In order to build impact within the public exhibition of our projects - a very strong and often critical form of “publication” - the concept of virtuality is tied to viewing conditions in physical space and embodies the character of the visitors’ aesthetic experience presented via technologized conditions. It operates on an intuitive, even subconscious level of audience engagement using various techniques that showcase the interdependence between the physical and/or virtual objects, space and perceptual process of mediated digital culture and heritage content. This is heretofore an unconventional approach in Malaysia. Each of our exhibitions, described briefly below has been iterative. We continue to add to each version and push the boundaries of creating meaningful ways to showcase the content and expand storytelling using new presentation techniques in the gallery, library, archive, museum (GLAM) environments. Each one functions as a living-experiment integrating technology with content in transformative ways. It has also serves to reveal new modes of communicating the meaningfulness of university research to broader audiences, using fresh expressive modalities via an exhibition in the public space.
PureLand AR employs iPad screens that visitors use as mobile viewing windows to explore the magnificent Buddhist wall paintings inside Cave 220, a cave dated to the early Tang from the Mogao Grottoes at Dunhuang in Gansu province, China. It is a pioneering augmented reality installation whereby the paintings and sculptures of the caves are rendered virtually within the architecture of a room which shares same dimensions to those of Cave 220. It creates a space for the conjunction between real and virtual formations that gives transacted aesthetic expression to Dunhuang’s Buddhist art treasury of mural paintings and sculptures. The exhibition ran in the Gallery at Sunway University, for nearly 2 months (Sep-Oct 2016). PureLand exhibition was a collaboration with Professor Sarah Kanderdine (EPFL eM+) and Professor Jeffrey Shaw (City University of Hong Kong), and the Dunhuang Academy, China.
The Mega Science exhibition was held on November 10, 2016 at Level 3, MATRADE Exhibition and Convention Centre (MECC). Hosted by the ACADEMY OF SCIENCES MALAYSIA (ASM) to show the participants where technology and science are headed in the next 35 years. It was attended by a large crowd. As the invited representative of Sunway University, the CRCDM team showcased creative content comprised of augmented reality (AR), virtual reality (VR), 3D printing, and immersive museology. The event was officially launched by YB Datuk Seri Panglima Wilfred Madius Tanga, the Minister of Science, Technology and Innovation who was keen to experience the CRCDM showcase at our booth.
CRCDM for the second year held its research-creation exhibition in the University. Titled “Transmedia”, it was a collective presentation of eight ongoing collaborative research-creation artworks produced by the Centre’s members. It ran for 2 weeks in the School of Arts, level 9 facilities and was experienced by an enthusiastic crowd of staff, students, and invited guests.
As a tribute to The Boatbuilder of Pangkor Island, the team at CRCDM decided to present the project research output in different forms of digital media from 3D modelling, 3D printing, augmented/ virtual reality, etc. The exhibition was held in the Gallery, Sunway University for 2 weeks (October 10-25, 2017). The exhibition also included a 12-minute documentary shot in HD documenting the entire building process of the wooden fishing boats. It was nominated for best documentary at the Canada-China International Film Festival in Montreal, Canada.
As a result of the CRCDM research-creation exhibition and participation at the Digital Heritage Congress 2018 in San Francisco, we caught the interest of the GOOGLE Arts and Culture Institute. Our exhibit was right beside theirs. In follow-up CRCDM further shared some of the digital heritage content we have created over the past four years. This lead to the signing of an agreement. With this in place CRCDM now has a presence on the Arts and Culture platform and the ability to access to GOOGLE technology for creating and showcasing Malaysian cultural heritage content, with worldwide recognition.
This exhibit asks what is at the core of photography? What makes it unique and why do we always return to it? It posits that what makes photography unique is what we find in amateur photography and specifically the act of photography itself. We will see how the act of making an image puts us in relation to the other that we see in front of the lens. With amateur photography we find that our relationship with the subject has more significance than the image made and yet it is this relationship that fuels how we have come to understand fine art and journalistic photography.
Associate Professor Dr. Ken Feinstein was a featured artist in this exhibition about the changing state of surveillance and security in contemporary culture. His work It Not a Vicious circle, It’s a Downward Spiral was exhibited there along with many other innovative media artworks. CRCDM sponsored the exhibition with a loan of our high-resolution projection equipment.
“The name Moses ... means, taken from the water, and so shall we be taken out of instability, rescued from the storm of the world-flow.” Meister Eckhart. Using images reflected on the surface of water and sounds from above and beneath it, this audio-visual work is an expression of Eckhart’s ‘storm of the world-flow’ and of how spiritual practice can be understood to modulate its ‘instability’. It is a translucent suggestion of such process: change amid stasis, progressive cyclical transformation, interplay of form and knowledge – seen/unseen, known/unknown. www.klexfilmfest.com
1 ~ Aural Diversity Conference. Attenborough Arts Centre, University of Leicester, UK (Nov-Dec, 2019)
2 ~ DigitalHERITAGE 2018 New Realities: Authenticity & Automation in the Digital Age. 3rd International Congress & Expo, San Francisco Art Institute, USA. (November 2018)
3 ~ Transmedia // A Digital Storytelling Exhibition // School of Arts, Sunway University, Malaysia. (November 2017)
4 ~ SONOLOGIA’16 OUT-OF-PHASE, International sound studies conference. NuSom – Research Centre on Sonology, University São Paulo. (Oct 22-25, 2016)
In January of 2019, the CRCDM co-sponsored with the Geothe Institut, Malaysia the exhibition Paralogical Machines at Wei-Ling Contemporary in Kuala Lumpur. The exhibition presented works by leading media artists from around the world. It focused on questions of how media art is developing in an age where the image can become more environmental. It asked what happens when the image leaves the frame to engage with us in a more direct fashion. Kenneth Feinstein curated the show as well as exhibiting his work - Post Box Cinema, a project first developed through a grant. This exhibition comes out of continuing work focusing on media culture and how it has been developing in contemporary culture.
CRCDM was invited by Dr. Welyne Jeffrey Jehom - Director of CMIS - to exhibit our work during the World Indigenous Day Celebration, at the University of Malaya,. The event was officiated by Director General of JAKOA (Department of Malaysia Indigenous Advancement) Prof. Juli Edo. Later in the evening, the exhibition was visited by Deputy High Commissioner Carissa and team who witnessed out projects on site.
PNC 2019 Annual Conference and Joint Meetings Regionality and Digital Humanities: South-South Connections, 15–18 October, 2019. NTU, School of Art & Design, Singapore
This digital multimedia work explores the possibility of advocating cultural heritage and communicating its value and meaning through contemporary artistic modes of presentation. Based on fieldwork in Kelantan and Terengganu, it seeks, in particular, to present the philosophical approach to woodcarving of the master-carver Nik Rashiddin. In an interview shortly before his death in 2002 he speaks of an intuitive inner guide (guru asal) that bonds craftsman and craft with tradition and ancestry, and of the profoundest connection with the earth as the legacy of civilisation to the craftsman.
This research-creation project, driven by a sound-based narrative with video imagery and by virtue of its special communicative qualities as arts practice, seeks to evoke such a ‘meeting with the craftsman.’ A meeting determined by an experience that, through immersive sound and vision, draws out our shared sensibilities that are in sympathy with the earth, with soul and spirit, with water, wood, and stone … that we ‘may enter’ to experience the meaning and value of Malay woodcarving in a new and vital way.