translated text to accompany Even we’re screaming
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screenshot from
Even we’re scream - video compliation
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screenshot from
Even we’re scream - video compliation
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︎︎︎generative image from Ghost in The Stream
qr code to access Sonic Diary
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︎︎︎ stills from In Rage residency ︎︎︎
2024 Fine Times, live audiovisual performance with SOOAKXA, Aberdeen Jazz Festival, Aberdeen, UK
2023 Sonar ( ; ; ) Sauna, in collaboration with Clarinda Tse, Take Me Somewhere Festival, Tramway, Glasgow, UK
2021 Postgraduate Degree Show, Glasgow School of Art (online), Glasgow, UK
Interruption: Sound, The Holden Gallery (online), Manchester, UK (commission)
2020 mutual feelings, House of Conspiracy, Brisbane, AU
2019 Conversation with the Anthony Burgess Cassette Archive (1963-1993). Sub Rosa Label, Brussels, BE
2018 Degree Show, Manchester School of Art, Manchester, UK
Testing Ground, curated by Tom Emery, The Great Medical Disaster, Manchester, UK
MURIEL, curated by Katie Dibbs & Amelia Tan, Edinburgh College of Art, Edinburgh, UK
2017 Tremolo, curated by Clamour,The Royal Standard, Liverpool, UK
[Re:-],Hulme Apex, Manchester, UK
Club Big. HOME, Manchester, UK
Look, Read. Go!, curated by Sam Belifante Grosvenor Gallery, Manchester, UK
Where’s your coat you’re going to be cold, curated by Shy Bairns, UK (publication)
2016 UNIT X, London Scottish House, Manchester, UK
PRE: exhibition, Goodstock, Manchester, UK
2015 COLOURS, Link Gallery, Manchester School of Art, Manchester, UK
End of year show, Suffolk New College, Ipswich, UK
2014 Anna Airy Award, University of Suffolk, Ipswich, UK
Commissions
2024 Music commission for Wah Yen by Wei Zhang, Glasgow International Festival, Glasgow, UK
Algal Sonic String Game with Clarinda Tse Workshop commissed by Strange Field, The Pipe Factory, Glasgow, UK
2023 Sound Design Workshop commissed by Children’s Paraliament, Stirling, UK
Residencies
2023 East Asian Ticket Club x Hawkwood, Hawkwood Centre of Future Thinking, Stroud, UK
CCA Creative Lab, CCA, Glasgow, UK
2022 In Rage. We Are Superfluous, London, UK
2016 Joya: Artist in Residence, Almería, Spain
Awards
2024 Venice Fellowship Programme, British Council in partnership with SCAN (Scottish Contemporary Art Network), Venice, IT
2022 Creative Scotland Open Fund for Indiviuals, Research & Development, Glasgow, UK
2018 Dean’s Prize for Best Contextualising Practice Essay, Manchester School of Art, Manchester Metropolitan University, Manchester, UK
Certificate of Nomination for Outstanding Academic Achievement, Manchester Metropolitan University, Manchester UK
2016 Academic of Excellence Award, Manchester Metropolitan University, Manchester, UK
2014 Certificate of Commendation, Anna Airy Award, University of Suffolk, Ipswich, UK
Talks
2023 Visting Artist Talk, Norwich University of the Arts, Norwich, UK
2022 Artist Talk (online), Manchester School of Digital Art, Manchester, UK
Alumni Q&A, Future First, Copleston High School, Ipswich, UK
2021 Artist Talk (online), A Messy Interface, Manchester School of Digital Art, Manchester, UK
Curation
2017 [Re:-]. Hulme, Manchester, UK
Publication
2017 ‘What’s holding back Bangkok’s art scene?’, BK Magazine, Issue no. 702, Bangkok, TH
Related work
2022 Performer for Absorption by Asad Raza, We are Composting / Composting the We, CCA, Glasgow, UK
2018 Exhibition Writer, Manchester Art Directory, Manchester, UK
2017 Editorial Intern, BK Magazine, Bangkok, TH
Gallery & Archive Assistant, Centre For Chinese Contemporary Art, Manchester, UK
Education
2022 UAL Short Course (online), Creative Coding with Processing, London, UK
2020-2021 MDes Sound for Moving Image, Glasgow School of Art, Glasgow, UK
2015-2018 BA (Hon) Fine Art, Manchester School of Art, Manchester, UK
2014-2015 UAL Foundation Diploma in Art & Design, Suffolk New College, Ipswich, UK
R&D: Making a Ghost
A year long (April 2022 - April 2023) project funded by Creative Scotland’s Open Fund is made up of two parts.
Part I
The research and development of the use of Machine Learning and Spatial Audio in Ghost in The Stream: What if Our Machine Could Scream?
This part is divided into three stages; skill building, experimenting and consolidating.
For the skill building stage, I will be committing to the Google Developer’s Machine Learning Crash Course to gain a better understanding of the concept behind the programme and adjust it to fit the work. On top of that, I will be attending UAL’s Creative Coding short course in June to learn Java and how to use Processing - to improve the quality and the delivery of visual components of the work.
Both the experimenting and consolidating phase will be documented online in a blog format.
Part II
The part will be focusing on the professional development aspect of my studio practice. I will be attending UAL’s ‘How to Promote And Fund Your Work Online’ lead by Sophie Lucas, the short course covers studio management, building connection with galleries, selling your work and create a sustainable income from your studio practice.
All notes from these courses will be made avaliable online and free for access to the public who are interested in developing similar projects and career trajectory.
You can find my summary of the ‘How to Promote And Fund Your Work Online’ by Sophie Lucas in the Developing & Sustaining Practice under the Getting Started section. For the summary of Creative Coding, you can find it under Processing under the same section.
A year long (April 2022 - April 2023) project funded by Creative Scotland’s Open Fund is made up of two parts.
Part I
The research and development of the use of Machine Learning and Spatial Audio in Ghost in The Stream: What if Our Machine Could Scream?
This part is divided into three stages; skill building, experimenting and consolidating.
For the skill building stage, I will be committing to the Google Developer’s Machine Learning Crash Course to gain a better understanding of the concept behind the programme and adjust it to fit the work. On top of that, I will be attending UAL’s Creative Coding short course in June to learn Java and how to use Processing - to improve the quality and the delivery of visual components of the work.
Both the experimenting and consolidating phase will be documented online in a blog format.
Part II
The part will be focusing on the professional development aspect of my studio practice. I will be attending UAL’s ‘How to Promote And Fund Your Work Online’ lead by Sophie Lucas, the short course covers studio management, building connection with galleries, selling your work and create a sustainable income from your studio practice.
All notes from these courses will be made avaliable online and free for access to the public who are interested in developing similar projects and career trajectory.
You can find my summary of the ‘How to Promote And Fund Your Work Online’ by Sophie Lucas in the Developing & Sustaining Practice under the Getting Started section. For the summary of Creative Coding, you can find it under Processing under the same section.
You’re welcome to flick through the rough link and brain-dump ︎︎︎
Further Development of Ghost in The Stream - Ending
v1 - added white pixelation effect built in Processing
v2 - experimenting with luma key to blend RGB with added fades
Image Generation using Text Prompts
Ghost in The Stream
What if Our Machines could Scream?video with binaural sound (08:33)
Ghost in The Stream: What if Our Machines could Scream (2021) is a binaural soundscape with AI-generated images exploring the possibility of an expressive voice for digital beings. The piece using machine learning applications to investigate how the collective voice can be used to negotiate systems of dominance and whether the emancipated listener reluctance to attend to these voices can be bypass.
Visuals were created by Runway ML, trained on screenshots of livestreamed videos. Visual effects created in Max 8 using customed patch based on findbound object. Edited in Premier Pro.
Audio samples were from RGB vaules converted into MIDI using Max 8. Arranged & instrumental effects in Ableton. Edited, spatialised & mastered in REAPER using plugins from IEM, Blue Ripple Sound and Anaglyph.
Residency: In Rage
We are Superflouous, arebyte studio, March - May 2022In Rage is a collaborative residency with Eva Dimitrakopoulou and Krystle Patel facilitated by We Are Superfluous, London-based and artist-led space at arebyte.
The six weeks long residency focused on open process, collaboration and experimentation, exploring rage both as content and as a tool.Defining ‘existential rage’ requires a gentle and ever changing touch; repositioning oneself over and over. The artists in residents will think and work through this strange non-space; the gap between the bed and the wall. The raw, naked, adrenaline-fueled, unmitigatable fury that pushes us to euphoric heights and unspeakable lows.
Does it sedate us? Or does it enable us to act?
Text by We Are Superfluous
A gathering of consumables and participants
DAW: REAPER, Ableton
Quadrophic set up
Audio sample: text-to-sound made using Max 8, SampleRNN
Even We’re Screaming
print, text, audio (02:57)︎
The piece focuses on the ongoing protest in Bangkok, Thailand where citizens are demanding the reform of the constitution and the monarchy. To examining the online residue of anger within our machines by using machine learning applications to investigate how the collective voice can be used to negotiate systems of dominance and whether the emancipated listener's reluctance to attend to these voices can be bypass.
On 4th June 2020, Wanchalearm Satsaksit, a Thai pro-democracy activist and alleged lèse majesté offender was abducted from his home in Phnom Penh, Cambodian where he took refugee as a political exile.Satsaksit was charged under Section 12 of the 1992 Act on the Maintenance of the Cleanliness and Orderliness of the Country for a Facebook post criticising Prayut Cha-o-cha, then the junta leader, and now, prime minister. Satsaksit’s disappearance ignited a series of events leading up to the 20th September 2020, where Parit Chiwarak and Panusaya Sithijirawattanakul lead the crowd to occupy Sanam Luang, an open-air park outside of the Grand Palace, demanding for the reform of the constitution and the monarchy.
The audio recording was taken from a Facebook live stream of the day where Parit Chiwarak and other activists presented a letter containing the ten demands to the public and the government. Accompanied by an English translation and the synthesised screams detected by FaceOSC and voiced via Max MSP from the screens that saw the protests.
Edited in REAPER, spatialisation made using Anaglyph plugin.