Fionn’s masters thesis ‘How do digital technologies affect the aesthetics of Japanese calligraphy art and culture’, which sheds light on Japanese Shodō performance, including the immateriality (performance-process) and the materiality of paper-based artworks. Her paper points out how new media technologies blur the notion of ‘digital/traditional art’ and dramatically changes the way we perceive art and create art.
Great thanks to all scholars, curators and artists who visited Fionn's poster section in 'RE:TRACE' Conference for Histories of Media Art, Science and Technology in 2017 in Austria. Click to download the poster and presentation (English, Mandarin).
Along with the advance of technology , Fionn’s curatorial project ‘The Emotion Politics After becoming a Cyborg ’ (2014) has been developing into her PhD research ‘Techno-Intimacy : Gender, AI and Society’(2019–), which investigates the loneliness in society, discussing the emotion bonds with avatar, robot, and gender issues from the perspective of sociology and musicology.
Doubt without fear
Fionn Han (Hua-Chun Fan) graduated from Erasmus Mundus Joint Master program of Media Arts Cultures in 2017 summer, which enriched her art practices and versatile researches by living and working in Austria, Denmark, Poland, Netherlands and United Kingdom since 2015.
Other selected researches:
the Aesthetics of Techno-Intimacy with Sociocybernetics (2017, Poland)
—“Hong Kong Martial Art Living Archive”analysis (2015, Austria)
わずかの違いを大切に。—W. A. Mozart
As an transmedia artist, Fionn’s works and researches focus on the emotion flows between languages and sounds, human and machine—from the perspective of how technologies dissolve the boundaries or push them further. Take a glance at her recent pieces or download Artist portfolio:
▪ Keychain—a study of Musique concrète (2016, Denmark) : A 5:34 soundtrack consists of 19 different sounds of keychains and human voices in 15 languages.
▪ The Asobi Commune (2016, Denmark) : A computer game that mediates between analogue and digital poetry, questioning the machine autonomy and authorship (co-designed with Natalia Dąbrowska and Xue Yu).
▪ Book series—WH.Diary (2014-2019) : Following the time-lapse diaries, the portion of Mandarin would become less while Japanese becomes more, to the end of the journey, used as poetry. Besides printed media, it developed into several audio-visual projects of transmedia storytelling, including ‘Light Atlas’ (2017), ‘RE:VIVE’(2018), and ‘Symphony323’ (2019).