{"data":[{"id":182,"attributes":{"createdAt":"2025-12-18T06:54:43.478Z","title":"On sharing shape-shifting AI real world narratives in a trade-show environment","excerpt":"Revisiting a data-driven real world narrative by an RCA group of artist-researchers at SIGGRAPH ASIA 2025, I return to a long raised question in my reearch: how do we do justice to data-driven works of dense proceduralim to augment literacy value in a digital art show?","content":"

I visited SIGGRAPH ASIA on its second last day to catch \"Weather spores\" (WS, which is part of a larger program “ReWilding AI”) by an RCA team of artist-researchers I first met in March 2024 in \"Ana-Cartography II / Real World Narratives\" at Floating Projects (FP).

This time, Tom Simmons represented the team with a 2-screen documentation of an “Immersive point cloud installation” which, in its full form, goes with AR/digital performance components. WS disrupts the regular narrative frame (which often honours smooth flow and coherence of a single medium); its “narrative” strategy is to constantly shapeshift across knowledge systems and new materials, resting on a logic of cross-disciplinary associative connectivity deploying transmedia procedures. The door-knob, as I put it, that opens the door to the immersive AI narrative world is a dice, an object displayed on-site in the front table. As one \"throws the dice\" (or turn the door knob) to enter, one encounters the video walk-through of a forest or a bundle of mushrooms before they transfigure into data-visualizing digital marks, and non-representational automatic writings.

Manu Luksch sent me notes on Capital pAIns (Cp), her part in WS: Cp is a sound-led AR that conducts an audio-driven, present-tense archaeology of the supply chains that deliver AI – from mineral extraction, nanoscale manufacturing and e-waste, through algorithm design, data harvesting and cleaning by ghost-workers, to deployment and resistance in society.\"

WS is a multi-faceted work with components ranging from field work, data visualization, spatial localization, writing and unsupervised machine learning. I asked Tom about the main points of attention for visitors. Tom responded that the entire project of WS should best be experienced as a workshop series with actual participation. This to me holds an implicit critique, at least as I take it, on our fussy experience in a digital art show, especially with data-driven works. Heavily researched proceduralism, the core of digital “art,” is often hidden to give way to visual spectacles.

Surely there is a more affirmative view on this: data-driven art is often about gaming, playfulness and magic.

From a media-archaeological viewpoint, the desires for visual spectacles and magic -- or hidden passages that produce surprise with a supernatural touch – had been crucial driving forces for the evolvement of leisure and pleasure-related technologies. And now, in the current phase of an AI milieu, such desires to “override” limits spill over to encompass those of all knowing, not only omniscience or but also omni-presence.

I gather that, as Tom implied, Weather Spores is not an easy work to exhibit in a trade-show environment. As a curious visitor, I benefit from talking to Tom. I also enjoyed my conversation with Kien Peng Ong, the artist for Cloud Script, on his deployment of existing satellite systems on global positioning. I enjoyed the process of sorting out how to interact with A Dialogue with the Sand by Keio University’s Junichi Yamaoka, digging into the voice (speech) -text (transformation) - (sand)writing procedures. I definitely found myself grasping more of the AI trends more efficiently with the posters on display (note: these are proposals not presented in the conference sessions) as they provide technical, procedural, diagrammatic and humanistic accounts in a nutshell, offering a lot of space for curiosity and probable imagination.

","slug":"artnotes-Lai-AI-art","wp_large_url":null,"wp_thumb_url":null,"updatedAt":"2025-12-18T08:30:05.390Z","publishedAt":"2025-12-18T07:13:21.548Z","locale":"en","author":{"data":null},"tags":{"data":[{"id":1573,"attributes":{"name":"real world narrative","slug":"real-world-narrative","createdAt":"2024-03-06T15:08:42.640Z","updatedAt":"2024-03-06T15:08:42.640Z"}},{"id":809,"attributes":{"name":"transmedia creation","slug":"transmedia-creation","createdAt":"2022-12-08T07:03:39.037Z","updatedAt":"2022-12-08T07:03:39.037Z"}},{"id":1574,"attributes":{"name":"artificial intelligence","slug":"AI","createdAt":"2024-03-06T15:09:41.938Z","updatedAt":"2024-03-06T15:09:41.938Z"}},{"id":1156,"attributes":{"name":"machine learning","slug":"machine-learning","createdAt":"2022-12-08T07:03:14.260Z","updatedAt":"2022-12-08T07:03:14.260Z"}},{"id":242,"attributes":{"name":"documentation","slug":"documentation","createdAt":"2022-12-08T07:02:44.904Z","updatedAt":"2022-12-08T07:02:44.904Z"}}]},"categories":{"data":[{"id":13,"attributes":{"slug":"art-notes","name":"Art Notes 藝文談暢","description":"談藝術，談創作，回顧周圍看向前望。Art reviews and art criticism. Review on reviews. Critique on the practice of criticism. Back story to a performance. Free associations with a novel. Observations on the current milieu of art and social life. …","createdAt":"2022-12-09T09:35:20.107Z","updatedAt":"2022-12-09T09:35:20.107Z","subtitle":null}},{"id":429,"attributes":{"slug":"fieldnotes","name":"FieldNotes 考察中","description":"研究生的考察範圍、指向，是世界的未來的形骸，新知識的風向計，對現今時代的把脈。起家立說之前，往往是轉瞬即逝的珍寶 — 直覺、對問題的「肚腹」般的反應。我們要好好留著。完整的辯說，碎片，靈光一閃，大小故事，所見所聞，理念層次的穿線連點結網…。「在地」、「尋檔」、「書寫作為思考」等陸續有來。A network of ideas from doctoral researchers whose tentative thinking may value as much as well formed writings. Hear their voices. Michael Leung’s “ON LAND,” Vennes Cheng’s “THINK-PAD,” Lim Yeon-kyung’s “ACTING OUT” and more are arrivals…","createdAt":"2022-12-09T09:35:20.130Z","updatedAt":"2022-12-09T09:35:20.130Z","subtitle":null}}]},"image":{"data":{"id":1102,"attributes":{"name":"1-20251217.jpg","alternativeText":null,"caption":null,"width":3598,"height":2698,"formats":{"large":{"ext":".jpg","url":"https://fpchk.s3.ap-southeast-1.amazonaws.com/large_1_20251217_1218cf9c3f.jpg","hash":"large_1_20251217_1218cf9c3f","mime":"image/jpeg","name":"large_1-20251217.jpg","path":null,"size":96.29,"width":1000,"height":750},"small":{"ext":".jpg","url":"https://fpchk.s3.ap-southeast-1.amazonaws.com/small_1_20251217_1218cf9c3f.jpg","hash":"small_1_20251217_1218cf9c3f","mime":"image/jpeg","name":"small_1-20251217.jpg","path":null,"size":31.09,"width":500,"height":375},"medium":{"ext":".jpg","url":"https://fpchk.s3.ap-southeast-1.amazonaws.com/medium_1_20251217_1218cf9c3f.jpg","hash":"medium_1_20251217_1218cf9c3f","mime":"image/jpeg","name":"medium_1-20251217.jpg","path":null,"size":60.69,"width":750,"height":562},"thumbnail":{"ext":".jpg","url":"https://fpchk.s3.ap-southeast-1.amazonaws.com/thumbnail_1_20251217_1218cf9c3f.jpg","hash":"thumbnail_1_20251217_1218cf9c3f","mime":"image/jpeg","name":"thumbnail_1-20251217.jpg","path":null,"size":7.52,"width":208,"height":156}},"hash":"1_20251217_1218cf9c3f","ext":".jpg","mime":"image/jpeg","size":956.8,"url":"https://fpchk.s3.ap-southeast-1.amazonaws.com/1_20251217_1218cf9c3f.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2025-12-18T06:56:10.465Z","updatedAt":"2025-12-18T06:56:10.465Z"}}},"events":{"data":[{"id":49,"attributes":{"title":"Ana-Cartography II","content":"

Date: Tuesday, 19 March 2024
Time: 7:30pm till late
Venue: Floating Projects, L3-06D, Jockey Club Creative Arts Centre (JCCAC)
No.30 Pak Tin Street, Shek Kip Mei, Kowloon, Hong Kong (MTR Shek Kip Mei Station Exit C, 5-8 mins walk)

Entry: Free donation

Works, Performances and Artists’ Talk: Real World Narratives at the Royal College of Art, London. This research develops critical perspectives on artificial intelligence through interdisciplinary approaches and media including sound, sculpture, poetics, coding and cartography.

Artists:
Jonathan Boyd, Johnny Golding, Matt Lewis, Manu Luksch, Mukul Patel, Tom Simmons, Shira Wachsmann, John Wild

7:30pm INTRODUCTION
Artists’ presentations and screenings of short works

8:15pm PANEL
Linda C.H. Lai in conversation with Johnny Golding, Manu Luksch, Mukul Patel, Tom Simmons & John Wild

9.00pm PERFORMANCES
A robot walks into a bar… (Mukul Patel)
Octopussy (Johnny Golding)
All Red Line (John Wild)

Jonathan Boyd (Head of programme Applied Art and Reader in Jewellery) specialises in conceptual and narrative-led works, currently exploring the emergent logics of (an) asemic materialism in the mire of AI.

Johnny Golding (Professor of Philosophy & Fine Art, Head of the Proto-centre for Radical Matter) re-thinks contemporary storytelling via an emergent analytic of experimental poetics, free jazz and the radical encounters of art, philosophy, and wild science.

Matt Lewis (Senior Tutor, Sound Pathway Lead) is a sound artist and musician focussing on the relationship between sound and the social.

Manu Luksch researches the interdependencies between information technologies, daily life, urban space, social and political structures and the material world through film and process-based artwork.

Mukul Patel’s intermedia practice spans writing, installation and composition; at the RCA he interrogates conceptions of AI through the prisms of mathematics, language and conceptual practice.

Tom Simmons (Programme Head, Digital Direction) specialises in critical sound practice in intercultural and distributed communication, including in relation to communities, knowledge systems and digital storytelling.

Shira Wachsmann, artist and co-founder of Orbital Bloom, works primarily in the field of digital art and moving images, with an emphasis on narrative ecologies—sensuous forms of multi-threaded, non-linear, collective, and digital storytelling.

John Wild works across performance, sound, text, code, electronics and machine learning to research the futures immanent within digital technology.

This research is funded in part by the Laboratory for Artificial Intelligence in Design (RP2-8) under the InnoHK Research Clusters, Hong Kong Special Administrative Region Government.

$\"RCA_AiDLab_white.jpg\"$

","start_date":"2024-03-19","createdAt":"2024-03-05T15:48:59.010Z","updatedAt":"2024-03-06T15:42:16.712Z","publishedAt":"2024-03-06T13:43:26.077Z","excerpt":"Works, Performances and Artists’ Talk: Real World Narratives at the Royal College of Art, London. This research develops critical perspectives on Artificial Intelligence through interdisciplinary approaches and media including sound, sculpture, poetics, coding and cartography. ","wp_url":null,"slug":"ana-cartography-ii","end_date":null}}]},"related_posts":{"data":[]},"authors":{"data":[{"id":4,"attributes":{"name":"Linda Chiu-han Lai 黎肖嫻","slug":"linda","createdAt":"2022-12-09T09:36:19.149Z","updatedAt":"2024-03-26T03:32:19.840Z","is_member":true,"external_url":"http://www.lindalai-floatingsite.com/content/content.html","profile":"

Linda Chiu-han LAI, historian, writer and research-based interdisciplinary artist, devotes herself to intermedia arts, Critical Theory and media archaeology, as meaningful extension of her PhD training in Cinema Studies.

She persists in artistic creation as the practice of theory, rooted in a dynamic feminist sensibility. A critical researcher in the History of Everyday Life, she seeks organological views of art’s relation to other existential domains. The two-arm emphasis on theory and artistic experiments results in some inter-disciplinary courses she has designed in her teaching at the School of Creative Media (SCM 1998-2023): on the criticality of micro/meta narrativity, new materialism’s contribution to media archaeology, automatism and rule-based creativity in pre-digital and digital artmaking, visual ethnography, sound art, and generative art & literature. She has also designed, at SCM, Hong Kong’s first university-level courses in visual ethnography (2007 undergraduate, 2012 graduate level), sound art, and generative art & literature.

As a montage artist, she considers images material facts as much as rich perceptual surfaces that defy the figuration-abstraction split. Her videos have appeared in documentary and experimental venues, including International Short Film Festival Oberhausen, Traverse Video (Toulouse), LOOP Barcelona, Jihlava International Documentary Film Festival (Czech Republic), the Open City London Documentary Festival, Rencontres Internationales Paris/Berlin, the Fourth State of Water (CoCA, Torun, Poland), Women Make Waves Film Festival (Taipei), International Centre (New Delhi), International Women's Film Festival in Seoul, and the Asian Experimental Film/Video circuits in Seoul (EXiS), Taipei (EXiT), Macao (EXiM), and Kuala Lumpur (KLEX). C3A (Cordoba, Spain) had her video art retrospective in 2021, after dedicated solo features in EXiM (2015) and EXiS (2017). Two of her expanded cinema works in the form of automated multi-channel projection have traveled within and outside Hong Kong: Door Games, Window Frames: Near Drama (2012- ) and Vaulting Space (2014- ).

Some of Lai’s historiographic experiments take the form of (self-)archiving activities, such as 1906-1989-2012: Guangzhou-Hongkong-Shanghai-Anji (Shanghai Biennale 2012-13) and two iterations of Mnemonic Archiving: a Dispersive Monument in Singapore (2016) and HK (2017) at Pearl Lam Galleries, which explore the spatial-visual logic of connectivity among memory objects. Archiving and experimental historiography are also central to Lost Texture at H-Queen’s “Exit Strategies” (2019 with FPC), Ruminations: a Montage of Hong Kong's (Post)Coloniality (2018, Osage), Threshold Crossing: the Cartographic Imaginary (2018, CityU), Blasting Modernities 1930s: Techniques of the Self (2017, Para Site) and more. She also plays with chronologies to process her media archaeological research, such as Object-Subjectivities (2016, “No Reference,” Videotage) and her curatorial statement in the form of an interactive art piece, Object-Subjectivities, a Techno-Art Saga (2018-19, “Algorithmic Art,” City Hall).

By 2021, she has completed two editions of her video Manifesto project, seeking a deeper view of HK’s media art practices. Floating Projects (FP, 2015- ) is her participatory art experiment on sustainability as “collectives.” Her concern for art-tech dialogues prompted her to found the Writing Machine Collective (2004- ), a research base new media art series evolving into educational programs, then epitomized in her curatorial experiment “Algorithmic Art: Shuffling Space and Time” (2018-19).

Lai will retire from her full-time professorship on 30 June 2023, and will continue to focus on her on-going historiographic projects for deeper history of HK’s media art history and methodological issues in media archaeology. She will also seek opportunities to carry on her commitment to pedagogy on dialogues between the arts, the sciences and technology, while advancing into a new phase of artistic practices.

Her works have been acquired by M+ (2019), Video Bureau (2015), and the Power Station of Art. She was “Artist of the Year 2017 – Media Art” (ADC). In 2022, online video zine D-Normal/V-Essay was a winner of Ars Electronica’s “State of the ART(ists) Initiative (2022, Linz).

黎肖嫻博士的學術活動與跨界藝術創作環環緊扣，延續電影研究的核心。日常生活歷史的探究，以器官論為框架。創意媒體學院的25年，創立了多個跨學科的科目：媒體考古、聲音藝術、視覺民俗誌、衍生性文學藝術，微敘事，和新唯物論對創作和歷史書寫的注入。

她的錄像在紀錄片和實驗電影節中都能找到切入點，如奧伯豪森短片節、伊赫拉瓦國際紀錄片節等。澳門和首爾實驗錄像節分別於2015和2017年舉辦她的個人作品專輯。2021年，西班牙科爾多瓦當代藝術中心舉行了她的錄像回顧展。

實驗歷史書寫作為庫存活動的作品包括第九屆上海雙年展的《1906-1989-2012:廣州-香港-上海-安吉》、在新加玻和香港兩度就地裝置的《記憶存庫記我城：流散的碑誌》(2016/2017)等，直指存在的物理基礎。

黎策劃的「錄像宣言」已出版兩輯。2015年發起「據點」探討創作的持續性。關注藝術與科技對話，於2004年創辦「文字機器創作集」，追尋演算式思考作為藝術方法，進到2018-19年大型策展《演算藝術：劃破時空》追求科藝認知教育的普及。

黎的作品為M+、錄像館、上海當代藝術博物館等收藏。她是香港藝發局的「年度藝術家（媒體藝術）2017」。2022年，她策劃的《平地數碼》網上錄像誌獲奧地利林茨「電子藝術」頒發《State of the Art(ist)》獎項。

///

Combined website 個人綜合網站: http://sweb.cityu.edu.hk/smllai/

Personal work archive (Art, all categories) 作品庫: http://www.lindalai-floatingsite.com/content/

**Public collection: Video Bureau (Beijing, Guangzhou) 錄像局（北京、廣州） file 055: http://videobureau.org/artist/linda-lai/

Vimeo 錄像頻道: https://vimeo.com/lindalai

CityU Scholar: https://scholars.cityu.edu.hk/en/persons/linda-ch-lai(2ff630ba-2190-4a35-94c5-8d1de50aefb7).html

Latest citation 最新報道:

Traverse Video 2023, Toulouse, France (2023.03.15)

打開演算藝術的黑盒：《演算藝術》策展人黎肖嫻訪談｜曾泓 (2019.04.26)

多感官體驗挑戰賞畫方式梵高星夜遭「劏」開 (2019.04.26)

Selected citation 近期報道:

http://artradarjournal.com/2015/09/04/hong-kongs-occupation-points-linda-lai-interview/ [Art Radar]

Older citation 曾被報道:

Review of 3 video works by Linda Lai by Simone Dompeyre, the Festival Director of Traverse Video 2019: https://traverse-video.org/catalogue_2019/Catalogue-livre_Rencontres%20Traverse%202019_L'Exp%C3%A9rimental-recherche-art.html#p=114

http://theculturetrip.com/asia/hong-kong/articles/the-10-best-hong-kong-artists-where-to-find-them/ [Culturetrip]

http://c8400.com/east-contemporary.com/2013/03/24/shanghai-biennale-2012-linda-c-h-lai/

[review on installation work at the 9th Shanghai Biennale 2012 第九屆上海雙年展 2012－2013]

http://ecr229.culture360.asef.org/2013/03/24/shanghai-biennale-2012-linda-c-h-lai/

\"Linda C.H. Lai at Shanghai Biennale 2012\" https://www.youtube.com/watch?v=QpxhJrTMt14

Descriptions of Hearing, curatorial concept 《聽覺摹寫》策展論述 (2012.03.08) http://theendofbeing.com/2011/10/26/exploring-the-hidden-city-a-review-of-visual-ethnographer-linda-c-h-lai/

Academic writings 學術性文字: http://cityu-hk.academia.edu/LindaLai

Recent coverage on the Floating Projects https://www.scm.cityu.edu.hk/sites/g/files/asqsls1771/files/newsletter/250_ACIM_Newsletter_Issue_02.pdf (pp. 14-15, ACIM Newsletter # 2) https://www.scm.cityu.edu.hk/sites/g/files/asqsls1771/files/newsletter/SCM_Newsletter_08.pdf (p. 9, ACIM Newsletter #7) 黎肖嫻，香港城市大學創意媒體學院互媒藝術副教授，同時也是以研究主導創作的跨領域藝術家，有豐富的國際參展經驗。於紐約大學電影研究系取得哲學博士之後，不斷尋究由電影延展開去的相關藝術和理論探索，一直不離不棄『理論就是行動實踐』的信念。在藝術創作和學術研究上，環繞歷史書寫、視覺和自傳式民俗志、都市研究和資料類集之間的批判性關聯，核心總離不開敍事的政治性，強調語言活動的詭辯。從女性主義的觸覺思維出發，她的作品強調『差異』的無盡性，以抒演的策略不斷的打開既定概念和操作成規。黎肖嫻的實驗性錄影、數碼或混媒的裝置曾於歐美和亞洲的多個城市展出，包括德國奧柏豪辛國際短片節，首爾實驗電影錄影節，美國俄亥俄州雅典城的國際電影錄像節、倫敦的開放城市紀錄片節、臺北女性影展、首爾國際女性影展、香港國際電影節等等。近作《1906-1989-2012》為第九屆上海雙年展（2012）的受委參展作品。個人最喜歡的創作是一本260頁的書，記述了她和攝影家陳超敏（現居英國倫敦）八個回合的攝影與文字的跨媒對話遊戲。 2004年她創辦了香港為基地的新媒體群體「文字機器創作集」，至今已發表過五輯聯展，不斷探索電算思維與當代藝術的問題。在創意媒體學院，她任教的科目包括當代藝術與媒體考古、媒體藝術、電影史和視覺理論與實驗性錄像創作的關係、文化研究和民俗志在批判和創作上的實踐，以及書寫與創意。在香港大專界，她是首位設計和執教衍生性藝術與文學，以及從人文角度看聲音藝術的學者。「據點。句點」是最新近的實驗計劃，以資料庫及藝術工場為基調，探索藝術群體組織的模式以及就地藝術創作、資源迴環再造、組織的持續性的問題。 2016-17年度，錄像局（北京、廣州）收集了她的 2000-2015 期間的26件錄像作品，作研究者參考之用。2018年5月，獲頒香港藝術發展局2017 “年度藝術家（媒體藝術）”。

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Searching for tag: real-world-narrative

On sharing shape-shifting AI real world narratives in a trade-show environment