CRITICAL REFLECTION

Theorists And Artists

  • Yu-Chuang Tseng

    曾 鈺涓

  • Filip Custic

  • Yoko Ono

    小野 洋子

  • John Lennon

  • Marshall McLuhan

  • Andy Warhol

Unit 3

1. Unit 2 Feedback and Reflection.

2. Summer Show Feedback and Reflection.

3. Exploration of AI Characters and Their Storytelling - Yu-Chuang Tseng.

4. Humans, AI, and the creator god - Filip Custic.

5. Artists, works and audiences - Yoko Ono.

(Unit 3)

IDENTIFIED KEY STRANDS OF RESEARCH

Unit 2 Feedback and Reflection

Feedback from Max & Zaiba & Classmates in Unit 2, Copeland Gallery

At the beginning of May, after completing the exhibition at Unit 2 of Copeland Gallery, Max & Zaiba, along with our classmates, gave new feedback on my work UVL: Uncanny Valley London.

Max suggested that I continue developing the concept of the piece in my future works, gradually expanding it into an entirely new worldview. I personally find this idea very interesting and am considering doing so. Other feedback mainly encouraged me to explore different mediums and showcase more of the creative process. Zaiba particularly liked the work-in-progress parts of my process.

Overall, this exhibition taught me a lot, including how to make my work more compatible with that of the other artists in the exhibition, as well as compromises in the exhibition layout. I learned a great deal. With these reflections and feedback in mind, I continued working on my next piece UVS for the Summer Show.

Summer Show Feedback and Reflection

UVS: Uncanny Valley Show, Summer Show 2024

At the Summer Show exhibition in July, I showcased the third and final complete phase of my work—UVS: Uncanny Valley Show. This time, I embarked on a new collaboration with JOJO, an artist from the CCI UAL, and introduced a new character from my UVL universe—the Interviewer.

With the addition of the new interactive installation featuring the Interviewer, the interactivity of my work was significantly enhanced. Audiences of all ages engaged with the Interviewer and made choices in response to AI-generated questions.

Throughout the exhibition, I received a lot of critical feedback from the audience. Some were concerned about whether the work would actually infringe on their portrait rights, while others were hesitant to make choices out of fear. However, after the interaction ended, I reassured them that the installation did not actually record their faces, and they felt relieved. Other viewers provided valuable suggestions regarding the smoothness of the interaction, pointing out areas for improvement. I realized that I might explore simpler interaction methods in the future, as too many complex steps can be burdensome for the audience.

Additionally, during the installation phase, the technical staff, Alex, gave me a lot of feedback and assistance, especially with the signage guiding the audience. Alex mentioned that sometimes, audiences can be rebellious—the more you tell them to do something, the more they will resist! I found this perspective incredibly interesting, as I had never considered it before. It taught me a valuable lesson: controlling the audience is not always the best approach in interactive works. Giving the audience enough freedom and finding ways to make them feel comfortable engaging with the piece is the correct way to go.

Exploration of AI Characters and Their Storytelling - Yu-Chuang Tseng

During the process of building the worldview for my work, I often pondered how to make an AI character that doesn't exist feel more vivid, more lifelike in telling its own story, and immerse the audience in it. It was at this point that I discovered Yu-Chuang Tseng's "Jane" series, which deeply inspired me.

The "Jane" series is a creative project named after "Jane," constructing a spatial scenario where the audience can observe and engage with the perception of Jane's existence. "Jane" was the English name given to the artist by his childhood English teacher. However, when searching for "Jane" online, it became a shared internet persona. Through digital encoding, individual existence is restructured by signals, losing its uniqueness in the flow of signals, being decoded and re-encoded into 0s and 1s, reshaping into a different form and re-existing as another being, present yet absent. Since 2018, the artist has been using a program to search and download related photos tagged "Jane" from the Flickr online album every day. Using facial recognition programs and image auto-generation systems, the artist produces a digital portrait of "Jane" daily. Beginning in December 2023, the "Jane Writing Project" involved uploading Jane's digital portraits to ChatGPT-4, where AI was asked to read and analyze the images, automatically generating stories about Jane and interpreting the relationship between the text and the image. These stories were then used to create a new image of Jane. In this creative process, the artist relinquished total authorship, allowing stories, prompts, and images generated by ChatGPT-4 to evolve. From the blurred portraits, stories with textual narratives and clearer images were created. Though seemingly meaningful, they became even more ambiguous, transforming from data-visualized hybrid images into a restructured flow of information. This work explores Jane's role within AI and questions whether AI truly possesses creativity.

Meanwhile, the artist has expanded the concept of the virtual character Jane across platforms such as Instagram, Medium, and Vocus, updating content, images, and text to allow Jane to exist in a more blurred manner within our everyday world.

My friend Jenny had the opportunity to see this work in person during a summer break in Taiwan. This included an exhibition space named Flowing Room, designed to reflect the fluidity of Jane’s identity, changing versions according to different exhibition spaces while maintaining a similar, unified visual effect. Additionally, the artist exhibited Jane’s journal at the exhibition, documenting everything from the beginning of the project to the updates of Jane’s online accounts. The inclusion of physical space and physical books added more credibility, realism, playfulness, and critical depth to the Jane series, which is an aspect I find especially worth learning from.

Jane & Flowing Room, Yu-Chuang Tseng

Humans, AI, and the creator god - Filip Custic

Digital visual artwork by Filip Custic

By chance, I attended Filip Custic's new exhibition in Madrid this August. I was no stranger to this artist, who has achieved near-celebrity status online. However, this exhibition provided a fresh perspective on his work and led me to reflect on my own creations.

Filip Custic’s work revolves around two main themes: internet culture and the human body. He uses a variety of mediums—photography, video, sculpture, and performance—to convey symbolic meaning in his art. His artistic vision is unified and aesthetically captivating, portraying characters through masks, filters, and Photoshop behind silicone “alter egos.” These figures, while homogenous on the surface, possess a mysterious and tender quality.

Custic questions human existence, our capacity to update ourselves like operating systems, and our inclination to create complex systems that give life meaning. His work fuses body, identity, and technology to probe who we are and which socially imposed patterns we respond to.

Filip Custic's installation art work is made in his own image

In Custic’s art, I noted a critical point: the relationship between humans and their creators. Religiously speaking, we are creations of God, or perhaps products of nature’s nurturing. With advances in technology and human society, AI has emerged—a virtual model, crafted through technology, that imitates human vision, hearing, and language systems. In a way, we hold the role of creator to AI. Consciousness signifies the birth of life, yet AI, with its simulated and reproduced consciousness, raises the question of whether it might generate new consciousness. We do not know the answer, but we do know that AI’s abilities to imitate humanity are advancing with each iteration. The notion of humans as creators might indeed be challenged or even overturned, and this is perhaps a question that artists and creators should be thinking about and expressing ahead of the general public.

Since AI was first invented, many artists have engaged in an ongoing dialogue with it, treating it as an equal to humans—a necessity, in my view.

Exhibition site photo of Filip Custic at the Cerralbo Museum in Madrid

Artists, works and audiences - Yoko Ono

Yoko Ono's Instruction Art

In the research phase of Unit 3, I often reflected on the relationship among artists, artworks, and audiences. First, I believe that the fundamental role of an artwork is to serve as a bridge between the artist and the audience. Through the artwork, the audience receives the ideas the artist conveys, processes them into personal thoughts, and is led to reflection—this is the foundational meaning of art. Regardless of the form, every artist's ultimate goal in creating art is to achieve this. However, Yoko Ono's work revealed new possibilities in how art can transmit messages.

Typically, traditional artworks convey the artist’s ideas through visual, auditory, and tactile senses, as seen in painting, sculpture, and multimedia installation art. Yoko Ono’s Instruction Art, a new form composed of directive short text, broke away from this framework. She uses actions derived from written instructions as a means to convey information to the audience, which was eye-opening for me.

“Instruction Art” is a form of conceptual art without any tangible object. Ono herself describes it as a “painting composed in the mind,” making it a pioneering form of conceptual art. The instructions for these artistic acts free the work from the limitations of physical performance, bearing a resemblance to Chinese haiku or Zen koans.

Yoko Ono’s book Grapefruit: A Book of Instructions and Drawings (1964) begins with the line, “Burn this book after you have read it,” while John Lennon’s endorsement on the last page reads, “This is the greatest book I’ve ever burned.” This form of Instruction Art has been a constant throughout Ono’s subsequent works.

In a 1972 interview, Yoko Ono quoted Marshall McLuhan’s theory, “The medium is the message,” saying, “We each have our own message. These messages themselves are the medium.” Art should not be seen as a privilege but rather freed to become something accessible to all—a foresight that resonates with Andy Warhol’s famous statement, “In the future, everyone will be world-famous for 15 minutes.”

In today’s fast-paced information age, there are now countless forms through which art can be transmitted, as there are numerous mediums that can carry messages. Whether through TikTok or Instagram, each of us interacts daily with a vast amount of information, constantly receiving, processing, and sharing it on these platforms. A key question for us as a new generation of artists is how to make valuable use of these information mediums.

Bibliography:

Tseng, Y.-C. (2023) Yu-Chuang tseng, (Post) Internet Art Research Lab | Digital + interactive + Art , Yu-Chuang Tseng. Available at: https://tyuchuan.com/ (Accessed: 15 October 2024).

Filip Custic Exhibition human product: Parco Museum Tokyo (no date) PARCO ART. Available at: https://art.parco.jp/museumtokyo/detail/?id=1191 (Accessed: 18 October 2024).

Ocean child: Reappraising Ono Yōko’s achievements (2023) nippon.com. Available at: https://www.nippon.com/en/features/c03706/?cx_recs_click=true (Accessed: 25 October 2024).

Grapefruit:A Book of Instructions and Drawings 1964, Yoko Ono

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