Performative Media
Week 1
The class began with a round of introductions, where both the teacher and students shared about themselves, which created a welcoming atmosphere and made me feel valued. As the session went on, the teacher provided a clear outline of the course, explaining what we would be learning and the skills we should aim to acquire by the end. Additionally, after each stage, the teacher thoughtfully approached students to hear their opinions and reflections.
The teacher also talked about the basic plan for this semester.
Week 2
In this class, our teacher introduced us to a new creative software called TouchDesigner, which is widely used for interactive media and visual design. We first downloaded and installed the program, and then the teacher carefully guided us through the basic operations step by step. During the process, we learned how to create simple visual effects, connect different nodes, and understand the logic behind real-time visual programming. It was a very engaging and hands-on learning experience that helped me become more familiar with the interface and fundamental concepts of TouchDesigner.
Week 3
In today's class, the teacher continued teaching us this software and had us follow his steps to learn one by one, but I still made a few mistakes and then sought the teacher's help. Under the teacher's guidance, I eventually completed my final product.
Week 5
In this class, I learned how to use TouchDesigner to make an interactive visual system where a moving ball reacts to sound and changes color with keyboard controls. Basically, the ball moves around based on the sound input, and I can press keys like “1, 2, 3” to switch its color between red, green, and blue.
I used a mix of CHOPs (Channel Operators) and TOPs (Texture Operators) to connect audio and visuals. For example, I used audioIn CHOP, math CHOP, and null CHOP to analyze the sound’s amplitude and turn it into numbers that control the ball’s X and Y position. The circle TOP made the ball shape, and constant TOP with switch TOP helped me handle the color changes. I also used keyboardIn CHOP and logic CHOP so I could switch colors with keyboard inputs.
Through this project, I learned how to connect different types of nodes, manage data flow, and make visuals respond in real time. It really helped me understand how interaction design, signal mapping, and dynamic visuals work together to create an engaging experience.
Then we moved on to the main topic: MediaPipe. It’s a tool created by Torin Blankensmith and Dom Scott, and there’s a TouchDesigner version of it that lets the software track things like hand gestures much more accurately than just using raw webcam movement. Compared to simple motion detection, MediaPipe gives you way better precision and control, which opens up a lot more creative possibilities.
After that, we did a hands-on tutorial: using MediaPipe to create a hand-controlled liquid brush in TouchDesigner. It was a fun exercise and really showed how powerful gesture-based interaction can be.
Toward the end, we went through the upcoming assignments. Assignment 2 is due in Week 9 and requires a concept proposal, a prototype in TouchDesigner, and a one-minute video demo. The final project will be an interactive artwork using mic or webcam input, plus logic in TouchDesigner and some kind of visual, sound, or physical output. The exhibition will take place in Week 13 at GMBB, followed by documentation in Week 14.
Overall, this week was pretty hands-on and got me excited about using MediaPipe to make more responsive, playful interactive artworks.
Week 8
This week’s lesson was all about how to design a solid concept proposal and build an effective prototype. It felt less like a technical class and more like learning how to think as an interactive artist.
We started with what makes a strong proposal: your idea needs to have a clear message or emotion behind it, not just cool visuals. The teacher kept emphasizing that a good concept has both a “surface” layer (what the audience immediately sees) and a deeper layer (symbolism, emotional meaning, metaphors). Basically, your artwork should say something, not just look pretty.
Then we looked at how behaviour creates meaning. There were lots of simple examples, like lights blooming when two people come close, or particles gathering around your hands when you reach out. These small interactions can express emotions like connection, tension, trust, or presence. It made me realize that interaction itself can carry storytelling.
Another part of the lesson focused on keeping the visuals, sound, and physical build consistent with the concept. Colours help set the mood, motion influences emotion, and the physical space should extend the idea beyond the screen. We also got a bunch of practical tips on materials—basically, use cheap, lightweight stuff that’s easy to build and modify, like foam board, PVC pipes, old electronics, and lampshades.
In the second half, we shifted to prototype development. The big takeaway was: a prototype is not the final artwork. It just needs to test the core interaction and reveal what’s working (and what’s not). Once the main input and output loop is stable, then we can start adding extra layers and polishing the aesthetics.
The teacher also reminded us to document every version — what changed, what failed, how the feeling shifted. It’s not just about building; it’s about understanding your own process.
Overall, this week felt very grounding. It made me see how important clarity, emotion, and thoughtful design are when creating interactive art—not just the technical side.
Week 9
Presentation
Our link：Canva
Week 10
This week’s briefing helped me understand clearly what is expected for our final installation project. Compared to Assignment 2, which focused more on early prototyping, Assignment 3 requires us to transform those prototypes into a complete, fully functioning, and interactive performative installation.
Below is my personal summary of what I learned and what I need to prepare.
1. The Goal of the Final Assignment
The main objective is to create a unified performative media system. That means our final output must combine:
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A physical build
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Interactive media created with TouchDesigner
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Audience interaction
A strong conceptual direction
2. What We Need to Produce
A. Final Installation
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Maximum size: 1m × 1m × 1m
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Must include a physical structure
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Must integrate TouchDesigner real-time interaction
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Needs to be stable, safe, and ready for exhibition conditions
B. Supporting Document (Audience-Facing)
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Concept statement
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Clear intention
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“How to experience” instructions
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Visual documentation of our process
C. Final Presentation (After Exhibition)
10–15 slides covering:
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Concept & interaction flow
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TouchDesigner setup
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Technical & creative process
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Exhibition video (30–60 seconds)
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Reflection and insights
This presentation is due 26 December 2025.
3. Important Dates
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Setup: 12–18 December
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Exhibition: 19–21 December
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Deinstallation: 21 December (evening)
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Final Presentation: 26 December
We must plan transport, installation time, and troubleshooting.
4. Exhibition Duties
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Guiding visitors
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Resetting the installation
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Preventing equipment damage
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Basic troubleshooting
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Maintaining professional behavior
This means our installations need to be reliable and easy to reset.
5. Week-by-Week Work Plan
The briefing outlined a clear timeline:
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Week 10: Concept refinement + technical planning
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Week 11: Physical building + interaction testing
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Week 12: Build continuation + system development
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Week 13: Final touches + documentation + exhibition preparation
Consistency is crucial; we can’t leave everything to the last minute.
6. What I Personally Took Away
The biggest challenge will be balancing the technical and creative parts while ensuring everything stays cohesive.
In the final three weeks of this course, our main focus shifted toward preparing for the final exhibition at GMBB. This stage of the project was both intense and rewarding, as we moved from development and testing into real-world presentation and installation.
During this period, the lecturer kept us updated with several important changes and arrangements regarding the exhibition. Our exhibition venue was confirmed to be Level 3A at GMBB, which has significantly higher foot traffic compared to Level 5. Although we were initially not allowed to set up there due to management restrictions, special arrangements were later made so that we could move our installations downstairs and complete the final setup closer to the exhibition dates.
The exhibition was scheduled to run on 20th and 21st December, from 11:00am to 7:00pm, with additional supervision and final adjustments taking place beforehand. In the days leading up to the exhibition, we visited GMBB multiple times to test our equipment, refine our installations, and ensure everything was functioning properly. These repeated on-site sessions were essential, as working in a public exhibition space presented challenges that we did not face in the classroom, such as space limitations, power management, and interaction with the surrounding environment.
On Thursday morning, we worked together as a class to move all installations from Level 5 to Level 3A. This collaborative setup process required good communication and teamwork, as everyone needed to coordinate timing, equipment, and responsibilities. Later, we were also given permission to continue working at Level 3A as long as we were considerate of other tenants and maintained a clean public walkway. This flexibility allowed us to further polish our work and make last-minute improvements.
Another important update during this period was the simplification of the assignment requirements. Instead of preparing a long supporting exhibition document, we were asked to submit a short art description (3–5 sentences) explaining the concept of our piece and how users could interact with it. This description was printed and displayed next to our work during the exhibition, which helped audiences better understand our projects.
Overall, the final three weeks were demanding but highly valuable. Preparing for a public exhibition pushed me to think beyond technical implementation and consider presentation, audience interaction, and reliability in a real-world setting. Repeated testing at GMBB helped me identify weaknesses in my work and improve it step by step. This experience not only strengthened my practical skills but also gave me a strong sense of accomplishment when seeing our work presented in a professional exhibition space.
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