Hydra visual synth, CCTV, CRT, 2026
Tay Li-Cheng
Raffles Institution
This work explores how digital materials might be approached through play, questioning whether pixels can resist, fracture, or accumulate traces in ways similar to physical matter. It asks how risk, friction, and failure might be reintroduced into digital interfaces typically engineered for smoothness, efficiency, and control.
Using glitch as a method rather than a stylistic effect, the installation unfolds through repeated acts of play and misuse. A CCTV-like camera observes the space from above, while a game controller mediates the viewer’s interaction. Projected at eye level, the image undergoes persistent distortions that gradually accumulate over time, leaving visible residues of action and interference.
Rather than aiming for precision or mastery, the work privileges process and material behaviour. Glitches become evidence of encounter—marks left by interaction—transforming the digital image into a site of material play where accumulation, resistance, and persistence take precedence over polish and perfection.
Made using Hydra visual synthesizer, live CCTV feed, and a PS5 controller, with assistance from Google Gemini.
What surprised you when you allowed yourself to start with play?
When I started with play, I discovered that all my “what-if’s” became “just-do-it’s”. There are little no stakes in play, and that frees me up to solve tough problems without worrying about the consequences (or the effort, for that matter). Having fun is the only expectation in the process.
What is one play hack you would like to share to help fellow teacher-artists experiment and create without expectations?
One play hack I would like to share is to find that environment in which you can tap into your subconscious. For me, it’s that drowsy moment as I put my kids to bed after we chat about our day. Dim lights and repetitive lullabies turns on ideation mode and I walk out of the room needing to jot things down.
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