a physical outcome adorned with quotes, decorations, and cutouts.

In attempting to incorporate ASCII art into the game, I encountered difficulties with Python scripts. Thankfully, Thijs graciously assisted me in navigating these challenges. I discovered that managing the white space within the ASCII art was a significant hurdle for the Python quilting game. Despite these obstacles, I am pleased that we ultimately succeeded in overcoming them.

⊹ For the SI23 launch, Riviera, Wang, and I formed a "Var/kitchen" group because of our shared interest in exploring the connections between serving and service. The Var/kitchen concept is rooted in the file system paradigm. Users can interact with the file system by moving ingredients from the fridge to the bin or stove directories using the 'mv' command. Additionally, within a Python interface, users have the opportunity to prepare a chickpea curry recipe. The zine itself draws parallels between the ingredients in the recipe and feminist servers and data centers. For instance, tomatoes are likened to web servers, chillies to firewalls, and onions to VPNs.

The original concept entails providing a chickpea curry recipe with ingredient lists and cooking methods. My goal is to establish a parallel between feminist servers/data centers and ingredients, enabling individuals to engage with the cooking Python game and terminal food file system through both digital and physical interactions. To enhance the zine's appeal, I have incorporated various ASCII art graphics representing these ingredients. In my view, visualizing the concepts is essential for diversifying the content and making it more captivating.

❥Digital Quilting

The original version, made with Senka

Ascii-art fired heart version, edited by me

❥A terminal game, you weave a digital quilt with ASCII art characters and emojis. You can use fabric and scissors, fabric creates the patterns and that become a quilt, while scissors cut it in half. The digital quilting game was a first step in thinking how all of this different information, elements of texts that have had an influence on us, can start to unravel a narrative together.

After a discussion with Senka, we decide to make a "digital quilting game" using python. I've always interested in how to combine physical and digital formats to an art projects so the idea is that when you finish a quilt in the terminal, you could print it out and get a physical outcome, a patchwork of quotes, decorations and cut outs.

I've tried to use ascii art with a fired heart, but I found that I have difficulties with python scripts. Thijs was kindly helping me to deal with these scripts. I realized the white space of ascii art is the main problem for this python quilting game :( Although I'm happy we finally managed to do it.

⭑The greasy chip

The intro/start page of var/kitchen

File system printing game + Cooking game (python)

✨Start cooking here!✨

The var kitchen"The Greasy Chip," a pop-up restaurant where you can experience our delectable recipes. We strive to interrogate the terms of serving and service through acts of hospitality. Feel free to take a zine and started to explore the adventure! If you are starving, we have our speicial dish - chickpea curry.

⭑Team Chef: Wang, Riviera, Michel

⭑Pad: Var Kitchen

⭑Wiki: The Greasy Chip

Our lovely table with delicious chickpea curry box

Chef Wang and Riviera at Varia

Three colors of our cooking zine, designed and printed by me, 30 copies :)

Projects, future thoughts✨

❥Personal Website

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I've been working on building my own website since SI22, transitioning away from platforms like Wix to create it independently. My aim is to develop my skills in HTML/CSS and JavaScript for future projects.

Moreover, I'm fascinated by integrating physical and digital forms creatively. One standout example I admire is Alexander McQueen's performance "Savage Beauty, No. 13" in 1999. In this performance, McQueen combined craft and technology, fashion and machinery. Model and former ballerina Shalom Harlow stood alone in a space wearing a simple white strapless dress adorned with layers of synthetic tulle. Positioned between two robotic arms, they focused their attention on the model and began spraying the dress with paint—one emitting a jet of black, the other, acid yellow. McQueen's presentation of the finale as an institutional critique of the fashion industry and consumer culture brings the machine age and capitalist consumption into sharp focus.

Regarding subjects I wish to delve deeper into, feminism is a central focus. This includes areas such as cyberfeminism, feminist avant-garde, body politics, queerness, and more. As someone who identifies as queer, I find it particularly intriguing to explore these themes in my future research and art projects.

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Index page on neocities.org

About me page on neocities.org

Styling project "Tears of Psyche" on neocities.org

⭑Reference

1999 - Alexander McQueen Show - Shalom Harlow VS the paint machine

1999 - Alexander McQueen Show - Shalom Harlow VS the paint machine