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With my ongoing practice in installation, I will challenge the conventional spatial structure in the moving image practice by applicating the Deleuze's diagram methodology and redefine the meaning of the devices frame in relation to the spatial structure of the installation space, where form produces viewers who are ‘floating, gliding or suspended' in a whole set of novel spatial configurations and relations that are dispersed across contemporary screens.Thus, this research will focus on two key points. The spatial formation in montage based on Deleuze's diagram methodology will reveal the latent structure of the organisation, as Sergei Eisenstein identifies the formation in both architecture and cinema, depending on the ambulatory viewer who composes space by walking among the buildings. Second, it will expand to the relations between digital and physical environments. Together, this will open new possibilities of ambulatory viewing in terms of artists' practise, materials, and the digital environment.
During my academic experiences within different cultures, I gradually became attracted to the different forms of communication in use, for instance, those between people and their tools. At Musashino University and Central Saint Martins, I aimed to achieve a reflective body of work that combined theoretical research and practice. Particularly in my MRes course, I sought to prove the importance of producing a body of work that merged theory and practical work by engaging with an editing technique based on Sergei Eisenstein's concept of montage and Deleuze's diagram methodology.
I believe design and cinema theory have a common quality that connects technology and aesthetics through practice. Now, it is more apparent that devices are becoming a heterogeneous assemblage, including working and leisure, moving and being still, the public and the personal. Thus, I believe the spatial concept in digital devices should be refocused and re-evaluated from a multidisciplinary position.