The Extended Screen is a 12-week studio ex-ploring the notion of screen, projection, sur-face, space, spectator, etc. Through out the whole semester, I did a 3-week group project based on readings and basic technique knowl-edge, and a 7-week individual project exploring my own site, precedents, theory background, design ideas, materials and technique supports. For the group project “Animate the Inanimate”, the idea is based on vital science and explor-ing the possibilities of synaesthetics by visualiz-ing heartbeats, breathe and pulse in an abstract way. What we did was using daily objects as cores and wrapping them in the “skin” of poly-propylene cones where the abstraction hap-pens, indicating a strong difference between re-ality and illusion. We produced 3 small models covering a beaker, a shoe and a lamp, and pro-jected footages on to them. The rhythm of foot-age on-offs, the occurrence transition, and the absence of both sound and vision were all taken care of during the process of showing. For the individual project “Where”, as a re-sult of tons of testing, I experienced a series of changes in terms of ideas as well as techniques. The main brief aimed at distilling interests from the previous project and exploring a confined

The Extended Screen is a 12-week studio ex-ploring the notion of screen, projection, sur-face, space, spectator, etc. Through out the whole semester, I did a 3-week group project based on readings and basic technique knowl-edge, and a 7-week individual project exploring my own site, precedents, theory background, design ideas, materials and technique supports. For the group project “Animate the Inanimate”, the idea is based on vital science and explor-ing the possibilities of synaesthetics by visualiz-ing heartbeats, breathe and pulse in an abstract way. What we did was using daily objects as cores and wrapping them in the “skin” of poly-propylene cones where the abstraction hap-pens, indicating a strong difference between re-ality and illusion. We produced 3 small models covering a beaker, a shoe and a lamp, and pro-jected footages on to them. The rhythm of foot-age on-offs, the occurrence transition, and the absence of both sound and vision were all taken care of during the process of showing. For the individual project “Where”, as a re-sult of tons of testing, I experienced a series of changes in terms of ideas as well as techniques. The main brief aimed at distilling interests from the previous project and exploring a confined

project out of them. The whole project went though two stages. Firstly I was keen on the concept of vision, acoustics and kinesthetics, but it didn’t lead anywhere due to the complex of idea too broad, lack of site-specificity, inac-cessibility of technique devices and even re-jection towards real site installation. The next stage took the idea of movement from for-mer process and introduced digital mirroring. Above all the project ended up with a set of 2 installations reflecting each other. One was sup-ported by two projections on the ceiling con-nected with web-cams to create a maze of view-er not seeing his/her front but only the back. Another was a computer mapping on the voids of rafters showing a moving blue sky. The idea was talking about the directing light that the exterior sky indicates and the misleading illu-sion that the unfamiliar digital mirrors creates.

RMIT

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Year

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