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Unit 2 - Contexts
Embodied Reflective Practice – How to constructively lose control

With Ada Hao

Introduce: In this seminar, we will explore the social and visceral potential of digital media in physical and virtual spaces through the examination of the playful relationship with technology and the creative use of fiction as a method - its potential for a (re)activation of layered temporal experiences, its value as a political gesture to translate and translocate, its contribution to the inclusive accessibility in the process of artistic creation, and the role it embodies for the exhibition space and artistic production.

What is your role?

Balancing Life and Exploring Your Inner Hedonist.

What are you doing?

I'd put on a mask, get dressed up, and take the subway at night to someplace with no destination. On the subway, I will enjoy my own space and time, and do everything to relax and enjoy myself.

What is the thought you just had a minute ago?

Do my best as much as possible, adjust myself, and create my atmosphere with the best emotions.

How can research be performative?

I will use some props and masks, or some makeup and fake hair to let the audience and myself quickly enter the role. I will rehearse several times before the official shooting to ensure a smooth shooting. But if something unpredictable happens, I may also put it In the video, sometimes some easter eggs are also a good choice.

How to learn new knowledge and challenge existing ideas through performance?

Before this, I performed the performance art of Snail House. From the initial research to prop production, rehearsal, shooting, and editing, I will learn different knowledge in every step. I think as long as I do it, I will know something. But I still pay more attention to the audience's feedback and my own experience in the whole process. These two points are very important to me. I can always reflect on these two points and gain experience. As for the challenge, I think many unpredictable factors in the shooting are challenges to existing ideas, and breaking the rules is sometimes a good way.

How to communicate your research with different audiences (e.g. academic, artistic, friends and family, public… )

In this regard, I am somewhat similar to Ada. We will research and share existing materials, and discuss the artworks before, during and after shooting. But I also really like to observe the changes in the expressions of the audience while watching the video.

What strategies make your research accessible and engaging to diverse audiences?

Maybe before performing performance art, we will research similar issues, such as using questionnaires to research different audiences. After performing performance art, we will also conduct research in the same way and interview different audiences. Give feedback.

Ada said: "When I became NautAda,I have taken for granted being naut-adaaeronaut, astronaut, aquanaut, cybernaut, gastronaut, oceanaut, argonaut, ada, nautadaby becoming the naut, I have privileged others over me, it’s the eye speaking, not me through this collection of visual experience, the uncanny is now our brilliant metaphor for the new vision."

In reference to Ada's remarks, I have been contemplating her artistic disposition during the performance. It appears that she possesses a resolute determination to articulate her thoughts and possesses an indomitable vigor to captivate the audience. Consequently, I perceive this as a personal objective to aspire towards. Moreover, she avails an extensive array of audio and video platforms. Consequently, I intend to undertake a comprehensive examination and comprehension of audio components, exploring their intricate amalgamation and the diverse experiential dimensions they confer upon the spectators.


Reflection on the Theme of Color Purple: Upon my arrival in Britain, I observed that purple is consistently present in various significant events organized by the British government.This prompted me to contemplate the significance of purple. To me, purple represents an aura of mystery and leisure, although I personally lean towards favoring lavender, which shares similarities with purple. While I have not extensively researched the significance of purple in British grand events, I am inclined to interpret its usage within such occasions. Subsequently, I will also express my own perspectives on the symbolism of purple. As a representation of the spiritual realm interlinked with reality, the implementation of purple as a symbol carries profound meaning.

Reflection and Design Proposition: I believe that incorporating handmade elements will impart a distinct narrative to the visual representation. Therefore, I intend to enhance the existing mask by attaching long purple eyelashes, thereby adding a touch of drama. Additionally, I will adorn earrings that also bear a purple hue. Furthermore, I plan to employ purple packaging paper to envelop the red wine bottle, accentuating the display. Regarding the liquid poured from the bottle, I envision a purple-hued "red wine" elegantly filling a transparent glass. To complement the overall aesthetic, I will wear a purple clothes, which harmonizes well with the color of London's subway seats. However, I must consider the potential impact of various subway lines, as their distinct seat colors may yield differing effects. During my subway journey, I will bring along a small table to accompany a purple dining table, further enriching the visual composition. Simultaneously, I contemplate the ideal footwear to complete the ensemble, perhaps a pair of red high heels.


Hao, A. (2023) Naut-Ada- here lies 2019, Vimeo. Available at: (Accessed: 24 May 2023). 

‘Remote Viewing’ (2020), Article written by artist & filmmaker Morgan Quaintance:

Thought in the Act: Passages in the Ecology of Experience(2014), Erin Manning & Brian Massumi (Available in the library)

‘Creative Propositions for Thought in Motion’(2008), Erin Manning

Beyond Boundaries, Edge-life: technoetic structures and moist media (page 2-6), Art, Technology, Consciousness, Mind@Large (2000), Roy Ascott 

The Reflective Practioner: How Professionals Think in Action (1983), Donald Schön

Art Practice as Fictioning (or myth-science)(2015), Simon O’Sullivan

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