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Seen/Unseen
>2012 -
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Seen/Unseen is an art project focus on the relative between the data, phenomenon, perception and physical sense in our daily life.
"Seen/Unseen" —not only involves the visual interpretation of the afore-mentioned questions, but also extends to the interpretation
from other physical senses such as hearing and touching. It is a series of experiments in various forms - sound, installations, print
and documentary. |
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hyper.data- N°3[9ch. ver.] |
video installation | 2014 |
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How does space maintain its existence after the visual and audio elements that constitute our perceptions are designified into pure data and information? How does
body’s reaction in such condition between entity events and virtually computer data?
“hyper.data” not only deals with data per se, but also extends the contents and scope of data far beyond our imagination. It implies that data and information exist in an
unfixed state of communication between virtual and real worlds. “Seen/Unseen – hyper.data” is the second piece of the series “Seen/Unseen”. The devastating earthquake
occurred on 11 March 2011 in Japan inspired the creation of the first piece of the series, during my artist-in-residence program in Tokyo. The first piece revealed that
our bodies and senses will change with the interference of external factors or the influence of environment, namely natural and man-made messages or information,
whether visible or invisible. The motif of “hyper.data” series focus on the relationship between earthquake data and the cognition of senses. After the earthquake, the artist,
who stayed in an unfamiliar place at that time, was uncertain of the external situation and therefore eager for information. However, he could only passively acquire data and
information from the Internet, and thereby constructed his perception and imagination regarding the external space by means of images and words that he sensed from the
computer screen. In other words, concrete images and words dominated his perception of the world, interpretation of sense, and ups and downs of emotion. Therefore,
the piece “hyper.data” seeks to probe that how the sense react between entity events and virtually data, and in the abstraction, designification, and initialization of visual and
audio elements, which refers to the original, pure, and abstract data codes and program structures? And how does the body exist in the world with huge expanding of
structured data?
This installation consists of 9 video created by real-time computer program , the data used in piece were recorded by over 1,100 stations at the very moment of the earthquake
occurred on 11 March 2011 in northeastern Japan. |
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materials |
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50inch LED displays, computers |
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dimensions |
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W57 x H96 x D5 cm each (total 9 pieces) |
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date | place |
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SEP 13, 2014 - JAN 11, 2015 |
National Taiwan Museum of Fine Arts, Tai-Chung City, TW |
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hyper.data- [N°1a-d] |
digital image print on paper, aluminum support | 2013 |
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The artist was in Tokyo for an artist-in-residence program when the devastating earthquake occurred on 11 March 2011 in Japan. Due to the lack of information from outside,
the artist could only passively rely on the news and messages derived from the Internet, where he found the integrity in the preservation and distribution of earthquake data
and information in Japan. It prompted him to collect and study these data, and thereby initiated the series “Seen/Unseen”. Some pieces of the series transform the visible
seismic waveforms recorded during the twenty-four hours after the earthquake into invisible sounds through the computer programs designed by the artist. In these pieces,
the artist also develops a series of audio installations. The piece “hyper.data- [N°1a-1d]” demonstrates the 100,000 digits after the decimal point of the four mathematical
constants π, γ, e, φ by QR code. The four mathematical constants are used for transforming seismic waveforms into audio waveforms. In other words, they serve as the
operational keys to transforming images into computer data. An image differs according to people’s interpretations, while different computers produce identical result (i.e. each
character remains precisely unchanged) after calculating these mathematical constants. Nevertheless, we always tend to believe what we see, hear, and smell, while ignore
the constant. QR Code is a medium for rapid access to and exchange between images, words, and information. The artist has to adopt several QR Codes to display the
100,000 digits after the decimal point of the four mathematical constants, because a single QR Code can contain only a maximum of about 7,000 digits. By driving each
QR Code to its capacity limit, the artist creates a situation that is visible but cannot be comprehended as a whole. |
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materials |
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digital image print on paper, aluminum support |
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dimensions |
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W73 x H8.5 x D4 cm each (total 4 pieces) |
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date | place |
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JUN 7 - JUL 7, 2013 |
Galerie Grand Siècle, Taipei, TW |
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hyper.data- [N°2a-b](Diagram/Hex Binary-raw data) |
digital image print on paper, aluminum support | 2013 |
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The piece “hyper.data-N°2a [Diagram]” shows the data recorded by over 1,100 stations at the very moment of the earthquake occurred on 11 March 2011 in northeastern Japan
(Tokyo time 14:56). In the two-dimensional diagram, these data are sorted by time, distance to the epicenter, station name, Richter scale, and seismic waveform. In other words,
“hyper.data-N°2a [Diagram]” compresses more than 1,100 pieces of simultaneously occurred and recorded data into a single plane. It means that this plane bears not only large
amounts of data, but also the messages transformed from over 1,100 sources of seismic energy.
The piece “hyper.data-N°2b [Hex Binary-raw data]” further demonstrates the afore-mentioned data in a hexadecimal form, and thereby transforms sensible images and the real
world into rational computer programs and virtual worlds. In face of these source data, our sensory perceptions and the existence of the real world become nothing but interfaces. |
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materials |
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digital image print on paper, aluminum support |
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dimensions |
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W23 x H32 x D4 cm / W120 x H130 x D4 cm (total 2 pieces) |
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date | place
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NOV 8 - NOV 11, 2013
JUN 7 - JUL 7, 2013 |
Taipei World Trade Center Exhibition Hall One, Taipei, TW
Galerie Grand Siècle, Taipei, TW |
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hyper.data- [N°3a-c] |
video installation| 2013 |
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The piece “hyper.data-N°2a [Diagram]” shows the data recorded by over 1,100 stations at the very moment of the earthquake occurred on 11 March 2011 in northeastern Japan
(Tokyo time 14:56). In the two-dimensional diagram, these data are sorted by time, distance to the epicenter, station name, Richter scale, and seismic waveform. In other words,
“hyper.data-N°2a [Diagram]” compresses more than 1,100 pieces of simultaneously occurred and recorded data into a single plane. It means that this plane bears not only large
amounts of data, but also the messages transformed from over 1,100 sources of seismic energy.
The piece “hyper.data-N°2b [Hex Binary-raw data]” further demonstrates the afore-mentioned data in a hexadecimal form, and thereby transforms sensible images and the real
world into rational computer programs and virtual worlds. In face of these source data, our sensory perceptions and the existence of the real world become nothing but interfaces. |
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materials |
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23inch LED displays, computers, wooden panels |
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dimensions |
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W34.4 x H75 x D56.4 cm each (total 3 pieces) |
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date | place
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MAY 23 - MAY 27, 2014
JUN 7 - JUL 7, 2013 |
EXPO Dome, Taipei, TW
Galerie Grand Siècle, Taipei, TW |
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Seen/Unseen N°0 [hyper.data ver.] |
video/sound installation| 2013 |
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The installation is an extension to the piece “Seen/Unseen N°0”, which is a part of the first piece of the series “Seen/Unseen”. With the help of computer programs, it transforms
the data and seismic waveforms of the earthquake occurred on 11 March 2011 in Japan into sounds. It then transmits the sounds to the liquid installation, and thereby creates a
situation in which visible data structures and invisible extremely-low-frequency sounds co-exist and influence each other. |
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materials |
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23inch LED displays, computers, wooden panels, bass shaker, amplifier, water, black acrylic |
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dimensions |
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W34.4 x H75 x D56.4 cm each (total 2 pieces) |
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date | place
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NOV 15 - NOV 24, 2013
NOV 8 - NOV 11, 2013
JUN 7 - JUL 7, 2013 |
Songshan Cultural and Creative Park, Taipei, TW
Taipei World Trade Center Exhibition Hall One, Taipei, TW
Galerie Grand Siècle, Taipei, TW |
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matrix.24 N°1 [hyper.data ver.] |
video/sound installation| 2013 |
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The installation is an extension to the piece “matrix.24 N°1”, which is a part of the first piece of the series “Seen/Unseen”. With the help of computer programs, it transforms
the data and seismic waveform of the earthquake occurred on 11 March 2011 in Japan into sounds. It then transmits the sounds to the metal installation, and thereby creates a
situation in which visible data structures and invisible extremely-low-frequency sounds co-exist and influence each other. |
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materials |
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23inch LED displays, computers, wooden panels, bass shaker, amplifier, iron with matte black painted |
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dimensions |
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W100 x H75 x D220 cm / W34.4 x H75 x D56.4 cm (total 2 pieces) |
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date | place
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JUN 21 - AUG 24, 2014
JUN 7 - JUL 7, 2013 |
National Taiwan Museum of Fine Arts, Tai-Chung City, TW
Galerie Grand Siècle, Taipei, TW |
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matrix.24 N°0 |
installation | 2012 |
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Our body and senses will change with the interference of external factors or the influence of environment such as earthquakes, power-outages, and the threat of
lethal radiation, namely natural and man-made messages or information, whether visible or invisible. The devastating earthquake occurred on 11 March 2011 in Japan
inspired this work, when the author was in Tokyo for artist-in-residence program. The earthquake aftershocks occurred frequently during the day after the catastrophe.
The feelings of dread and insecurity heightened the author’s physical senses to an extremely sharp state. The author therefore became very sensitive to any subtle
change in movement and sound. During the twenty-four hours after the earthquake, he was always expecting the next aftershock or the sounds made by the ground
vibration. All other sounds seemingly faded away because he was mainly occupied in expecting the aftershocks. The only response he could make to the invisible and
unpredictable aftershocks (or seismic waves) was to passively yet carefully detect the ground vibration and the sounds made by the vibration of any medium.
<matrix.24 N°0> is part of the first piece of <Seen/Unseen> series project.The aftershocks occurred frequently during the day after the devastating earthquake occurred in
Japan on 11 March 2011. The people there attentively watched the updated information about the earthquake aftershocks, and simultaneously concentrated on ambient
sounds. The time seemed stopped because of their highly sharpened physical senses and sensitive nerves. The twenty-four-hour seismic data were compressed into
(and therefore condensed in) layers of interface. |
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materials |
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iron with matte black painted, black acrylic with laser etching, wood, LEDs |
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dimensions |
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W28 x H110 x D37 cm (each) |
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date | place
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DEC 21, 2013 - MAR 16, 2014
DEC 28, 2012 - FEB 24, 2013 |
Taipei Fine Arts Museum, Taipei, TW
Kuandu Museum of Fine Arts, Taipei, TW |
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matrix.24 N°1 |
sound installation | 2012 |
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photo: courtesy of Kuandu Museum of Fine Arts |
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Our body and senses will change with the interference of external factors or the influence of environment such as earthquakes, power-outages, and the threat of
lethal radiation, namely natural and man-made messages or information, whether visible or invisible. The devastating earthquake occurred on 11 March 2011 in Japan
inspired this work, when the author was in Tokyo for artist-in-residence program. The earthquake aftershocks occurred frequently during the day after the catastrophe.
The feelings of dread and insecurity heightened the author’s physical senses to an extremely sharp state. The author therefore became very sensitive to any subtle
change in movement and sound. During the twenty-four hours after the earthquake, he was always expecting the next aftershock or the sounds made by the ground
vibration. All other sounds seemingly faded away because he was mainly occupied in expecting the aftershocks. The only response he could make to the invisible and
unpredictable aftershocks (or seismic waves) was to passively yet carefully detect the ground vibration and the sounds made by the vibration of any medium.
<matrix.24 N°1> is part of the first piece of <Seen/Unseen> series project.The feelings of dread and insecurity heightened our physical senses to an extremely sharp
state. We therefore became very sensitive to any subtle change in movement and sound. This piece transforms the invisible seismic waves into the imperceptible audio
waves that continuously strike the icy and hard metallic interface. In other words, this piece firstly compresses the twenty-four-hour seismic data and then releases
them into the air. Through the vibration of the metallic interface, these audio waves generate extremely low-frequency sounds that are imperceptible by our ears. |
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materials |
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iron with matte black painted, stainless steel wire, amplifier, bass shaker, computer |
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dimensions |
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W560 x H300 x D1100 cm |
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date | place
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DEC 21, 2013 - MAR 16, 2014
DEC 28, 2012 - FEB 24, 2013 |
Taipei Fine Arts Museum, Taipei, TW
Kuandu Museum of Fine Arts, Taipei, TW |
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Seen/Unseen N°0 |
sound installation | 2012 |
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Our body and senses will change with the interference of external factors or the influence of environment such as earthquakes, power-outages, and the threat of
lethal radiation, namely natural and man-made messages or information, whether visible or invisible. The devastating earthquake occurred on 11 March 2011 in Japan
inspired this work, when the author was in Tokyo for artist-in-residence program. The earthquake aftershocks occurred frequently during the day after the catastrophe.
The feelings of dread and insecurity heightened the author’s physical senses to an extremely sharp state. The author therefore became very sensitive to any subtle
change in movement and sound. During the twenty-four hours after the earthquake, he was always expecting the next aftershock or the sounds made by the ground
vibration. All other sounds seemingly faded away because he was mainly occupied in expecting the aftershocks. The only response he could make to the invisible and
unpredictable aftershocks (or seismic waves) was to passively yet carefully detect the ground vibration and the sounds made by the vibration of any medium.
<Seen/Unseen N°0> is part of the first piece of <Seen/Unseen> series project.The black liquid resonates well with the sounds of extremely low frequency within a
slender aperture. This piece transforms seismic data into audio waves whose frequency is too low to be perceived by our ears. In other words, this piece transmits
tremendous natural power and raw data by extremely low-frequency liquid vibration. It therefore compels us to comprehend a looming silent message in an extremely
attentive way. |
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materials |
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iron with matte black painted, black acrylic, wood, water, amplifier, bass shaker, computer |
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dimensions |
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W25 x H85 x D430 cm (each) |
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date | place |
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DEC 28, 2012 - FEB 24, 2013 |
Kuandu Museum of Fine Arts, Taipei, TW |
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matrix.24 N°1 [prototype] |
sound installation | 2012 |
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materials |
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iron with matte black painted, amplifier, bass shaker, computer |
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dimensions |
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W100 x H300 x D220 cm |
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date | place |
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OCT 20, 2012 - FEB 17, 2013 |
Juming Museum , New Taipei City, TW |
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