March 12-Midterm Studio Visiting Feedback

March 4,@3pm

Meeting with Peter Patchen:

1. He saw I want to make a kinda mysterious and luminous light box space. He suggest me to make an arch as my screen which looks like the picture that I shoot in David Zwirner Gallery in Doug Wheeler’s work space.

In addition, he said the text part maybe just scattered on the floor, and people can play with them by rise/fling them. And in another way, when these words come cross together, they maybe like magnet and connect to each other or become a new word.

Another way, Mindy said to me, if these words can stay in the middle of screen and floating in the air. That’s should be cool and make some sense of the specific words that participants made. (Good suggestion!)


arch draft 01


Pratt DDA GALLERY may look like this if I share with somebody.Image

Reference for this idea.

The most important thing that I need to do is find the real impressive content that I want to use in this project as the text content. He recommend that I go to re-read the A Lover’s Discourse Fragments by Roland Barthes in paper version and make note in the book. Then I can use this note combine the quotation from the book. That reflect my personal reading experience and share with my audience by this interactive work.

From Kate’s suggestion:

I talked my idea to her, and I think she is more impressive for my temporary name, Slow River. She said if I make my screen as shape as river, that could be more connect with the name. Although I even don’t know if I eventually will use this name or not, I still like this idea which fit my concept about passage of time as a long and slow river.


Here is the little draft and the reference of the river shape. Her suggestion remind me of the famous sculptor Richard Serra.


-Peter Patchen Vol.2

1.surreal world.

2.reading and watching which represent text and color are totally different two experiences for people.

3.As long as you ask people to add words, you have no control.

4.He recommend an artist, Ben Rubin whose work named Listening Post is quite useful for my work concept. That work transformed sound to text and display in LED digital output as an audiovisual installation.

Inspiration: why not just record the environment sound by audience and display the text(which generate by sound and convert to specific text by programming) in the screen.


March 5,@3pm

Meeting with Liubo:

1.mysterious space.

2.User add words by sound?

4.text floating in the air(hologram)

6.physical light is better than projector, and more easy to complish the atmosphere because projector always be a rectangle.

7.How people doing with text?

8.separat element: color and text

9.color is more easier and directly

  1. text: the content is high level.
  2. people gonna to read it definitely.
  3. meaning of small text unit
  4. what’s the interaction process.
  5. when texts connect to each other. poetic.
  6. pure. simply . profound. / many layers of thesis
  7. encourage to think content. why you choose this book??
  8. what is your making? you don’t need to like someone else’s work
  9. play words and create sentence is completely different thing. like a game.
  10. text is meaningful for you.
  11. is the story or is the game. how do I get back the meaning? fragments from the story,
  12. If It is game. it is a completely different thing ,design interaction more than the story. Happy words. What’s kind of word I can give them?
  13. more visual part about the text. -not only effect, design experience.
  14. think about more beyond the effect, maybe more layers in work, beyond technology. use technology to do sth that visually very interesting and make them happy or think by this work.
  15. Liubo said I recommend don’t just use text as  graphic element.


March 6,@10am

Meeting with Linda:


  1. fluid liquid motion
  2. cloud. replace particles.
  3. Light box when people stand outside of my installation room.
  4. blur the boundary between real world and virtual world. I almost said to every teacher that I want to do sth like that.
  5. Linda ask me why I use “a lover’s discourse frangment” and why I use English. She let me pay attention to language and what kind of language, what language is matter for me.
  6. We mentioned Xu Bing who is a Chinese Famous Artist and famous by his work “Tianshu” which tranform the shape from Chinese Character to English Letter.
  7. She don’t think I need to make some words that culturelly yours. Since your working with language, it’s an obvious thing and an obvious question, because
  8. arbitrary. ramdom.
  9. Bible Story about language. but it is too difficult for me to understand and even put in my words.
  10. transform from inspiration to my own work
  11. the words themselves abstract. don’t need the book. don’t have to repeation.
  12. text only as visual element. maybe they moving, flickring..

13.josef albers.

14.color transition-color spectrum.

15.form depends on the movement. like river.

16.Maybe there is a way to make the movement through the space. the audience’s movement reflect in term of the physics, flow liquid flow. or air flow.

17.fluid dynamics


  1. the liquid itself matters.
  2. keep the color simply
  3. text as the texture, and I will try the fluid movement by color and texture. it is particles. text become the particles.
  4. explore more before you decide, in term of the content of words, you need very careful what you choose.
  5. make audience inspired, vine and blood.
  6. good solid aestheic sense, instinct, not doing choose sth that you can’t manage.
  7. simply, not complicated. dig and deepen. make
  8. not a day. lifelong

March 6,@10am

Meeting with Andy:

Andy: about carol diez‘s work

2.Andy is very nice and he said he gonna introduce a light designer to me and I can inquire some questions about light environment.


March 7,@1:30pm

Meeting with Bryan:

1.audience is exploration the space. like paint floor. when you go into this room, everything  is normal. but when you touch. you can find you own sound and words.

inspiration: people use temporary sensor, and use their body language to build a text wall. people didn’t even know they already participant.

2. web-based work.

3.make a small room that more easy, and people go into this room, like go to explore sth.

4.text is more familiar to us. when you do some language in to a visually world. people will go quickly to the language part. cuz hard to understand. read them. easy to let us to know what’s you want to tell me.

5.Changllen your language. abstraction. Changyu Chen’s combination. use text in a strange way, Xu Bing.

7.text floating in the air. maybe here, maybe there. explore by audience

8.light is mysterious, but text is too direct. Text should be mysterious too if I gonna use light as a supplymental thing.


March 7,@3pm

Meeting with Carla:

1.color represent text/data.

Laurie Frick your color and text system

3.Bang Geul Han.

4.logic is important.

5.Data site.

6.Data = key your color system from the text which as the data source. text may don’t have to show up.

8.Metaphor between color and text visualization:jonathan harris-we feel fine

we feel fine

Note: Feb.27 In-Class Studio Visiting with Liz and class

Two Aspects:

Color Spectrum:

1.Think about what those specific color come from?

(from sunrise to sunset, or natural color from weather and season, or specific color picked up/collected from Brooklyn/NY neighborhood? anyway, color selection concept);

2.Do research about how can I transform one color to another which make people feel tranquilly and comfortable. (Principle of color spectrum and James Turrell)

3.How can I make the slow transforming of color?(Max or video loop, or chaining depend on audiences in real-time)


1.Database as symbolic form by Lev Manovich(PDF BOOK)

2.The Drawing Center in NYC()

Do like this piece and exhibition! (But it was down already!~)

3.Jenny Holzer(almost text work)

OMG! That’s what I want to see.

4.the cut up method of Brion Gysin


(Thanks! Liz!)


By the river Piedra. I sat down and wept by Paolo Coelho


(Thanks! Mindy!)

Preliminary Thesis Research Document Draft

Thesis Proposal:February 26, 2014

Chang Liu, DDA 617, Graduate Seminar II, Professor Liz White

Tentative Title: Slow River

Interactive Art MFA, Fall 2015(anticipated)


General Topic:

Slow River is a multimedia spatial and an interactive installation, and it seeks to detach the audience from “countable” time by providing optional contexts with subtle variations of natural color and independent pieces of literary text. 


Connected to time and sensory perception, my core concept is to create an immersive meditational environment for audiences, arousing new thoughts regarding their own passage through time, which goes along with a series of gradually changing colors. Color spectrum is also an expression of the natural landscape, which stands for time, climate and seasonal transitions. In addition, the text is provided as a new reading experience, reshaping the sensation of color and text. In term of interaction part, some unexpected things may happen in the interaction process, which is sort of a new understanding of audiences themselves. 


Slow River is a time-based and site-specific work. It may presented as multiple forms. I would like to provide the user experience with peaceful, mysterious and fantastic. The space may look like a luminous box. The visual part like lights is soft and transitive, blurring the boundary between physical world and virtual edge, as if the room is a surreal world which is totally separated with “outside world”.

Text is my main information architecture in this project, its content may come from a famous book/poem/article but be disintegrated in a few words or they consist of adjective vocabularies of characteristic and using for interactive part. 


My aim is to create a new sensation of interaction, combining the color spectrum and text/words with literature meaning. Based on those visual elements’ subtle changes, audiences can fell sort of sentimental emotion of time. 

Text, words, data information, color spectrum can be combined together to create a poetic space and arouse audiences’ thinking, deepen their sensory experiences.


The slow and subtle change entirely expressed the transition from vision to perception. This is a new sensory process, challenging the experience that you appreciate a painting work. The relationship between audiences and artwork is not only viewing, but also is a process that fact to yourself, exploring yourself, obverse yourself outside your body. As development of this project, it will be a profound discussion about believe of human and machine.

Thesis Research about Color Theory of James Turrell

Leonardo da Vinci wrote volumes about the importance of light in rendering nature;
Romantic artists described the sublime through light;
as well as how the experience of light reflects the wondrous and complex nature of human perception.
As the artist himself explains of his work, “Light is not so much something that reveals as it is itself the revelation.
Turrell applied this approach to nothing—no object, only light and perception.
Turrell has created opportunities for us to experience it as a primary physical presence rather than as a tool through which to see or render other phenomena. Viewing his work, we are called upon not to consider what is being lit but instead to contemplate the nature of the light itself—its transparency or opacity, its volume, and its color, which is often perceived as changing, thus adding a temporal aspect to the experience.
removing the distance between the perceiver and the object perceived in order to see “truth” is an ongoing concern.
Renaissance artists utilized color for its symbolism and to enhance the naturalism of their compositions…
…….in the seventeenth century, Sir Isaac Newton defined the optical spectrum of color in terms of absolute and universal wavelengths of visible light.
In the early to mid-twentieth century, Josef Albers demonstrated in both his teaching and painting that our perception of color is entirely dependent on the context within which we see it.
Turrell’s art does not illustrate these leaps in understanding but embodies them.
The actual experience of light in Turrell’s constructions often defies our expectations—whether it is seeing a circle reveal itself as an ellipse or wondering how the world outside a Skyspace can seem from inside as if it has been painted a deep shade of blue or red or green.
The greatest revelations borne by Turrell’s art are a deeper understanding of what it is to be a perceiving being and an awareness of how much of our observation and experience is illuminated by the “inner light” of our own perception.
Turrell often refers to the brilliance of color experienced in a lucid dream when the eyes are closed—or to the Quaker practices of his religious upbringing, which describe meditation as “going inside to greet the light.” The Quaker concept of “inner light,” which is shared in a collective silent-prayer meeting, is echoed in the experience of Turrell’s Skyspaces—in the collective silence, duration, and receptivity they induce.

I’m interested in the revelation of light itself and that it has thingness.

It alludes to what it is, which is not exactly illusion.

Amba, 1982.
Coutesy of the Mattress Factory, Pittsburgh

EAK: Your work also focuses on an architectural relationship between perception and space.

JT: I’m interested in delving into and exploring the architecture of space created by light. Mostly we have dealt with space by displacement or massing of form. While there is an architectural vocabulary referring to the space between, this has rarely been enlivened—it’s more rhetorical than actual. The art that I make covers this ground between form and actually forming space using light. For example, when the sun is shining, we see atmosphere—we can’t see through the atmosphere to see the stars that are there. The same applies if you are on a stage with footlights and stage lighting—you can’t see the audience. However, if you step in front of the footlights, the audience is revealed. The space is architecturally the same, but the location of the light actually changes the penetration of vision such that some people see each other and others cannot. It is a structured space without a massing of form. This quality of working the space in between so that it limits or expands the penetration of vision is something that intensely fascinates me.

It means that the containing form has to be made somewhat neutral. What you’re looking at is that in-between zone, not formed or made by the massing of material. This has a lot of ties to architecture, but not the sort of architecture that we use to build everyday structures. It certainly isn’t how we light our buildings. Architects make a form and then they stick the lights in.

EAK: What criteria determine the structural configuration in relation to the selected hue or tone?

JT: That actually has changed over the years. I make this work for an idealized viewer. You might say that’s me. The idealized viewer has changed and matured. He has become more circumspect. Color has to do with the kind of work I’m doing—whether I want opacity or translucency or transparency. How I want it to penetrate or to be stopped. The milky colors of a Japanese kimono are very subtle; in contrast, Korean culture evinces a brilliance of color with very deep saturation. I work between those two approaches—each has enlightened me. It’s very different in light than with physical material; the first and most important thing one needs to do is to throw away the color wheel, because it provides misinformation. If you’re going to work with light, you need to learn the spectrum. We’re making an immense mistake by moving the color wheel into the computer. If you mix blue and yellow with the earth, which makes pigment and reflects color, you’re going to get something near green. But if you mix blue and yellow with light you’ll get white, which surprises most people. We really need to look at the spectrum and have a different way of thinking about light. In general, we’re a surface culture and tend to look at and speak about reflected light because of our tradition of painting.

EAK: How did you begin to use light as a medium?

JT: The history of art is a history of looking at light. Perhaps being American, I was interested in a less vicarious form that actually used light itself. I started out by dealing with a picture plane and the traditional presentation of light in painting. I can remember Malevich talking about how the paint was on the surface like the thinnest of membranes. If you put light on the surface, it’s even thinner. But plastically, it’s very effective in terms of the space it creates in front of it or beyond it. That was really a way to look at a more direct perception: rather than being something that’s about light, it is light. The light is actually turned and directed right to your eyes. The light inside that space is invasive and penetrating. This direct experience of light is the difference between watching football and playing it. I think that we’re an active culture in that respect, and
so it was an easy step for me.

EAK: You make something from nothing—an illusion?

JT: Yes; however, I don’t think it’s all that illusory. Although light exhibits wave phenomena, nevertheless it is a thing—it is optical material. But we don’t treat it as such. Instead we use it very casually to illuminate other things. I’m interested in the revelation of light itself and that it has thingness. It alludes to what it is, which is not exactly illusion.

I’ll give you an example. We tend to think the sun rises. In fact, the earth is actually sinking or spinning down the other way. You probably have been in a train when the train next to you moves, and you feel like you’re moving, but you’re not. It just appears that way. At Roden Crater, I have one space where I remove all reference to level, so your only frame of reference is the stars in a circular opening. Actually it’s elliptical but you see it as circular. That’s your frame of reference, so the strange thing is that you feel yourself tilting in reference to the stars. You can say this is an illusion, but that’s actually what’s happening. To get that sensation you have to have a different quality of light in there. In that way, they’re not illusions, because that’s actually reality.

EAK: Several site artists from the time you began working, including Robert Irwin, Michael Heizer, and Robert Smithson, felt that science and technology propelled them to look beyond the earth.

JT: In the late ’60s, I became interested in James J. Gibson’s idea of ecological psychology. Learning to work with this material, light, to affect the medium of perception was something that I had to get used to. My technology is extremely simple. My work might inform a scientist about art, but it doesn’t in any way raise notions of science or technology.

Light is something that I had to learn how to mold and form, because it isn’t formed with the hand like clay or hot wax. It’s more like sound. You make instruments to create what you want. I learned to do that by trial and error. I used a big projector and at first, it was really hard to form and control light. Gradually, I began to understand light as a substance that I could shape. I could see the evolution in the work. However, neither science nor technology actually influenced how I learned to work this material. The late ’60s and early ’70s were a contradictory time. On one hand, we were going to the moon, and anything was possible. On the other hand, despite technological advancements and euphoric attitudes, we were conducting a war in Vietnam and my generation was up in protest.

Also, artists were zealously idealistic in thinking that people were going to buy and collect ephemeral work. There were a lot of losses along the way for artists who had amazing and wonderful talent but nowhere to actualize their ideas.

Aten Reign (2013)

Critics attempting to describe Turrell’s installations often rely on terms like “magical” and “transcendent.”

James Turrell’s latest site-specific work,

What’s site-specific work?

Light is, by its very physical properties, impossible to capture and define: it is possible to confine the reaction of light with chemicals, but the experience of existing within and fully understanding the colour spectrum is inexplicable. – See more at:

Colours have become symbolic of emotions and thoughts, taking on animate qualities and connotations that surpass their scientific properties just as light itself has come to symbolise “inner light”, elucidation, and when featured in religious iconography, the light of God. – See more at:

Rudolf Steiner (b. 1861) and Hilma af Klint (b. 1862). Each of these artists explores in some way the relationship between the physical environment, light, and colour, and how the essential physical properties of each can be altered through their interaction. – See more at:

Just mark:


  • Doug Wheeler:
Related field/knowledge:




Kind of clear thesis idea after last weekend

Last week, I felt so frustrating, because I still confused about what is my specific idea/topic that I really concern and what’s kind of form that I should take and come up with in following one year. I’m fascinated in several areas in digital art field, such as 360 immersive space, spatial installation, light installation, big screen and so on. In term of topic, I also interested in some key fields, but kind of different  directions and can’t be combined , such as sound visualization, text interaction, light and color, body language, perception, immersive experience. etc. I found many references related to these keywords. I felt exciting in that time, but finally I found I’m totally lost and can’t find the favorite one.

At first, I try to figure out a “prefect” idea which can involved in all the parts what I concerned and be presented in a complete way whatever in visual part and technological/interactive part. Then, I realized that is a huge aim, kind of impossible. Especially in digital art field, new information in concept and technology update every second. We all can’t catch them all and I need time to digest those knowledges and information. It’s overwhelming!!

From last Wednesday, I met with Madeline. I started to reconsider what is the most important part of artwork, and what is the core concept of my thesis idea. Lack of powerful concept, work is just like a technology demonstration. (quota by Mindy) From there, I ask myself “why”and“why not” when an idea come out in my mind. In addition, last thursday, I talked with Liz, Liz pointed an important point for me: user experience. Yes! What’s kind of atmosphere/environment you want to create?(peaceful, playful, meditation, mysterious……); what’s feeling that you want to convey to your audiences from this work? Those are good questions!!

I organized all my inspiration materials. I make some categories as concept, technology, vision, interaction, new inspiration, sound and so on. Gradually, I found my idea become more and more clear, although I have to give up some of my favorite idea/concept, may separately put in another projects. Thesis project only need one main concept, otherwise I will get more and more confusing in following period. As I discussed with Mindy, this process is kind of painful, but it is necessary to make ourself more clear what I want and what’s important.

So, here.

Thesis Idea Abstract:

  • Core Concept: Using color spectrum as main visual elements to express the pass of time, and rethink the perception of human in their experience and this process, creating an new sensation of interaction, combined color spectrum and text/words with literature meaning.
  • Visual Aspect:-Color Spectrum, Gradual Change;Text/Words as main information architecture.
  • Form: Installation/Spatial Installation
  • Materials: LED Display, LCD Display, Projector; Super Veil(from book,Senseware by Kenya HARA),Fabric as screen;
  • Hardware&Software: Max/Msp, Processing, Arduino, Web-Camera(HD) (for tracking); Kinect/Faceshift for depth capture/detection; website-database for providing text(words) content; social media(twitter,facebook) for interaction platform;
  • Interaction:Audience visiting time-color-words accumulation-words/color subtle changing by time pass
  • Draft:photo 3 photo 1

    IMG_20140227_0001IMG_20140227_0002 IMG_20140227_0003IMG_20140227_0004IMG_20140227_0005



List of Midterm Studio Visting Faculty

Current Schedule:

Peter Patchen-March 4, Tuesday, @3pm

Liubo-March 5, Wednesday, @3pm

Linda-March 6, Thursday, @10am

Andy-March 6,Thursday,@4:15pm

Bryan-March 7, Friday, @1:30pm

Carla-March 7, Friday,@3pm(tentative)


1.Peter:general topic suggestion
2.Liubo:technology requirement+interactive possible
3.Linda:conceptual discussion/deepen concept/make more powerful
4.Andy:  hardware recommandation/budget acknowledgment
5.Byran: Performance social meaning/human relationship/time,space
6.Carla: completeness of artwork, scope of work, vision suggestion, exhibition suggestion

New Inspiration for thesis

Ellsworth Kelly (born May 31, 1923) is an American painter, sculptor, and printmaker associated with hard-edge paintingColor Field painting and theminimalist school. His works demonstrate unassuming techniques emphasizing simplicity of form, similar to the work of John McLaughlin and Kenneth Noland. Kelly often employs bright colors. He lives and works in Spencertown, New York.

I went to Met and found his work in a new special exhibition which is a contemporary art exhibition, especially focus on pop-art in 1950’s-1960. My thesis idea is more and more clean during this period. I actually give up some ideas, although the process is really painful and struggle, because I kind of like some different directions things, I must get rid some of them. I mentioned Kelly, because the vision of my thesis will related to the subtle change of color.