Assignment 1: Precedent Study & Critical Analysis
Introduce
Performative Media_ Assignment 1 Brief.pdf，作者 tian dongWe need a team of four to complete this, with a deadline of October 17, 2025. Teams are required to select two international/regional/local media artists or groups (each artist should research two representative works, for a total of four works). The presentation should be completed using a 15-20 page PPT (exported as PDF). The presentation must include three sections: artist background (2-3 pages per artist), case study (4 pages per work, covering six dimensions: background and purpose, technical tools, IPO model mapping, audience role experience, aesthetic atmosphere analysis, and effectiveness evaluation), and reflection and application (3-4 pages). The presentation must also include relevant visual materials and references from at least three credible sources (APA/MLA format). The presentation will ultimately be evaluated based on six dimensions, including research depth, case analysis, and reflection on aesthetic experience, according to the corresponding scoring criteria.
(WEEK 2)
There are 4 of us in a group, Xinli, Shaiba and Obata. We are Group 6.
We started the discussion in class and assigned tasks to each of our groups. Xinli and I were in one group, and Shaiba and Obata were in another group. We were responsible for analyzing one of the works of an artist. Xinli and I planned to analyze the artist Daan Roosegaarde.
Daan Roosegaarde
The reason why Xinli and I chose this artist is because we feel that his work is closely linked to the theme of "technological poetry + sustainability," with clear technology (LED, sensors, etc.), complete IPO logic, diverse audience roles, and rich aesthetic analysis dimensions. It not only meets the requirements of the assignment for multi-dimensional decomposition, but his practice of using art to solve real-world problems can also provide reference for subsequent projects. It is a typical case of performative media research.
Later, we selected two of his works, PRESENCE and GROW.
I chose to study and analyze PRESENCE.
(WEEK 3)
Xinli and I completed a research on an artist.
The entire production process has given me new insights, from researching materials and analyzing techniques to understanding the philosophical ideas behind the work.
The following is a record of my thoughts and experiences while creating the PPT.
🧑🎨 Page 1: Artist Introduction
When I began working on my presentation, I first researched Daan Roosegaarde's background.
He's an artist from the Netherlands who has long focused on the relationship between technology and society and between humans and nature.
When I read that he calls his work "social design," I felt he was unique—
because he doesn't simply showcase technology; he uses it to evoke emotional resonance in people.
For this page, I wanted to showcase his creative spirit: technology is not just about function, but a form of poetic expression.
🌌 Page 2: Background and purpose of the work
Next, I analyzed the background of the work "PRESENCE."
Exhibited at the Groningen Museum in the Netherlands, it uses light and interaction to allow viewers to see the traces they leave in the space.
While researching, I was struck by the concept of the work: it doesn't present a "result" but rather a "process of existence," allowing one to experience the connection between time and the body.
When creating this page, I wanted the tone of the presentation to be gentle and calm, much like the work itself.
⚙️ Page 3: Technology and Tools
This page took me the longest to understand.
The work utilizes photochromic and thermosensitive materials, pressure-sensitive flooring, and a lighting control system.
I researched extensively to understand the principles of these interactions and speculated that they might be integrated using systems like Arduino or TouchDesigner.
When designing the layout, I hoped the image would convey a sense of "fusion of technology and art" rather than simply listing the technologies.
🔄 Page 4: Input → Process → Output
On this page, I summarize the interactive process of the work.
The viewer's movements, body temperature, and touch are captured by sensors, which then trigger lighting changes through a program, ultimately leaving luminous traces on the floor or wall.
I think of this "input-output" process as a rhythmic breathing—
People make the space glow, and the space responds to their presence.
In designing the PPT, I used tables to clarify the structure and make the logic clear at a glance.
👥 Page 5: Audience Experience and Roles
For this page, I'm primarily considering the role of the viewer.
In this work, viewers aren't just observers; they're co-creators.
Their every movement transforms the space, and this sense of participation transforms "art" into a conversation between people and space.
When creating this page, I hoped the image would convey a gentle sense of interaction—a sense of playfulness coupled with quiet contemplation.
💚 Page 6: Aesthetics and Atmosphere Analysis
Here, I focused on analyzing the work's lighting, rhythm, and spatial atmosphere.
The soft green light and slow rhythm create a meditative atmosphere throughout the space.
I attempted to echo this feeling on the page with clean typography and soft colors.
I realized that light here isn't just a tool for illumination, but rather a medium for emotion.
It invites viewers to slow down and appreciate the flow of time and their own presence.
💭 Page 7: Effectiveness & Critique
Finally, I summarized this work from the perspectives of both "effect" and "critique."
I believe its greatest success lies in the intuitive way the viewer understands the interaction—they can see the impact of their touch.
This instant feedback makes the art emotional and engaging.
Aesthetically, I feel the gradual shift and fading of light perfectly align with the theme.
It uses visual language to express the concepts of "time" and "disappearance," making the viewer aware of the transience and preciousness of existence.
This week, we showed our PPT to the teacher, and he said we did a good job and asked us to continue with the research.
(WEEK 4)
After Shaiba and Obata finished writing another artist research, I worked on the last part of the Reflection and Application. I answered the four questions in the Reflection and Application PDF provided by the teacher and asked other groups to help me check if there were any problems and help me make changes in the PPT.
🌱 1. What lessons can your group extract from these artists’ approaches?
The biggest revelation I learned from analyzing the works of Daan Roosegaarde and Studio Drift is that technology isn't just a cold tool, but a medium that connects people, nature, and emotions.
Roosegaarde's "Presence" made me realize that interactive installations can present traces of human presence in a poetic way, rather than simply showcasing technology. Each person's movement becomes a light imprint, a romantic approach that invites reflection on "what we leave behind in the environment."
"Grow" showed me how technology can play a practical role in nature—it transforms light into art that helps plants grow.
Studio Drift's work focuses more on the connection between the body, nature, and emotions. "Unfold" uses heartbeat sensing to evoke a sense of the relationship between inner rhythms and natural growth; "Murmuring Minds" uses swarm intelligence algorithms to depict the interaction between the individual and the collective. They all made me realize that art isn't just a visual experience; it redefines the relationship between people and the world.
💡 2. How might these insights guide your own projects later in the module?
These works have made me rethink how I approach "interactive" work in the future. In the past, I might have focused solely on functionality, like "triggering lights" or "detecting motion," but now I'm more concerned with why viewers engage and what they experience after participating.
In my next project, I'd like to experiment with having viewers' actions "recorded" or "echoed," like in "Presence," where their presence leaves a fleeting trace in the space.
At the same time, I'd also like to incorporate sensory rhythms and atmospheric design to create an emotional ebb and flow throughout the experience—from exploration to engagement to reflection.
Simply put, I hope my work "responds" to people, not just "reacts to their actions."
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🛠️ 3. Which tools or techniques could you adapt or experiment with?
Through this research, I've been drawn to a variety of technical approaches. I'd like to try:
• Using pressure-sensitive mats or infrared tracking to sense audience movements;
• Using TouchDesigner or an Arduino + LED system to create dynamic lighting and shadow effects;
• Experimenting with heart rate sensing or voice input to convert audience body data into visual feedback;
• Investigating algorithmic group movement (like in "Murmuring Minds") to explore the interactive relationships between multiple elements.
These technologies are not only interesting but will also help me gain a deeper understanding of the logic of "interaction and feedback."
⚠️ 4. What pitfalls or limitations did you notice that you want to avoid?
While analyzing these artists' works, I also discovered some noteworthy issues.
For example, while "Grow" is visually stunning, the audience can only watch and lack a sense of participation.
Some works, due to their technical complexity, tend to focus on the "device" rather than the "emotion."
So, I hope to maintain a balance between technology and experience in my future projects.
What's most moving about interactive art isn't how flashy the system is, but whether it makes people feel "connected." I hope that technology will always be just a tool, and "people" are the core of the work.
Finally, we put the files we accessed at the end when doing the Assignment .
Assignment 1 PPT
In class we made presentations for each group on Assignment 1.
Teacher's feedback
🌿 Self Reflection
For this group project, we chose to research Dutch artist Daan Roosegaarde, known for his interactive installations that combine technology, the environment, and social issues. Analyzing his works "Presence" and "Grow" significantly shifted my understanding of media art.
At first, I thought media art simply used technology to create visual effects, but upon deeper understanding, I discovered that Roosegaarde's work more closely uses technology to tell stories about humanity and nature.
In "Presence," he uses the viewer's body and movements as a medium for light, leaving a fleeting trace with every touch and movement. This design made me realize that "presence" can also be visualized—an experience that veers between technology and poetry that left a deep impression.
In the group, we divided the research into different areas, with my primary responsibility being to analyze the works' concepts and technical structures. This process taught me how to translate data into analytical language and, through discussions with my group members, I gained insights into different perspectives. We sometimes disagreed on whether technology or experience was more important, but it was these discussions that helped me understand the complexity of media art—that it is not just about creating something but also about questioning the world.
My biggest takeaways from this project are:
• I learned how to understand a work from the perspective of the viewer's experience, rather than simply focusing on the technology used.
• I began to understand that the true meaning of "interaction" lies in emotional resonance and environmental awareness.
• I also became more clear about the direction I want to explore in my future work: using light and space to make the viewer aware of their connection to the world.
Overall, this group research allowed me to see the gentler side of technological art. It's not just a combination of screens, sensors, or lights, but a way to reconnect people to a sense of "presence."
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