When a collection of screens across time and space can be used flexibly, even screens in vehicles, for example, can be designed into the playback process, the image has gained a full spatio-temporal mobility. Oasiscreen, as a combination of the two, attempts to bring the image to different environments, such as the natural environment, where video technology does not exist. Using a solution consisting of solar panels, protective enclosures, wireless modules for cellular networks, smart players and screens, the images can be continuously transferred from other locations to video installations in deserts and similar harsh environments. The project expects the video installation to be sustainable as a plant in the desert, forming a digital video oasis. In other versions, the device can be deployed in different scenarios.

The emergence of media art is first and foremost the result of technological progress, and I need to first define the range of media I am dealing with to refer to the media involved in media art, rather than to a broad range of all media. The invention and popularization of photography, radio, and television, and the formation of a new consumer society, laid the foundation for the technical and cultural conditions for the creation of video art. At the same time, the rise of rebellion and extremist consciousness, student movements, feminism, the sexual revolution and other social conditions inspired and facilitated the rise of video art; the early rise of video art also stemmed from the rebellion against commercial television. Along with the background of image culture and television culture, the medium of media art has undergone multiple evolutions since the advent of Fluxus in the 1960s, from the first analog technology, to digital technology, then computers, and more recently to artificial intelligence technology. Avant-garde media art has always used the image technology of the time while challenging the established media-illustrative frameworks, as well as the ideologies and social mechanisms that dominate the medium, and giving the medium a new perception and scope. The above briefly introduces the background of the development of media and technology in video art. Media art relies on pictorial media, but what does the medium of media rely on?

If we look deeper, like trevor peglen's search for the cables that support the global flow of data at the bottom of the ocean, what lies beneath the media art is an invisible power grid buried underground, with the source of the interlocking cables being the monopoly power system. Such a power system is rooted in industrial production that consumes a lot of fossil fuels, and despite the propaganda of the power companies to increase the use of green energy, this process will take a long time. control, a fundamental shift cannot be made in a short period of time. So a fundamental consideration of the mechanisms by which images operate can look at the mode of electricity supply, and consider whether media art can be separated from the electrical system and be able to operate on its own. In Oasiscreen, the collection of images is taken outside the city into the wasteland, the vacuum of electricity, and I take the opportunity to develop a way out of the electrical system. In the combination of IF Solution and Oasiscreen, I referenced the use of small solar panels and sought to find a suitable solution to the electricity supply. From this perspective, I gradually developed a more thoughtful approach to electricity and tried to integrate it into Oasiscreen's framework, as Oasiscreen's geographic area of interest intersects with that of electricity scarcity.  

Oasiscreen combines cloud-based delivery and management technologies to control and adapt variable content to different playback environments and contexts, so it is a non-fixed video device that can operate independently in an un-powered environment. The focus of Oasiscreen's practice in electricity is how to generate a stand-alone, ecological approach to power generation that can be deeply integrated with Oasiscreen.

Oasiscreen - Desert

dust- and waterproof screen, Raspberry Pi with waterproof case and cellular module, player based on Raspberry Pi, solar panel, multi-panel video, variable size, video looping, 2020

Oasiscreen – Desert Monitoring

LCD screen, waterproof metal box with glass, Raspberry Pi with waterproof case, cellular module and camera module, player based on Raspberry Pi, solar panel, multi-panel video, variable size, video looping, 2020

Oasiscreen - 8PFRWCF6+J2

LCD screen, media player embedded on screen, flash drive, solar panel, artificial grass, small sand dune, multi-panel video, variable size, video looping, 2020