Sougwen Chung & D.O.U.G._L.A.S. (Drawing Operations Unit: Generation_3 Live Autonomous System).
What does it mean to collaborate with the spaces we inhabit, the tools we build? Where does “I” end and “we” begin?
48in x 48in
In Omnia per Omnia, I collaborate through a drawing duet with machines to understand my own engagement to technological complexity, as articulated by a multi-agent body, and represent how these technological systems see in contrast to humans.
We are living in a time of unprecedented complexity, our senses are currently whip-driven by a feverish new pace of technological change.
The activities that mark us as human, though, don’t begin, exist in, or end by such a calculus.
48in x 48in
48in x 48in
48in x 48in
Painting performances are 9 minutes in length. The collaboration is entirely improvised and showcases a process of human & robotic co-creation.
Omnia per Omnia (Performance) 2018
Remote Controlled painting, 1958
In Gutai Art, the human spirit and matter shake hands with each other while keeping their distance. Matter never compromises itself with the spirit; the spirit never dominates matter. When matter remains intact and exposes its characteristics, it starts telling a story and even cries out. To make the fullest use of matter is to make use of the spirit. By enhancing the spirit, matter is brought to the height of the spirit.
If we want our machines
to think, we need to
teach them to see.
-FEI FEI LI
(Professor of Computer Studies and AI Research at Stanford)
(BIO)METRICS OF THE CITY
The city of New York will become a conductor for multi-agent robotic agency. Motion vectors linked to DOUG_LAS robot system’s behaviour in the painting duet. Artist and this system of machines participate in the creation of an ephemeral portrait of a city in perpetual transition, the birthplace of E.A.T.
The first in a series of portraits of cities.
What do public cameras see?How do they see us? Recordings of the different states of the city via publically available surveillance feeds. Collecting states through the algorithm’s perspective: information about density, dwell, direction and velocity.
WAYS OF SEEING
The philosophical underpinnings of the Bell Labs Motion Engine captures the optical flow of a scene as opposed to the single object; it privileges the action of the collective (the behaviour of the crowd) over individual surveillance (face tracking and recognition). The latter way of seeing as fragmented and discrete. Do CV systems that view a scene as a composition of discrete objects shape a sense of modern isolation?
How can computational ways of seeing reframe a collective imagination?
Bratton, Benjamin H. The Stack - On Software and Sovereignty. MIT Press, 2016.
BERGER, JOHN. LANDSCAPES: John Berger on Art. VERSO, 2018.
Nusselder André. Interface Fantasy: a Lacanian Cyborg Ontology. MIT Press, 2010.
Rich,Adrienne. Arts of the Possible: Essays and Conversations. W.W. Norton & Co., 2002
Bacon,Francis. Advancement of Learning ; and, Novum Organum ; and, New Atlantis. EncyclopÃ¦Dia Britannica, 1955.
Tiampo, Ming, and Alexandra Munroe. Gutai: Splendid Playground. Guggenheim Museum Publications, 2013.
Shaviro, Steven. Connected, or, What It Means to Live in the Network Society. University of Minnesota Press, 2003.
Haraway, Donna. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies, vol. 14, no. 3, 1988
CÌapek, Karel. R. U. R. Vjesnik, 1986.
Stinson, Elizabeth. “What Artists Can Teach Us About Making Technology More Human.”Wired, Conde Nast, 15 May 2018, www.wired.com/story/bell-labs-eat-only-human-mana-contemporary/.
Abraham, Irina. “What Happens When Tech Engineers and Artists Collaborate? .” White Hot Magazine, 30 May 2018, whitehotmagazine.com/articles/bell-labs-at-mana-contemporary/3966.
Concept by Sougwen Chung
Director: Cutter Hodierne
Producer: Taylor Shung
Director of Photography: Matthew Clegg
Production Design: Arriane Alizio
Original Score by Chris Leung & Mickey Partlow
Prototype: Sougwen Chung
Motion Engine: Larry O’Gorman, Nokia Bell Labs
Technical Direction: Andy Cavatorta
Fabrication & Design: Young Buk
Camera Systems Design: Scott Peterman
Charlie Whitney, Domnhaill
Hernon, Aki Akiwumi,
Leif Percield, Ray Golden, Josh
Holtsford, Julia Kaganskiy,
Vida Chang, Neil Mendoza, Paolo
Salvagione, Sherry Wong
Commissioned by Nokia Bell Labs as part of
Experiments in Art and Technology artist
residency program, organized by New
Museum’s incubator NEW INC.
works by sougwen
F.R.A.N. Flora Rearing Agricultural Network (2020)exploring machine and flora as part of a sympoietic, self-supporting networked system with human as gardener.
Exquisite Corpus (2019)a performance installation exploring human, machine, and ecological bodies
Omnia per Omnia (2018)a painting performance with a robotic swarm connected to the flow of a city
Into The Light (2019)an audiovisual AR installation
Artefacts (2019)a human and machine collaborative drawing
Drawing Operations (2018)a human and machine collaborative duet
Drawing Operations (2018)soon...
Drawing Operations (2017)a human & machine drawing collaboration involving memory.
Drawing Operations (2015)a human & robot drawing collaboration involving mimicry
Chiaroscuro (2013)a spatial interplay of light and shadow as an immersive installation
Preparatory Gestures (2017)a series of sculpture studies in VR
Mycelia (2018)a series of sculptures inspired by bio-inspired cognition
Ecdysis (2013)a study in performative architecture
High Tide (Étude Op. 2, No. 4)a painting exploring the dynamics of change
The Limitless, The Absolute (2017)a painting inspired by the 八卦 Trigrams of the IChing
Cardia (2012)a short film depicting a transgression from interior to exterior
Apolysis (2014)a short film in collaboration with Clint Mansell
Untitled (Étude Op. 1, No. 1-4)a series of drawings exploring synesthesia
Chiaro Oscuro Prototypesa series of form studies with paper
Topographies (2015)a series of paintings inspired by nature and flow states
Dénouement (Recurrent fevers of unknown origin)
Copyright Sougwen Chung