https://shelleyhu.work Shelley Hu Thu, 11 Oct 2018 20:54:18 +0000 https://shelleyhu.work en https://shelleyhu.work/Slideshow Thu, 27 Sep 2018 15:26:39 +0000 Shelley Hu https://shelleyhu.work/Slideshow Shelley Hu is an artist and technologist based in Brooklyn. A recent graduate from ITP, NYU, she specializes in data visualization, VR development, and live web-based storytelling. For art: https://www.shelleyhu.net/ Contact: shelleyhu123@gmail.com https://shelleyhu.work/Featured-Projects Thu, 27 Sep 2018 15:26:40 +0000 Shelley Hu https://shelleyhu.work/Featured-Projects Shelley Hu is an Emmy-winning multimedia producer and artist based in New York. Graduated from the Interactive Telecommunications Program (ITP), NYU, Shelley currently serves as the AR/VR Studio Manager at New Reality Co. and post-produces Tree&nbsp;and Giant. For performance art, curation, and teaching, please visit&nbsp;shelleyhu.net shelleyhu123@gmail.com Finding Sanctuary#dataviz <img width="973" height="578" width_o="973" height_o="578" data-src="https://freight.cargo.site/t/original/i/7360ae353afee4fae860631d268b8db119b76ea05ee7903daa45e36ec06a3253/teddy_map.gif" data-mid="26035564" border="0" src="https://freight.cargo.site/w/973/i/7360ae353afee4fae860631d268b8db119b76ea05ee7903daa45e36ec06a3253/teddy_map.gif" /> Samsung S8 Unbox Your Phone#webdev #client <img width="2042" height="1204" width_o="2042" height_o="1204" data-src="https://freight.cargo.site/t/original/i/1b19c7009a915e4a76ccf81bbd1eb04399fe8f7a3577ea4fe8cc4ffb2a01e180/Screen-Shot-2018-10-12-at-1.39.01-PM.png" data-mid="26090226" border="0" src="https://freight.cargo.site/w/1000/i/1b19c7009a915e4a76ccf81bbd1eb04399fe8f7a3577ea4fe8cc4ffb2a01e180/Screen-Shot-2018-10-12-at-1.39.01-PM.png" /> Python Poetry #dataviz <img width="930" height="643" width_o="930" height_o="643" data-src="https://freight.cargo.site/t/original/i/f9338b00eb4598f63259136bdf808490f466d7d23d98937e1767341a2a5f8d3c/neutralizer.gif" data-mid="26037553" border="0" src="https://freight.cargo.site/w/930/i/f9338b00eb4598f63259136bdf808490f466d7d23d98937e1767341a2a5f8d3c/neutralizer.gif" /> On Sight #VR #performance <img width="1986" height="1172" width_o="1986" height_o="1172" data-src="https://freight.cargo.site/t/original/i/ec594e03a9c66a5188031346f9496b1839c74a3c09ffbdb418c941baaef9e449/Screen-Shot-2018-10-11-at-4.22.26-PM.png" data-mid="26035806" border="0" src="https://freight.cargo.site/w/1000/i/ec594e03a9c66a5188031346f9496b1839c74a3c09ffbdb418c941baaef9e449/Screen-Shot-2018-10-11-at-4.22.26-PM.png" /> The Act of Receiving, Act III #VR #dataviz<img width="782" height="467" width_o="782" height_o="467" data-src="https://freight.cargo.site/t/original/i/752e8662b96089b78694b92b4b2de8e74158e0d2974c22ea208ddd3a3b1f67fc/wechat.gif" data-mid="26093707" border="0" src="https://freight.cargo.site/w/782/i/752e8662b96089b78694b92b4b2de8e74158e0d2974c22ea208ddd3a3b1f67fc/wechat.gif" /> The Weather Talk#VR <img width="2264" height="1336" width_o="2264" height_o="1336" data-src="https://freight.cargo.site/t/original/i/6d53ad70bdb856f3ae771adddb448d728e99050f377032fa7605b3542fe03b22/Screen-Shot-2018-10-11-at-4.35.06-PM.png" data-mid="26036289" border="0" src="https://freight.cargo.site/w/1000/i/6d53ad70bdb856f3ae771adddb448d728e99050f377032fa7605b3542fe03b22/Screen-Shot-2018-10-11-at-4.35.06-PM.png" /> https://shelleyhu.work/Featured-Projects-copy Thu, 11 Oct 2018 20:54:18 +0000 Shelley Hu https://shelleyhu.work/Featured-Projects-copy Python Poetry#dataviz <img width="930" height="643" width_o="930" height_o="643" data-src="https://freight.cargo.site/t/original/i/b6930571726b60adbbc42276c3d6125c5fc35f9619cbe647c8f5cda207de0bde/neutralizer.gif" data-mid="26037479" border="0" src="https://freight.cargo.site/w/930/i/b6930571726b60adbbc42276c3d6125c5fc35f9619cbe647c8f5cda207de0bde/neutralizer.gif" /> https://shelleyhu.work/Text Thu, 27 Sep 2018 15:26:41 +0000 Shelley Hu https://shelleyhu.work/Text Fundamentals Charing Cross London WC2N 5D,&nbsp;UK Experiments Via Cordusio, 4 20123 Milano,&nbsp;Italy Formulations 200 N Spring St Los Angeles California,&nbsp;90012 Interpretations 3 Rue des Barres 75004 Paris,&nbsp;France https://shelleyhu.work/Act-of-Receiving-Act-3 Thu, 27 Sep 2018 15:26:43 +0000 Shelley Hu https://shelleyhu.work/Act-of-Receiving-Act-3 The Act of Receiving, Act III2018 <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/15de1e5f19f36bfff8c22c291d5173cd69a4e2113767eaba4af2568d10d7662d/8W0B6438.JPG" data-mid="26094351" border="0" src="https://freight.cargo.site/w/1000/i/15de1e5f19f36bfff8c22c291d5173cd69a4e2113767eaba4af2568d10d7662d/8W0B6438.JPG" /> The Act of Receiving, Act III is a data visualization in VR. It is a part of the performance series The Act of Receiving. Click here to read about the series. This is a VR installation where viewers are physically sitting on a platform in a dark room. Once the room lights are turned off, the sitting platform lights up. At the same moment, they enter the virtual environment and find themselves sitting on a floating, empty chat window. As they sit still in the infinite darkness, they experience the entire WeChat conversation history between me and my mother for the past six years floating towards them, passing through them, and leaving them. The sound of the voice messages fade in and out as they float by. The Act of Receiving is a series examining what it’s like to be a receiver of information. I have been using the social media app WeChat as the main communication tool with my mother for the past six years. Living overseas for almost a decade, my definition of “home” has been taken over by those voice message bars, my mom’s profile picture, and our chat window. During the making of the series, my grandmother passed away. On that very day, for the first time ever, WeChat somehow failed to send me any push notifications the entire day. When I finally got a phone call at night and checked the app, I was bombarded with a full feed of missed messages from my mother throughout the day. 6:34AM: “Grandma is not doing well.” 10:56AM: “?” 1:02PM: “Grandma’s passed away.” I felt, as if information is passing through its own timeline, and “me receiving it” is merely an unimportant part of the journey.&nbsp; This time, I felt almost abandoned by information. I wonder, how could I describe this feeling that my information and I are not in sync? In other words, how could I address this experience that some sort of “glitch” happened in the process of me receiving, so I missed the information that originally belonged to me? <img width="449" height="672" width_o="449" height_o="672" data-src="https://freight.cargo.site/t/original/i/3a8cd1eaff4ce749ad2d9f97b07d991f63b5f114300ae5f514df781101fe9204/wechat2-1.gif" data-mid="26097448" border="0" src="https://freight.cargo.site/w/449/i/3a8cd1eaff4ce749ad2d9f97b07d991f63b5f114300ae5f514df781101fe9204/wechat2-1.gif" /> Technology used: JavaScript Python Unity EngineThis is the Act I of performance series The Act of Receiving. <img width="1634" height="1412" width_o="1634" height_o="1412" data-src="https://freight.cargo.site/t/original/i/82b65923e7c42ccc48fb95cc18278348b8921f21b4da752625e4b5949682f5f2/Screen-Shot-2018-10-12-at-3.51.27-PM.png" data-mid="26097272" border="0" src="https://freight.cargo.site/w/1000/i/82b65923e7c42ccc48fb95cc18278348b8921f21b4da752625e4b5949682f5f2/Screen-Shot-2018-10-12-at-3.51.27-PM.png" /> In order to create this piece, I collected all 8,450 text messages and 1,394 voice messages. I wrote python programs to organize the messages, including matching the voice messages with the dates. I chose to present the experience in VR because the environment offers a unique sense of isolation I desired. Floating on an empty chat window and having the messages float by, the user experiences the parallel between receiving information as a constantly scrolling feed as it passes through time, and receiving it as a static moment. <img width="782" height="467" width_o="782" height_o="467" data-src="https://freight.cargo.site/t/original/i/752e8662b96089b78694b92b4b2de8e74158e0d2974c22ea208ddd3a3b1f67fc/wechat.gif" data-mid="26094058" border="0" src="https://freight.cargo.site/w/782/i/752e8662b96089b78694b92b4b2de8e74158e0d2974c22ea208ddd3a3b1f67fc/wechat.gif" /><img width="782" height="467" width_o="782" height_o="467" data-src="https://freight.cargo.site/t/original/i/ad16abe8f2cdfb44c83198fc1188bbe24aa5f4e86dcf470828891aff995b03f8/wechat2.gif" data-mid="26094878" border="0" src="https://freight.cargo.site/w/782/i/ad16abe8f2cdfb44c83198fc1188bbe24aa5f4e86dcf470828891aff995b03f8/wechat2.gif" /> https://shelleyhu.work/On-Sight Thu, 27 Sep 2018 15:26:43 +0000 Shelley Hu https://shelleyhu.work/On-Sight On Sight 2017 <img width="994" height="663" width_o="994" height_o="663" data-src="https://freight.cargo.site/t/original/i/be4a0ad331b88279717b9a507e164957a90a93e4eb9c9c2dc45c8ff05885ab75/29243922_2123082681037058_3879277632126189568_o-1.jpg" data-mid="26047661" border="0" src="https://freight.cargo.site/w/994/i/be4a0ad331b88279717b9a507e164957a90a93e4eb9c9c2dc45c8ff05885ab75/29243922_2123082681037058_3879277632126189568_o-1.jpg" /> <img width="960" height="720" width_o="960" height_o="720" data-src="https://freight.cargo.site/t/original/i/d377f4a870afca5c0d998731933025d5f77a30da3fbd191e1fafa5408a282695/IMG_4956.jpg" data-mid="26047676" border="0" src="https://freight.cargo.site/w/960/i/d377f4a870afca5c0d998731933025d5f77a30da3fbd191e1fafa5408a282695/IMG_4956.jpg" /> On Sight is a participatory performance developed using webVR. It is a part of the performance series The Act of Receiving.Click here to read about the series. <img width="663" height="994" width_o="663" height_o="994" data-src="https://freight.cargo.site/t/original/i/c9fb01f98f988f9976fff13f60e16718e93213b2dd4a582f59a163b6f476eece/29249111_2123071377704855_2573462425722421248_o.jpg" data-mid="26047664" border="0" src="https://freight.cargo.site/w/663/i/c9fb01f98f988f9976fff13f60e16718e93213b2dd4a582f59a163b6f476eece/29249111_2123071377704855_2573462425722421248_o.jpg" /> This is a durational performance piece where I sit in a virtual reality headset, but have no control of what I see. My audience can decide from either online or at the site of the performance to show me any videos, or to reveal their faces and talk to me through their webcams. They will be able to see what I am seeing in VR at the moment, and a live stream of my reaction to their content. Once the video/webcam footage is submitted, it will be immediately mapped onto the four “walls” in my virtual environment, so I will not be able to look away from any point of view. The videos would keep on playing in loop, until another one is submitted. My view from inside the headset: <img width="624" height="344" width_o="624" height_o="344" data-src="https://freight.cargo.site/t/original/i/687f2d130a6a7fbb12d02e310324223dd8fd56d1bd110b9a30908dae344d6161/innerview.gif" data-mid="26048999" border="0" src="https://freight.cargo.site/w/624/i/687f2d130a6a7fbb12d02e310324223dd8fd56d1bd110b9a30908dae344d6161/innerview.gif" /> The questions I wanted to ask:&nbsp;What’s the power dynamic in VR like? How does VR affect our sense of vulnerability? I find the question of vulnerability in VR particularly interesting. One is placed in this "almost-reality" environment, yet feeling more exposed than reality. One is constantly worried about falling out of balance, or being frightened by something unexpected. When I tried the social VR application Facebook Spaces, I was intrigued that one user has the power to change another’s virtual environment immediately and completely, simply because we are Facebook friends, and we agree to be in this app together. I wonder, as we move toward a more immersive future, will receiving information, in extreme forms like this, ever require a “button" of consent? <img width="1109" height="475" width_o="1109" height_o="475" data-src="https://freight.cargo.site/t/original/i/00e1621c264985b104a876760d0900a6757555bcd9d12570726d8a5bf2cb622d/usertest.gif" data-mid="26048725" border="0" src="https://freight.cargo.site/w/1000/i/00e1621c264985b104a876760d0900a6757555bcd9d12570726d8a5bf2cb622d/usertest.gif" /> Here is an early user test done using the Unity Engine. In the left window, my user is dragging my “view” from ground level up. In the right window, you can see my “worldview” is being ascended as I continue to look around in a VR headset. Technology used: webVR (THREE.js) webvr360 library socket.io On Sight is the Act I of performance series The Act of Receiving. Exhibitions: <img width="634" height="349" width_o="634" height_o="349" data-src="https://freight.cargo.site/t/original/i/f586e525561938d7ccfe6cb0e03bee235648b9e18342af893db40c4f0fdb09ab/fbspaces.gif" data-mid="26048428" border="0" src="https://freight.cargo.site/w/634/i/f586e525561938d7ccfe6cb0e03bee235648b9e18342af893db40c4f0fdb09ab/fbspaces.gif" /> I began the project aiming to let my audience control my entire virtual environment. Things I imagined inclunded 1) changing my virtual ground, skybox, lighting, scale, etc.2) showing me something from online 3) revealing their faces to talk to me. After multiple rounds of user testing, and considering any interaction available in VR today is still under early development, it became clear the most effecient way to achieve the effects I wanted was using the webVR technology, and restricting the options for my audience to either showing me a YouTube video, or to talk me through webcam.&nbsp; Refest 2.0, La Mama Galleria - CultureHub, March 8 - 9, 2018 (each day for two hours) ITP Winter Show, December 17 - 18, 2017 (each day for four hours) https://shelleyhu.work/Samsung-S8 Thu, 27 Sep 2018 15:26:45 +0000 Shelley Hu https://shelleyhu.work/Samsung-S8 &nbsp; &nbsp; <img width="1024" height="724" width_o="1024" height_o="724" data-src="https://freight.cargo.site/t/original/i/c0b3d53114b6038319540d053fa47f906617baa8e2042ecd5082a7229863d379/S8_KV_MidnightBlack_Double-2P.jpg" data-mid="26090106" border="0" src="https://freight.cargo.site/w/1000/i/c0b3d53114b6038319540d053fa47f906617baa8e2042ecd5082a7229863d379/S8_KV_MidnightBlack_Double-2P.jpg" /> Samsung S8 Unbox Your Phone2017 This is a mobile site campaign built by R/GA for Samsung S8. I was on the dev team while working at R/GA in 2017. Click here to view site on your phone <img width="744" height="1326" width_o="744" height_o="1326" data-src="https://freight.cargo.site/t/original/i/cc3dbe00c4f43e18a571570d384c3deaadce4b7f4d3c7692df8e342ddde814d2/Screen-Shot-2018-07-03-at-5.59.22-PM.png" data-mid="26089355" border="0" src="https://freight.cargo.site/w/744/i/cc3dbe00c4f43e18a571570d384c3deaadce4b7f4d3c7692df8e342ddde814d2/Screen-Shot-2018-07-03-at-5.59.22-PM.png" /><img width="742" height="1316" width_o="742" height_o="1316" data-src="https://freight.cargo.site/t/original/i/2f1fd4ca3abdb7bc36cb49233338952b4afe65867d4e8f6905230b3f10e47fa4/Screen-Shot-2018-07-03-at-5.59.32-PM.png" data-mid="26089354" border="0" src="https://freight.cargo.site/w/742/i/2f1fd4ca3abdb7bc36cb49233338952b4afe65867d4e8f6905230b3f10e47fa4/Screen-Shot-2018-07-03-at-5.59.32-PM.png" /><img width="742" height="1322" width_o="742" height_o="1322" data-src="https://freight.cargo.site/t/original/i/92040a7e0af59b08d43c22ef67f2a18586a36f1c8a4751fe2636160ea5741e28/Screen-Shot-2018-07-03-at-5.59.46-PM.png" data-mid="26089352" border="0" src="https://freight.cargo.site/w/742/i/92040a7e0af59b08d43c22ef67f2a18586a36f1c8a4751fe2636160ea5741e28/Screen-Shot-2018-07-03-at-5.59.46-PM.png" /><img width="748" height="1322" width_o="748" height_o="1322" data-src="https://freight.cargo.site/t/original/i/897194afec8a420a226e46dd2436b822497c3b556498cdc3caa5b82b36319967/Screen-Shot-2018-07-03-at-5.59.56-PM.png" data-mid="26089351" border="0" src="https://freight.cargo.site/w/748/i/897194afec8a420a226e46dd2436b822497c3b556498cdc3caa5b82b36319967/Screen-Shot-2018-07-03-at-5.59.56-PM.png" /> Unbox Your Phone is a mobile site that introduces four main features of the smartphone Samsung S8 in the format of Instagram Stories. As the user lands on the page, they found themselves in a galaxy and are invited to shake their phone physically in order to “unbox” it digitally. It then moves onto four stories; each story uses programmed animation to introduce a feature: young couple taking a selfie at dusk (camera feature), phone call from mom ringing in the water (water-resistant feature), AI recognizing parts on a bike and suggesting stores (Bixby feature), and phone syncing to a desktop computer as game starts (Dex gaming feature). As the stories progress, the user can tap back and forth to skip stories or to go back, just like on Instagram. Facing a tight deadline, I was one of the four developers on the team working along with UX designers, QAs, and project managers. Technology used: JavaScript, HTML, SASS, React, Node, Contentful, Docker, Gulp, Git, etc. https://shelleyhu.work/Finding-Sanctuary Thu, 27 Sep 2018 15:26:48 +0000 Shelley Hu https://shelleyhu.work/Finding-Sanctuary <img width="3300" height="4968" width_o="3300" height_o="4968" data-src="https://freight.cargo.site/t/original/i/94527ea947ff6bea1d1d5df991ff07ccf2e4c2ed4a4f2c17472cd238df1d6023/sanctuary2.jpg" data-mid="26044450" border="0" src="https://freight.cargo.site/w/1000/i/94527ea947ff6bea1d1d5df991ff07ccf2e4c2ed4a4f2c17472cd238df1d6023/sanctuary2.jpg" /> Finding Sanctuary&nbsp; 2017 This is a project in collaboration with graduate students in New York University's Studio 20 program. Among other acknoledgements, it has been awarded a New York Emmy Awards in 2017. Click here to visit the site Finding Sanctuary is a multimedia project borne in an atmosphere of fear and uncertainty, a singular time in American history when undertones of intolerance and xenophobia, walls and closed doors, re-expose our not-so-distant past. New York is considered a “sanctuary city,” but what that means, politically and for the 8.5 million people who call it home, defies neat explanation. Follow the journeys of six individuals who have found—or are continuing to seek out—sanctuary in New York City. <img width="1302" height="736" width_o="1302" height_o="736" data-src="https://freight.cargo.site/t/original/i/c5710efdeb8b6d42da1983f343374072a8da46117351cea941be8169f607f84d/sanctuary2.gif" data-mid="26043204" border="0" src="https://freight.cargo.site/w/1000/i/c5710efdeb8b6d42da1983f343374072a8da46117351cea941be8169f607f84d/sanctuary2.gif" /> <img width="973" height="578" width_o="973" height_o="578" data-src="https://freight.cargo.site/t/original/i/7360ae353afee4fae860631d268b8db119b76ea05ee7903daa45e36ec06a3253/teddy_map.gif" data-mid="26044695" border="0" src="https://freight.cargo.site/w/973/i/7360ae353afee4fae860631d268b8db119b76ea05ee7903daa45e36ec06a3253/teddy_map.gif" /> Technology used: P5.js HTML CSS One of the six sanctuary seekers, Teddy, was a Japanese American woman born in an internment camp during World War II. Teddy was among the 120,000 people of Japanese ancestry, citizens and aliens alike who were forced into 10 relocation camps. I created this interactive map where you can drag the slider and see the population forced to move to the Internment camps between 1942 and 1964. The placement and the size of the circles show the geolocation and the occupying population of the Internment camps as you interact with the slider to control the time; the transparent strokes show the original location of the Japanese people before being forced to move. The width of the strokes depends on the amount of population moved. Click here to interact Awards and acknowledgements:New York Emmy Awards - Public/Current/Community Affairs: Series Award of Excellence, 2017 College Photographer of the Year (CPOY) Semi-finalist, 2017 Atlanta Docufest BEST OF CATEGORY: Short Film / Documentary, Horizon Interactive Awards Gold Award, BEST OF CATEGORY: Trailer, Horizon Interactive Awards https://shelleyhu.work/Python-Poetry Thu, 27 Sep 2018 15:26:49 +0000 Shelley Hu https://shelleyhu.work/Python-Poetry <img width="1255" height="837" width_o="1255" height_o="837" data-src="https://freight.cargo.site/t/original/i/7f84dd1c617be500c8c163d32ec6788cdaad87722d1ef2a7c71838f70ca451b8/speak_immigrant3.jpg" data-mid="26098270" border="0" src="https://freight.cargo.site/w/1000/i/7f84dd1c617be500c8c163d32ec6788cdaad87722d1ef2a7c71838f70ca451b8/speak_immigrant3.jpg" /> (Me and my partner reading my poem Speak Like an Immigrant at ITP, NYU) Python Poetry2017 This is a series of procedural poetry built out of found texts. My interests were: How can one use words as a texture for creative expressions? What role does language play in our misunderstanding of ideologies? The series consists of three poems: Cracking Neutralizer Speak Like an Immigrant Cracking <img width="1630" height="1502" width_o="1630" height_o="1502" data-src="https://freight.cargo.site/t/original/i/648b4ac1ac81f220379c5ad2cea1172849be2698a5f7bae14104e4394392730b/static1.squarespace.png" data-mid="26098210" border="0" src="https://freight.cargo.site/w/1000/i/648b4ac1ac81f220379c5ad2cea1172849be2698a5f7bae14104e4394392730b/static1.squarespace.png" /> On February 7, 2017, scientists discovered the rapidly growing crack on Antarctica’s fourth-largest ice shelf, the Larson C shelf, has grown 17 miles in the last two months. Cracking is a generated poem that simulate the crack and the ice melting at Antarctica with words and space. The text was originally taken from Wikipedia page List of Antartica Ice Shelves.A large section of Larson C shelf broke away in July, 2017. <img width="570" height="242" width_o="570" height_o="242" data-src="https://freight.cargo.site/t/original/i/b4c0759e85b1d1241202f32d46a9aaa501eea55b91a005cf17c03a7b03ef32a4/static1.squarespace-2.png" data-mid="26098564" border="0" src="https://freight.cargo.site/w/570/i/b4c0759e85b1d1241202f32d46a9aaa501eea55b91a005cf17c03a7b03ef32a4/static1.squarespace-2.png" /><img width="2136" height="1486" width_o="2136" height_o="1486" data-src="https://freight.cargo.site/t/original/i/97e523c474cf42e1d057d3a8cae76c856058a78149a57578470dd42117c69f85/static1.squarespace-1.png" data-mid="26098565" border="0" src="https://freight.cargo.site/w/1000/i/97e523c474cf42e1d057d3a8cae76c856058a78149a57578470dd42117c69f85/static1.squarespace-1.png" /> Neutralizer <img width="930" height="643" width_o="930" height_o="643" data-src="https://freight.cargo.site/t/original/i/f9338b00eb4598f63259136bdf808490f466d7d23d98937e1767341a2a5f8d3c/neutralizer.gif" data-mid="26098200" border="0" src="https://freight.cargo.site/w/930/i/f9338b00eb4598f63259136bdf808490f466d7d23d98937e1767341a2a5f8d3c/neutralizer.gif" /> Neutralizer is a collision experiment. I ask myself, who or what do I want to connect? Or rather, who or what do I think are poorly connected? I thought about ideologies cross culturally and environmentally: how do people from different environment view the same things completely differently? What are the connectors that are malfunctioning here? Eventually, I found myself blaming the use of language in our cultures, media particularly. I then went on to different news websites and searched for the same headliners. Expectedly, results came back vastly different. Take Feb 22, 2017 as an example, one common headline was found in both Chinese and the U.S. media: “the assassination of Kim Jung Nam might affect the relationship between China and North Korea”. Here are the headlines about the same news from a Chinese news site and a U.S. site, respectively: Chinese site (People’s Daily): <img width="713" height="272" width_o="713" height_o="272" data-src="https://freight.cargo.site/t/original/i/695c176f7c6cfd9f9bd72bf82f90368cb42ef1a685011698d9d9bbefbf123ddf/Screen-Shot-2017-02-23-at-11.34.40-AM.png" data-mid="26098666" border="0" src="https://freight.cargo.site/w/713/i/695c176f7c6cfd9f9bd72bf82f90368cb42ef1a685011698d9d9bbefbf123ddf/Screen-Shot-2017-02-23-at-11.34.40-AM.png" /> U.S. site (Bloomberg):<img width="600" height="274" width_o="600" height_o="274" data-src="https://freight.cargo.site/t/original/i/908387eacf31b4123348d82bcc2041886220104d1f1d0fa3c45da5d8f9f28a3c/static1.squarespace-3.png" data-mid="26098676" border="0" src="https://freight.cargo.site/w/600/i/908387eacf31b4123348d82bcc2041886220104d1f1d0fa3c45da5d8f9f28a3c/static1.squarespace-3.png" /> Needless to say, they are different (if not other things). Could I “connect” them? Meanwhile, I think in most cases, especially when it comes to physical connections, we would like to see connectors acting seamlessly, let it be a conversation with a stranger that just “feels right”, or a plug that fits perfectly into an outlet. However, in an art context, there is also undeniable power in bringing things together by force, intentionally not quite smoothly – juxtaposition, as we call it. I decided to create a python program that merge different texts together by force. Or rather, let them collide into each other. With such force visually, I’m interested to see what results I can bring to fill this communication gap. I placed the two texts side by side (in this case, People’s Daily on the left, Bloomberg on the right), randomized them by sentences, and let them collide. The same program can be applied to other texts as well. Speak Like an Immigrant <img width="1062" height="1158" width_o="1062" height_o="1158" data-src="https://freight.cargo.site/t/original/i/76f667e7f99d77dc3a3fa9702e0fa7d0858735b13626dcc53d870529d8dee700/speak_immigrant_final.png" data-mid="26098215" border="0" src="https://freight.cargo.site/w/1000/i/76f667e7f99d77dc3a3fa9702e0fa7d0858735b13626dcc53d870529d8dee700/speak_immigrant_final.png" /> For the final project of this series, I decided to continue the process of creating poetic visual structures using space. For the content, I wanted to simulate the experience of speaking English as a foreign language. To maximize the effect, I chose to create the form of a “dialogue” between two parties: one speaking English as a native speaker, the other as a foreigner. I decided to build my program around source texts that are “dramatically American”. For example, a few texts I tried are the U.S. Constitution, the lyrics of Star-Spangled Banner, and the Declaration of Independence. We the People of the United Statesin Order to form a more perfect Unionestablish Justiceinsure domestic Tranquilityprovide for the common defencepromote the general Welfareand secure the Blessings of Liberty to ourselves and our Posteritydo ordain and establish this Constitution for the United States of America I also did some research on some common mistakes people make when speaking English as a foreign language. My poems of the immigrant voices adapted to these rules accordingly. They include: the missing of “the”s and “a”sthe mis-use of pronouns, prepositionsthe difference between singular and plural formsthe changing between tenses Here are a few outcomes I enjoyed (source taken from the U.S. Constitution): <img width="1000" height="1096" width_o="1000" height_o="1096" data-src="https://freight.cargo.site/t/original/i/27dad204a252e68b39b765f1df314bb544277b4e85028bdae6bf3e7a11138801/speak_immigrant2.png" data-mid="26493800" border="0" src="https://freight.cargo.site/w/1000/i/27dad204a252e68b39b765f1df314bb544277b4e85028bdae6bf3e7a11138801/speak_immigrant2.png" /> <img width="1000" height="1090" width_o="1000" height_o="1090" data-src="https://freight.cargo.site/t/original/i/5b47f1749ab2d499d66d767c9923cb37adce4b2256c1c3110f9962a58c69074f/Screen-Shot-2017-04-27-at-5.18.37-AM.png" data-mid="26493820" border="0" src="https://freight.cargo.site/w/1000/i/5b47f1749ab2d499d66d767c9923cb37adce4b2256c1c3110f9962a58c69074f/Screen-Shot-2017-04-27-at-5.18.37-AM.png" /> Technology used:PythonSpaCy