Weng Wei Hsiang                      About







                               






       








      Quantumscape 1.2

            Work in progress


            A project about the responsive environment
            entangled in between living and inanimate systems.





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Investigation | 18 March, 2020, 12:19-16:58 GMT
River Thames (Hammersmith Bridge), London, UK 
51°29'24.7"N 0°14'17.8"W
Archival digital mapping on mixed reality
2020



                     

Latent Land





Tide is a unique temporal environmental phenomenon, caused by combined effects of gravitational forces exerted by the Moon and the Sun, and the rotation of the Earth. Its change varies on time scales. In River Thames, the time range of tidal changes is around 4h 17mins at the time, which is less than the minimum time scale that Google Earth can accurately describe its ebb and flow and the shifting bank line.






To refine extra dimensional digital representation geographically. I used a photogrammetry technology as my measuring device to orbit and to observe the overtime changes. Since the optical scanning performance of the measuring tool was disturbed by the flux reflection of the flowing river surface, this investigation had unexpectedly revealed an emerging land that thus auto-generated from the machine’s failure/mind.

Our landscape is being morphologically transformed by the entanglement of both environmental and technological factors in the era when technology is increasingly becoming our priority sense.

                         

















Blocks that were misidentified during image depth recognition process.










Scanned area




































   
 





Investigation, In collaboration with Aerocene Team | 10 September, 2019, 5:23-19:45 GMT
Olympiapark, Munich, Germany 
48°10'14.4"N 11°33'15.9"W
Airborne sculptures | Plastic film,  Atmospheric currents, Solar radiation
2019


Aerocene -
Rethinking Environmental Sensing
with Tomás Saraceno




Aerocene is a series of experiments launched by Argentinian artist Tomás Saraceno with airborne sculptures aiming to explore the possibility of environmental sensing. Mobile structures made of black plastic membrane, like a bloom. It applies atmospheric physics principles that rely on solar radiation from the sun during the day, and infrared from the surface of the Earth at night. Its inflatable technology with zero carbon emission for air transportation allows them to be navigated solely by atmospheric currents.

The balloon-like sculpture which is as light as air, and is surrounds by the air. Essentially, the structure itself could be viewed as just another type of air driven by atmospheric currents. But the thin film on its surface turns the air into a tangible object, revealing the opaque politics of border crossing. After reporting to Air Traffic Control between countries, the floating structure (83AQI) was free from borders. It launched from Munich, Germany, on 10 September 2019 at 5:23, flew 247.9 miles and back down to the Earth on the same day, in the evening near Sloupnice, the Czech Republic, at 19:45.


As with the film on the surface of the sculpture makes a clear air division but allows solar radiation to infiltrate, divisions can also be a cultural or a political affair function in the same state. Delimitations such as borders are geographic boundaries of political entities, airspace is the portion of the atmosphere controlled by a country above its territory. To cross these invisible boundaries requires a hierarchical authorisation. They are dominant division imposed over the natural environment through human agency.

Here, the boundaries whether visiable or invisiable, it stands at the intersection of connection-division, and block-osmosis. Due to these shifts of the instability, indeterminacy of boundaries, we are potentially displacing the localities between ‘over here’ and ‘over there’, reverse ‘inside’ and ‘outside’.













































Reshaping


Kinetic installation | Elastic material, Mechanical systems, Metal structure
Dimensions variable
Two parts, each: 150 x 150 x 80 cm
2010



Reshaping is a living topographical structure that is still evolving, with an embedded configuration concealed behind its external form.
Assuming that nature is a force that could be extended, manipulated, and is a medium that is free from natural physical constraints, how, then, could we manipulate nature, and how could it be presented? Composed with a morphable, flexible interface, a mountain is slowly pushed up by the mechanical structure hidden under the interface of this art piece, and it slowly ebbs and becomes flat again. Another island also gradually caves in towards the center till it completely disappears. The two progress in spectacular ways but are also canceling each other out to simulate a sense of balance in nature.











Reshaping History


Kinetic installation | Elastic material, Mechanical systems, Metal structure
Two parts, each: 250 x 160 x 60 cm / 8 min
2011


Reshaping History is a digital landscape attempts to alter or extend the space-time contained in the particular flat but shinning piece of history, creating a new scenery that is independent from reality.

The video consists of a waft of flowing cloud, a piece of enormous rock, and a mechanical structure that is controlled by a special computer program that prompts the morphable, flexible interface to push, contract, flatten, rotate, which makes the waft of cloud to rapidly move at times and to flow according to the traction created at other times. On the other hand, the originally stiff texture of the enormous rock is altered and turns into a soft landscape in motion. Reshaping History extends Eastern landscape’s perspective of not being bounded by physical realness and focuses on its integral notable feature of placing emphasis on subjective reality, as it uses a digital approach to raise questions about our dwelling place and time.









Walking on a Passage


Walking drawing | Pencil on paper
Two parts, each: 91 x 91 cm
2018

41°49'34.8"N 71°24’27.5"W-
41°49'34.3"N 71°24’29.4"W-
41°49'32.8"N 71°24’28.1"W-
41°49'33.3"N 71°24’26.7"W-
41°49'34.8"N 71°24’27.5"W-
41°49'35.2"N 71°24’26.0"W-
41°49'33.8"N 71°24’25.1"W-
41°49'33.3"N 71°24’26.7”W


2 Oct, 3:23-3:37 PM, Providence, USA



“Our sensory systems activate only in the presence of change, and our cognitive awareness of heat, light or sound is not of the environment at all, but of the manner in which our own bodies are reacting to the environment.”

-Michelle Addington, ”The Phenomena Of The Non-Visual”


Cognition arises through a dynamic interaction between an acting organism and its environment. Our environment is
thus considered as one type of perceptible order, which we selectively create through our capacities for interaction. When we perceive, the abstract information is extracted from its context; once they translate into an internal representation, it becomes independent from its origin and is able to be processed and manipulated. The intention of this project is: to observe our fluid bodily changes and self-adjustments toward space and time.

I connect the fluid concept of perception to a tangible mapping while walking. How does a landscape look like via my feeling or others?

To experience a spatial passage. I measured and documented the feeling of light, temperature, sound, and space in numbers simultaneously both from my body and from digital sensors. Translated them into concentrations of charcoal line base on the biological and digital sensory datasets, I walked on a circle in Providence, and my body experienced two distinct versions of a passage.