Locus of Conduct


Projector, speaker, wood, electrics, plinth, 120x40x40 cm

‘Echo’, video and sound installation, exhibited with Melissa F. Clarke at Visible Futures Lab, School of Visual Art, 2015.

‘Echo’, video and sound installation, exhibited with Melissa F. Clarke at Visible Futures Lab, School of Visual Art, 2015.


“Locus of Conduct” is an experimental practice of rhythm, which investigate the interactions between intrinsic and extrinsic influences on individuals. This work includes multidiscipline applications and aesthetic ideas to associate the relevances by observing the diverse rhythmic patterns. Rhythm is not only the repetition found in movement, but it is also a regulation of behavior and will. When observing repetition, rhythm enters into a general construction of time, which poses philosophical problem: repetition and becoming, the relation of the Same to the Other.

Lefebvre identifies two kinds of “external rhythm”: cyclical rhythms, which involve simple intervals of repetition, for example, day fading into night, and night brightening into day; alternating rhythms, which might be the flow of information from a television set. Additionally, rhythms may be nested within each other, just like the broadcast of the local news at set intervals throughout the day, throughout the week, is an example of a nested rhythm.

In order to observe rhythms outside of the body, the viewer must use her or his own rhythms as a reference to unify the rhythms under analysis. Thus, this work start to pays attention on how to measure the “internal rhythm”, recognise that rhythms exist at the intersection of place, time and the expenditure of energy, and further discuss the similarities and differences in a dynamic state.

In this work, I want to construct environments that induce audience to conduct simple and repetitive movements in a given structure without external reference. In the mean time to collect the information of reactions and transform the data gathered into parameters for the approaches of sonification and visualization to create both audible and visible feedbacks. Trying to capture the context of “internal rhythm” of human body and use it as compositional materials to reflect the trace of veiled rhythm inherently with technology.



If we see the rhythm as a series of repetitive actions or events, in some extent, a repetition change nothing in the object repeated, but does change something in the mind that contemplates it. When we ask to every repetition, ‘is that the same?’ It means something happened to us and influenced by external world. For example, when the traffic light shows green, we start to move; when it shows red, we are stop and wait. After repetitive actions, whenever the traffic light shows green or red, we are expecting the follow reaction. Such repetitions are similar rather than completely same. How is “internal rhythm” reinterpret “external rhythm”? Consequently, this work start to investigating the “internal rhythm”.

In 1976, psychologists Marc and Helen Bornstein published a paper in the journal Nature. At that time, they were attempting to understand the relationship between growing population and individual behaviors, then they did practices include measuring walking speed. In addition, social psychologist Robert Levine also observed the walking speed during rush hour in a clear day around 31 countries and compared the result with economic situations of each city. Overall, pace of life was fastest in Japan and the countries of Western Europe and was slowest in economically undeveloped countries. The pace was significantly faster in colder climates, economically productive countries, and in individualistic cultures. Faster places also tended to have higher rates of death from coronary heart disease, higher smoking rates, and greater subjective well-being. Discussion focuses on how the pace of life is intertwined with the social-psychological and community characteristics of a culture, and the central role of pace of life in defining the personality of a place and its people.

The focus of “rhythm”, in this case, turns to the personal methods, issues, form of transition, the human condition and spiritual values. How do we address the causal relationship between external world and ourselves? Simultaneously, there is a blurred distinction: how should we comprehend that people are living in the city or have been surrounded, even contained by the city (active or passive)? Perhaps, people lie in the city with their own will; either, they are affected by the living condition when the space, time, light, things and body have constantly changing. Rhythm, as a repeating cycle in the time and the united in diversity, such perception comes from the humans. What does such rhythms comes from? Is it some kind of desire on our own or influenced by external variable? Therefore, I want to do a series of research by building up environments or interactive devices that have the ability to induce audience to react with and then collect the data from a variety of behaviors, and develop either musical interface or compositions through sonification process.


The DIY Devices for Collection