Are you a fan of dragons? 🐉 As we celebrate the Lunar New Year and welcome in the Year of the Dragon we feature Ivan Sun in our People who make the DIF series. Ivan Sun is a Malaysian-born, Bendigo-based multimedia artist, software engineer, and educator who has bridged the gap between software engineering and real-world applications. His portfolio encompasses a range of multimedia art, virtual reality experiences, creative workshops and projects that integrate art, technology and education. After relocating to Bendigo in 2020, he engaged with the local creative and tech community through initiatives like ACMI Emporium Creative Hub's incubator and Startup Central Victoria's pre-accelerator program. Recently, Ivan secured a grant from Regional Arts Victoria for a collaboration with the Golden Dragon Museum. His mission? To channel his creative prowess to narrate the tale of Loong, the world's oldest surviving Imperial Processional Dragon. We sat down with Ivan ahead of his event, Muse of Dragons - The (Virtual) Story of Loong, to learn about his creative and technological process. Image: Muse of Dragons - The (Virtual) Story of Loong Can you share how your background as a software engineer and educator has influenced your approach to multimedia art and virtual reality? There is a formidable set of technical requirements for developing work in virtual reality, and the skillbase required is ever-evolving and improving. My background does provide advantages for working in this area. I tend to be more generalised in my VR technical uptake for now, to learn a wide range of skills so that I can work more independently though I do not discount studio work or other collaboration moving forwards. My background helps me identify any current limitations and to create works within what I can do. Conversely, if there is a set project objective, I have confidence in identifying the different elements, then approaching the goal step by step. Apart from this, as an educator of over 20 years, I hope to create works that inspire the audience about the wonders of the human imagination. What sparked your interest in combining technology and art to create virtual reality experiences, particularly focusing on the Chinese dragons at Bendigo's museum? For my current project with Bendigo's Golden Dragon Museum, there was wonderful timing involved. I have a passion for modelling heritage 19th century architecture in my virtual projects, so I was on the phone with a coordinator from Regional Arts Victoria (RAV), pitching ideas for the next round of grant funding. Coincidentally, the Golden Dragon Museum CEO had recently asked RAV about artists who can create new and innovative works relating to the museum collection. So, the RAV coordinator encouraged me to talk to the museum, great advice which I promptly followed up on. The CEO listened to my pitch about Bendigo architecture then told me that what the museum board really wanted was someone to tell the story of their most prized artifacts, the processional dragons. It took me a minute or two to have a "eureka moment!" A digital work telling the story of the processional dragons would involve them parading within a backdrop of Victorian architecture... The RAV funded project I'm working on is centred on Loong, the world's oldest surviving intact imperial processional dragon that resides in the museum. I will be delivering three elements: a digital interactive quiz for the museum visitors, a short documentary film and with other creative collaborators, a sound experience for the visually impaired. Could you tell us more about your company, the Bauhaus Metaverse? Inspired by the ethos and the creative energy of the historic Bauhaus school in the Weimar republic, I founded the Bauhaus Metaverse for new VR-based projects: art works, experiences and software products that integrate art, technology and education. Some of my previous virtual reality art installations have been centered around working with virtual communities where I coordinated art and virtual museum installations where I not only produced new work, but also mentored others to learn new creative or 3d modeling techniques. The Bauhaus Metaverse has a trademark pending. I hope we will launch when this is finalised! Image: Bauhaus Metaverse VR-scape Virtual reality is a relatively new medium for artistic expression. How do you see it changing or enhancing the way audiences interact with and experience art? Companies that sell hardware (or software or platforms) tend to redefine virtual reality to align with what they are offering, as part of their marketing. As detailed in the 1992 science fiction novel Snow Crash by the American writer Neal Stephenson, virtual reality can range from a flat screen video display to an environment deployed using special glasses or goggles. What matters more than technology or the realism of the VR details, is how the experience touches the hearts and minds of the audience. Bendigo has a reputation as an innovative town which has both a rich history of art and technology. What do you think makes Bendigo unique in terms of art and technology? As an 'edtech creative' working in regional Victoria, I have benefitted from different programs like ACMI's Emporium Creative Hub incubator program, and Startup Central Victoria's pre-accelerator program. There is a strong sense of interest and willingness to support the work of newcomers from established industry members as well as peers. Credit to the wonderful individuals behind those two programs I mentioned for helping me connect with local industry leaders and practitioners and helping me find the collaborators I need for my projects to thrive. Find out more about attending Muse of Dragons - The (Virtual) Story of Loong, presented by Golden Dragon Museum and La Trobe Art Institute, Bendigo on Saturday, 10 Februrary 2024 2:00 PM - 3:00
Image: Joel Sherwood Spring, DIGGERMODE, 2022. Courtesy the artist Generations of First Peoples have questioned and are questioning the ethics of storing, accessing and sharing images within the archive. Will new technologies threaten or help protect our images and our peoples, if we don’t have ownership or control over what lives in the archive? What about our cultural and intellectual property? What impacts do contemporary practices have on people, culture and land? Wiradjuri artist and architect Joel Sherwood Spring considers these questions and confronts the social and environmental ethics of new technologies in the construction, storage and sharing of our images. His new commission for ACMI, DIGGERMODE (2022), comprises an immersive multi-channel installation. "State acts of surveillance, recording and archiving had the power to place our family stories in the public domain, or obliterate stories within a broader history of erasure; filed away, silent and hidden until bidden. But our bodies too are archives where memories, stories, and lived experiences are stored, etched and anchored in our bloodlines deep…” Natalie Harkin (1) Image: Joel Sherwood Spring, DIGGERMODE, 2022. Courtesy the artist Using an online artificial intelligence (AI) text-to-image generator, Sherwood Spring has created landscapes in the style of Albert Namatjira paintings, which include imagery of the Country being extracted, perhaps as a foreshadowing or warning of our potential future. Sherwood Spring has trained the neural pathways of another AI, who interacts in first person with the artist throughout the work when asked questions like, “Who’s your Mob?”, contemplating whether a computer-based system could be trained to ‘remember’ the Country it comes from, and whether it should. In doing this, Sherwood Spring speculates that materials hold memory – that computer chips and semiconductor processors remember the Country that their materials, such as sand for silicon, are extracted from. DIGGERMODE muses on the problems that arise from new technologies providing instantaneous and open access to cultural belongings and documentation of our people. The work highlights the environmental impact of our digital world; it is Indigenous peoples who most intimately feel the growing impacts of capitalism and climate change on their lands and ways of being. “Tracing the material and cultural implications of extraction and storage, DIGGERMODE is a generative behind-the-servers look into how memory works within platform capitalism.” DIGGERMODE questions the social and environmental ethics of technology in constructing, storing and sharing our images, whether in surveillance databases, museum archives or online. With artificial intelligence (AI), Joel Sherwood Spring has created landscapes in the style of acclaimed Arrernte artist Albert Namatjira being torn apart by mining machinery, and has trained another AI to answer questions like “Who’s your Mob?” Presumably, anyone could do this – but should anyone be able to appropriate Indigenous art from the internet? How do we protect our knowledges in digital spaces? Can sand used to make silicon microchips contain memories of Country? Joel’s work confronts the viewer with uncomfortable and overlooked aspects of our hyper-networked age, grounding the possibilities of ‘the cloud’ and AI in the broader context of ongoing colonisation. The work considers the environmental damage caused by new technology and data storage, and how it is Indigenous peoples whose lands and ways of being are profoundly impacted by capitalism’s extractive processes. How I See It: Blak Art and Film 10am–5pm daily 16 Dec 2022–19 Feb 2023 FREE ACMI FED SQUARE Acknowledgements The Victorian Government is a proud supporter of ACMI all year round to present its programs and exhibition service. How I See It: Blak Art and Film has been made possible with the generous support of Melbourne-based screen technology company Blackmagic Design. (1) Natalie Harkin, ‘The Poetics of (Re)Mapping Archives: Memory in the Blood’, Journal of the Association for the Study of Australian Literature: Country vol. 14 no. 3, 2014 Videographer: Akil AhamatScript advisor: Enoch MailangiSound production: Bridget Chappelle Extract from an article originally published by Curator Kate ten Buuren in An Introduction to How I See It: Blam Art and Film at ACMI.