a work per day (12): Ip Yuk-yiu’s REHEARSALS FOR MUTED FILMS #2


– Ip Yuk-yiu 葉旭耀

Rehearsals for muted films #2 reworks three Hollywood films with stories that were set against Hong Kong. The work for the visitor is a speechless excursions of projected text, which proposes new ways of seeing, listening and reading popular cinema while at the same time re-imagining the dialogue (or the lack of it) as an allegorical conversation about culture and identity. The three films are Love is a Many-Splendored Thing (1955), The World of Suzie Wong (1960) and Enter the Dragon (1973).


Yuk_siteview03R《Rehearsals for muted films #2》重構了三齣與香港有關的荷里活電影,包括《生死戀》 (1955)、《蘇絲黃的世界》 (1960)及《龍爭虎鬥》 (1973)。作品猶如一段沈默的旅程,被投影播放著的文字開啟觀眾以全新方式去觀看、聆聽及閱讀普及的電影,同時把三部電影中的對話重新想像為有關文化與身份的寓意性的對話。


site view @ WMC_e5
site view @ WMC_e5
















Ip Yuk-yiu
Ip Yuk-yiu

About IP Yuk-yiu


Ip Yuk-yiu is an experimental filmmaker, media artist, art educator and independent curator. His works, ranging from experimental films to live video performances and media installations, have been showcased extensively at international festivals including European Media Art Festival, New York Film Festival, the Image Festival, VideoBrasil, Transmediale, Hong Kong International Film Festival and more.  He is a founder of the art.ware project, an independent curatorial initiative focusing on the promotion of new media art in Hong Kong.  Ip has lectured extensively on film, video and media art.  Currently he is Associate Professor at the School of Creative Media, City University of Hong Kong where his recent works explore real-time and computational forms of cinema. His computational installation, Between the threshold of good and evil: film noir no.1 (Double Indemnity), was presented at the WMC_e4 in 2010.








a work per day (11): Mike King’s MAP01




map01 (2014) / Mike King

[video documentation…]

map01 is an experimental visual exploration of procedural interference between transcendental functions.


A few site views of the work as a self-evolving wall projection…















the original blue version of map01
the original blue version of map01




In its original test run, the image was blue in tone, but the artist changed the color to yellow to pay tribute to the Umbrella Movement.



About Mike King

Mike King is a computational artist who works in a visual art domain. His works rely on computation to visualize abstract ideas, subverted scientific findings and imaginary procedures. His work Grapheme, on technostalgia,was part of WMC_e3 (2008).

Mike King 是以電腦程式創作的藝術家,主要從事視覺藝術創作。作品以編寫電腦程式展現抽象概念、顛覆性的科學數據及想像性操作。作品《Grapheme》於2008年文字機器創作集第三輯展出。


a work per day (10): Justin Wong’s AUTOCOMIC#1


– 黃照達 Justin Wong 


Autocomic#1 remakes the artist’s daily six-panel comic strips, Gei Ger Gaak Gaak, published in local newspaper Ming Pao. The stories and the plots are computer-generated based on several simple “rules” and “formulas” commonly found in the comic strip format. All the source materials are extracted from a library of graphics and texts that is built from the artist’s previous works.

While comic production has been greatly enhanced by the advancement of hardware and software in recent years, very few artists and scholars are aware of the potential computer could bring from the perspective of generative art. Comics can be seen as a form of rule-driven art if we closely study its language and its relationship with the form. I believe, with the rich histories of generative theory in the field of literature and visual design, the implementation of such principles and creative practices could pose a challenge to the existing storytelling tradition and it could establish a new platform for the discussion of the evolution of comics’ language in the future.

autocomic#1 is such an attempt to revise storytelling through rule-based algorithmic thinking. The process is based on an extensive study of comics’ unique language and basic elements such as image sequence, page layout, use of grid and theories of narrative. The creative process deploys images from the artist’s previous works which form the data set and library of , autocomic#1, a writing/reading system.


site view @ WMC_e5
site view @ WMC_e5


「當電腦硬件和軟件正在不斷為漫畫藝術帶來革新的時候,很少藝術家及學者留意到電腦科技從「衍生藝術」的角度可以為漫畫帶來什麼可能性。如果細心分析漫畫語言及其表達形式的關係,從廣義在說,漫畫可以看成是一種由「規則驅動」(Rule-driven) 的藝術形式。建基於「衍生藝術」的理論於文學及設計等範疇的應用,我相信其創作原則及方法可以為傳統漫畫敍事的策略帶來很大的挑戰。同時,也為有關漫畫語言的發展建立了新的討論平台。」

site view
site view


About Justin WONG

Justin Wong
Justin Wong

Justin Wong, comic writer and media artist, received his BA (Fine Arts) in Chinese University of Hong Kong in 1996 and his MA (Interactive Digital Media) in Ravensbourne College of Design and Community in London. After his graduation, he participated in the Ars Electronica award-winning web 2.0 project, Last.fm in London. Upon his return to Hong Kong in 2004, he taught at the School of Creative Media, the City University of Hong Kong, then as Art Director in an interactive media design company. At the same time, he began to contribute regularly to local newspapers as comic writer and illustrator. In 2007, he started his political comic column Gei Gei Gaak Gaak in Ming Pao Daily. His works include comics, graphic design, animation and interactive art. He is the Artistic Director of new media art group, the Writing Machine Collective, and lecturer at the Academy of Visual Arts at Hong Kong Baptist University. For the Writing Machine Collective, Wong has contributed Typing Machine (Junk Mail Factory) (WMC_e2, 2007),  Txt-Me-1st (with Hamlet Lin and Eva Schindling (WMC_e3 at Digitalogue, 2008), and computational animation, City Forum (WMC_e4, 2010).

黃照達,漫畫家及媒體藝術家。1996年畢業於香港中文大學藝術系,2002年於倫敦Ravensbourne College of Design and Communication 修畢互動數碼媒體碩士課程,曾參與創作於2002 年奧地利 Ars Electronica電子藝術節獲獎的 web 2.0網站Last.fm。2004年回港後於香港城市大學創意媒體學院出任導師。及後擔任本地互動媒體設計公司美術總監一職。期間開始替報章創作漫畫及插圖,並於2007開始於《明報》連載其漫畫專欄《嘰嘰格格》,題材以時事政治為主。除漫畫外,黃氏同時亦參與不同類形之創作,包括設計、動畫、互動媒體藝術等。現為香港新媒體群體 「文字機器創作集」 藝術總監及浸會大學視覺藝術院講師。曾於文字機器創作集發表過的作品包括,Typing Machine (Junk Mail Factory) (第二輯, 2007), Txt-me-1st (第三輯,2008,林耀邦、Eva Schindling 協作)及數碼併貼動畫《城市論壇》(第四輯,2010)。



a work per day (9): Rodriguez’s THEOREM 8 第八定理, projection and sub-spaces

Theorem 8 (site view @ WMC_e5, Connecting Space-HK, 2014.10
Theorem 8, site view @ WMC_e5, Connecting Space-HK, 2014.10
第八定理 | THEOREM 8

– Hector Rodriguez 羅海德

[01-with VO explanation02-single-channel]

Theorem 8 is originally a 3-channel video projection installation exploring the intersection of art and mathematics. It is made using a specially authored software that decomposes every frame in a movie using a fixed database of frames extracted from another movie. The project is based on the mathematical concept of orthogonal decomposition, used in many surveillance applications. Theorem 8, however, redeploys this surveillance 
technique for very different purposes, to “read” one movie in relation to a second movie. This project thus visualizes the abstract mathematical concept of orthgonal decomposition. The idea is to select a fixed set of frames from one movie and then allow every frame in another movie to make a shadow projection onto each of those frames. Every frame in the second movie is decomposed onto those various changing shadows. By mixing the different shadow projections, it is possible to achieve an approximate reconstruction of the current frame in the first movie.

With this mathematical technique, it achieves a superimposition of frames from two different films: Godard’s Alphaville and Witch’s Cradle, directed by Maya Deren. The two films were selected because their filmmakers used light and shadow as dramatic elements. Godard can be seen a response to the rise of cybernetics and information technologies. Deren and Duchamp were interested in abstract mathematical spaces. The title, Theorem 8, refers to the orthogonal decomposition theorem, which concerns the idea of an object in a higher-dimensional space projecting shadows onto a lower dimensional space.

Since technique of orthogonal decomposition are often used in surveillance software, the work aims to foreground, deconstruct, and liberate the computational aspects of surveillance technologies. Its underlying philosophy is that radical politics demands radical artistic forms. It also shows how surveillance method can be subverted as means of reading or decoding the cinematic tradition.

theorem8The research of Theorem 8 advanced from the artist’s previous research in works Gestus and Gestus: Judex (2010-2012), and Inflections (2010-2012).

Theorem 8 was orginally developed as a three-channel video installation, but it also exists in single-channel format, which can be screened with or without a short mathematical introduction, which is the version shown at WMC_e5.

Theorem 8 (video version)
Theorem 8 (video version)


Project web site



About Hector RODRIGUEZ

Hector Rodriguez
Hector Rodriguez

Hector Rodriguez (WMC Research Director) is an experimental software artist whose work investigates the specific possibilities of information technologies to reconfigure our experience of moving images and our relation to film history. His work integrates video art with mathematics and computer science, exploring the tension between digital abstraction and cinematic representation. His work has been shown at the Saatchi Gallery (London, UK), the National Science Museum (Seoul, South Korea), the Museum Friedericianum (Kassel, Germany), Siggraph Asia (Singapore), and the WRO Media Art Biennial (Wroclaw, Poland), among other venues. He was a jury selection of the Japan Media Art Award. His digital experimental animation Res Extensa won him the Best Digital Work Award in the Hong Kong Art Biennale 2003. He received Hong Kong Contemporary Art Award’s Achievement Award 2012 with his computational installation system Gestus. His theoretical writings have appeared in ScreenCinema JournalGame Studies and various anthologies. He currently teaches computer arts, film theory, and art/science at the School of Creative Media of the City University of Hong Kong. His work Gestus-Beta was premiered at WMC_e4 (2010). He also conducted a 12-hour workshop series on interactive fiction using Inform 7 at WMC_e2, 2007, among other educational events at the various WMC exhibitions.

羅海德,以香港為創作和學術基地的數位藝術家和理論家。研究方面,特別專注訊息科技如何重塑我們的活動影像經驗,以至我們對電影歷史的認知。創作方面,有志於錄像藝術、數學和電算科學的結合,去探索數碼抽象性與電影再現兩者之間的張力。他設計的遊戲系統《CoPerspective》於2006年度維也納Eurographics會議Games Meets Graphics比賽中入選決賽。他所撰寫關於電影理論、數碼藝術和遊戲硏究的文章曾於〈Screen〉、〈Cinema Journal〉及〈GameStudies〉中刊載。羅海德參與過多個大型藝術與科技會議,亦曾擔任香港微波國際新媒體藝術節藝術總監(2005, 2006)。他現為香港城市大學創意媒體學院副教授,主理當代視覺藝術、遊戲研究、電影理論、電腦程式設計和批判理論等學科;剛開創了亞洲區首個新媒體文理學士課程,於2012年9月開課,為該課程的主任。他的作品《Res Extensa》獲得2003年度「香港藝術雙年展」最佳數碼作品獎項。作品《GESTUS姿勢》令他成為香港當代藝術奬2012優秀藝術家獎得主。《姿勢 – Beta版》於文字機器創作集第四集(2010)首次發表。



a work per day (8): Howe and Cayley’s THE TRUE STORY OF AH-Q from the 21st century 阿Q正傳


Daniel C. Howe & John Cayley 

Mixed media installation, custom software / 2014 (world premiere)


[video documentation…]

The Real Story of Ah-Q, a textual collage, print on wall
The True Story of Ah-Q, an algorithmic collage, C-print 2014

 An English translation of The True Story of Ah-Q is read by an algorithmic process that highlights phrases from Lu Xun’s revolutionary work. The phrases selected are words that others have also written – that is, they have been found on the Internet in other documents not written by or about Lu Xun. As the work progresses, the algorithmic reader sends these phrases to search engines, showing how they can be read now, in real time. This networked re-reading, augmented with targeted advertising, images, and even censorship, exists within an algorithmic framework still little-examined in terms of its effects on reading, and, indeed, its control of free inquiry itself.



The Real Story of Ah-Q (2014, Howe & Cayley), a site view @ WMC_e5, Connecting Space-HK (2014.10)
The True Story of Ah-Q (2014, Howe & Cayley), Connecting Space-HK (2014.10)

This installation is driven by the artists’ Read for Us (為我們看書) engine, in which an autonomous reader moves through the words of the chosen text, phrase by phrase, and then sends these phrases to a search engine, allowing the search engine to provide viewers with its own reading of the phrases (and also encountering occasional problems of access). A physical book, closed to us, is placed on the lectern nearby. The active digital reader is open to us in a new if now familiar way, within a culture of search and inquiry that is pervasive although still little-examined.

The Perceptual Reading Interface
real-time screen-writing
Real-time screen-writing

We call the application visible on the large screen a Perceptual Reading Interface. The name derives from the area of attention within our visual field that shifts as we read a text on an inscribed surface. Studies have shown that we see only 30-40 characters distance around the central point of our focus. This interface presents a text in constant motion that preserves the phrase being read at the center of this focal area. Crucially, however, the interface provides its readers with access to a typographic neighborhood, a concept we believe to be central to traditional reading experiences and distorted by Internet services and mobile devices. We show the text in movement, but we also show an approximation of the words that would have surrounded our focus of attention had we been reading these words on a typeset page. This exploration of typographic neighborhood is crucial to The Readers Project, of which Read for Us and The True Story of Ah-Q are instances.

What the Perceptual Reading Interface reads
Lu Xun’s The True Story of Ah-Q

The Perceptual Reading Interface moves our attention steadily through an English version of Lu Xun’s story. It reads up to nine words at a time, but chooses these phrases more carefully than may be apparent at first glance. At any given time, it only reads sequences of words that can be found in the indexes of Google Books not associated with Lu Xun (as far as our robots call determine). The reader first checks that other writers have also used each sequence of words in order to compose their own books and articles. As short sequences, therefore, these words are not unique to any particular person. They have also been composed by others and, in a sense, might have been written by anyone. Highlighted as they are, they form part of a commons of language that is (or was) more or less democratically maintained.

Reading with Google and other Censors
collage of Chinese text of The True Story of Ah-Q
Algorithmic collage from The True Story of Ah-Q

The installation demonstrates contemporary modes of reading, contrasting these modes with those of the past and with traditions of ‘deep’ as opposed to ‘hyper’ attention. Network services and censors read, for us, this still important work of Chinese cultural and political critique. What happens when the phrases themselves, regardless of their associations with any particular writer are flagged as contentious by the indexed network services through which all of us now read?

About Daniel C. HOWE and John CAYLEY

Daniel C. Howe 
Daniel C. Howe 

Daniel C. Howe (http://rednoise.org/daniel) is an artist and critical technologist, whose work focuses on networked systems for image, sound and text, and on the social and political implications of computational technologies.

Daniel C. Howe (http://rednoise.org/daniel) 為電算科學博士及文學藝術碩士,是藝術家、作家、科技評論的批判學者。主要創作探索藉由網絡系統產生的圖樣、聲音及文字,及電腦科技的社會及政治涵義。

John Cayley
John Cayley

John Cayley (http://programmatology.shadoof.net)       writes digital media, particularly in the domain of  poetry and poetics. Recent and ongoing projects include imposition with Giles Perring, riverIsland, and The True Story of Ah-Q  in the WMC_e5 exhibition. Cayley is Professor of Literary Arts at Brown University.

John Cayley (http://programmatology.shadoof.net) 現為美國布朗大學文學教授,編寫數碼媒體,特別是有關詩學的範疇。近期正致力於與Giles Perring合作的項目「imposition」,還有「riverIsland」及在文字機器創作集第五輯展出的《阿Q正傳》。


a work per day (7): Linda Lai’s VAULTING SPACE 1927-2011 翻騰空

Vaulting Space, site view @ WMC_e5
Vaulting Space, site view @ WMC_e5, Connecting Space-HK, 2014.10

Linda Lai 黎肖嫻

Automated 3-channel projection / 2014 Hong Kong


Screen Shot 2014-05-12 at 1.32.33 AMa rough site view: https://vimeo.com/109142966

Site view showing the work’s 3 movements: https://vimeo.com/110445362

mock-up view: https://vimeo.com/97903624



Vaulting Space - site view @ WMC_e5, Connecting Space-HK, 2014.10
Vaulting Space – site view @ WMC_e5

A 3-screen automated projection runs 441 clips from swordplay films spanning across 1927-2011, exploring visual styles and spatial imagination in Chinese swordplay films and their possible origins… The codes of the artist’s former work, Door Games Window Frames: Near Drama (2012), are adapted to highlight the counterpoint relations of three image discourses, from the minimalist-constructivist view of the locomotive human body and tools and objects of swordplay to the most basic criteria of locomotion.

441個電影碎片。從1927到2011。上海神怪默片《西廂記》、港產《如來神掌》、港台合製《忠烈圖》、胡金銓的《山中傳奇》、蜀山、龍門…。 8秒、5+3秒10秒、4+6、7+3。 彈騰、滾進、跳出、閃入、穿越、跨過,不動聲色。奔跑、攝走、驅散。著地、猛進,無重狀態 。 呯嘭器具交加,一盤紮實的拌麵條。 數碼設定,三個布幕上現在進行式的對位法:迂迴重複的,對沖的,反差的,互相映照的,契合的。 看得見的音韻,無盡延伸的律動, 武俠電影的斷代板斧。《翻騰空》。請接招。

Concept 概念

a collage of clips
a collage of swordplay components

Vaulting Space, adapting the codes for my work Door Games Window Frames: Near Drama(2012), is an algorithmic combinatorial projection in 3 channels distributed in different parts of a room. Clips from 16 “wuxia pian” (Chinese swordplay films) are combined and projected on 3 horizontal banners (projected surfaces) hanged from the ceiling of 21:9 aspect ratio. The 3 banners, lying horizontally on parallel planes, are also orchestrated in such a way that the minimal actions form a visual chorus. The making of rules is comparable to counterpoints in music to govern the interdependence across the three image discourses (on 3 screens) and independence within each of the three image discourses. There is no big theory why the clips I cut up span across 1927-2011. But I certainly believe in the revelatory power of longue durée (long duration) as well as the excavational power of thinking moving images just for their surfaces. From epic-stories to micro-narratives, I have further descended onto the deconstructible level of action sequences to see how local capabilities of our body, limbs and joints have been subjected to the imaginary scores of vaulting and swordplay that comprise the most unique genre of Chinese cinema. On a broad level, Vaulting Space is a pleasurable celebration of the low-level visual/body mechanics and narrative components of swordplay in the form of a try-lateral polyphonic chorus. However, an under-current interrupts the image discourse of glorification every now and then — the monstrous and the tyrannical are the constant antagonists of swordplay heroes and heroines. Jianghu [the world of gallant chivalry of swordplay], after all, is a world of the outcast and the anti-establishment in a situation of no choice. Between allegorical ontologies and phenomenological engagement of swordplay processes, I am exploring the many possibilties of writing/reading, discursive formation and articulation.

Vaulting Space - site view @ WMC_e5, Connecting Space-HK, 2014.10
Vaulting Space – site view @ WMC_e5, Connecting Space-HK, 2014.10

《翻騰空》延續前作《景框戲門》的程式演算創作裝置或「演算法錄像電影」,堅持我對衍生性藝術的探索。在規則的設計上,除了依據重複、組合、交換排列的邏輯去構想如何於三個布幕上分佈摘自16部武俠片的431個碎片之外,也向音樂上的對位法取靈感,調配三個影像流的相互性以及每個影像流的獨立自主性。三度平面,三個懸空的高度,21:9的比例;我期待這基本的設置會向我揭示我肉眼所不能的武俠語言。說到1927-2011並沒有大理論,我只是相信長時段的宏觀橫向參照的力度。說是批判分析,倒不如說是以創作進行研究:我堅持活動影像的表面便是豐富的可觀現象足夠我們定睛細究。把「說故事」推到「微敘事」再往下推向「微動作」的操作層面,就是這個作品在視覺和理念上所依從的解構道路。 整體而言,《翻騰空》猶如華麗的對位多重唱,素材是電影與身體語言的低度單位,以及武俠片的微敘事元素,交錯對鳴。暗湧卻時不時破流搶截,拋出猙獰、怒哮。這大概也是武俠世界的法度;「江湖」,本來就是不能認同建制、被「逼上梁山」的人的潛世界。在微敘事與本體論之間,我仍在尋找書寫、論述、發聲的多重可能性。

collage of clips (21:9 aspect ratio)
collage of swordplay components (21:9 aspect ratio)

Sources of the 441 clips 441 個電影碎片的出處

Film Title Year Director
Tale of the Western Chamber (akaRomance of the Western Chamber)
侯曜 Hou Yao
哪吒救母 (aka 哪吒蛇山救母)
How Nazha rescued his mother from the Snake Mountain
黃鶴聲 Wong Hok-sing
The Young Swordsman Lung Kim-fei (akaBuddha’s Palm)
凌雲 Ling Wan
Moslem Sacred Fire Decree
蕭笙 Siu Sang
Come Drink with Me
胡金銓 King Hu
Dragon Gate Inn
胡金銓 King Hu
A Touch of Zen
胡金銓 King Hu
The Valiant Ones
胡金銓 King Hu
09 楚留香 Clans of Intrigue 1977 楚原 Chor Yuen
10 倚天屠龍記
The Heaven Sword and Dragon Saber
楚原 Chor Yuen
11 射鵰英雄傳(下)
The Brave Archer 2 (aka The Legend of the Condor Heroes 2)
1978 張徹 Chang Che
12 山中傳奇 Legend of the Mountain 1979 胡金銓 King Hu
13 蜀山 Zu Warriors from the Magic Mountain 1983 徐克 Tsui Hark
14 東方三俠 The Heroic Trios 1992 杜琪峰 Johnnie To
15 東邪西毒 Ashes of Time 1994 王家衛 Wong Kar-wai
16 龍門飛甲 The Flying Swords of Dragon Gate 2011 徐克 Tsui Hark

Linda Lai
Linda Lai 黎肖嫻

About Linda LAI

Linda Chiu-han LAI, Associate Professor in Intermedia Arts at the City University of Hong Kong’s School of Creative Media (SCM), is a research-based interdisciplinary artist. After completing her Ph.D. in Cinema Studies at New York University, she has sought meaningful connective extension to other relevant artistic and theoretical endeavors. She persists in artistic creation as the practice of theory. A critical researcher on the History of Everyday Life, her works focus on historiography, visual and auto-ethnography, urbanity and popular culture. Her teaching revolves around the criticality of micro/meta narrativity. She has also designed, at SCM, Hong Kong’s first courses in generative art & literature at the university level. She is founder of Hongkong-based new media art group, the Writing Machine Collective (2004) and has completed 5 major group exhibitions on questions of computational thinking and contemporary art. Though broadly known for her videography in the international art venues, she creates in different artistic mediums to turn art-making into criticism, history-writing, gaming and voyages of discovery. Her digital and non-digital works have been shown in key venues in many cities in Europe, Asia and the US, including the International Short Film Festival Oberhausen, the Open City London Documentary Festival, LOOP Barcelona, Rencontres Internationales Paris/Berlin, the Jihlava International Documentary Film Festival in the Czech Republic, the Fourth State of Water (CoCA, Torun, Poland), Women Make Waves Film Festival (Taipei), International Centre (New Delhi), and the various Experimental Film/Video Festivals in Seoul (EXiS), Taipei (EXiT), Macao (EXiM), Kuala Lumpur (KLEX) and Hong Kong (HKEX). Lai considers herself a montage artist: to her, images are intensely rich perceptual surfaces that defy the binary division of representation and abstraction. Many of her works also deploy the notion of an archive and self-archiving, including her recent work “1906-1989-2012: Guangzhou-Hongkong-Shanghai-Anji,” commissioned for the 9th Shanghai Biennale 2012 at the Power Station of Contemporary Art, which is also a piece of experimental history playing with childhood memory, the use of everyday objects and folk material, the postal history of Hong Kong and family stories. Lai seeks for intermedia moments and modes of connectivity, be it conjugation, modulation, combinatorial logic, permutation…

黎肖嫻,香港城市大學創意媒體學院互媒藝術副教授,同時也是以研究主導創作的跨領域藝術家,有豐富的國際參展經驗。於紐約大學電影研究系取得哲學博士之後,不斷尋究由電影延展開去的相關藝術和理論探索,一直不離不棄『理論就是行動實踐』的信念。在藝術創作和學術研究上,環繞歷史書寫、視覺和自傳式民俗志、都市研究和資料類集之間的批判性關聯,核心總離不開敍事的政治性,強調語言活動的詭辯。從女性主義的觸覺思維出發,她的作品強調『差異』的無盡性,以抒演的策略不斷的打開既定概念和操作成規。 黎肖嫻的實驗性錄影、數碼或混媒的裝置曾於歐美和亞洲的多個城市展出,包括德國奧柏豪辛國際短片節,首爾實驗電影錄影節,美國俄亥俄州雅典城的國際電影錄像節、倫敦的開放城市紀錄片節、臺北女性影展、首爾國際女性影展、香港國際電影節等等。近作《1906-1989-2012》為第九屆上海雙年展(2012)的受委參展作品。個人最喜歡的創作是一本260頁的書,記述了她和攝影家陳超敏(英國肯特大學藝術理論與哲學系講師)八個回合的攝影和文字的跨媒對話遊戲。 2004年她創辦了香港為基地的新媒體群體「文字機器創作集」,至今已發表過五輯聯展,不斷探索電算思維與當代藝術的問題。 在創意媒體學院,她任教的科目包括當代藝術與媒體考古、媒體藝術、電影史和視覺理論與實驗性錄像創作的關係、文化研究和民俗志在批判和創作上的實踐,以及書寫與創意。在香港大專界,她是首位設計和執教衍生性藝術與文學,以及從人文角度看聲音藝術的學者。


Acknowledgements 鳴謝: Research/Technical Assistant: Wong Chun-hoi 研究及技術助理:王鎮海 Technical Consultant: Mike Wong 技術顧問:王健明 Programming Consultant: Hector Rodriguez, Philip Kretschmann 程式顧問:羅海德, Philip Kretschmann


Data, Research, Artistic Endeavors: this Sunday (Oct 19) starting 4:00pm

IMG_3653Abstract Spaces


Speakers: Hector Rodriguez and Felipe Cucker

2014.10.19 (星期日Sun) 4:00pm-5:30pm / Connecting Space-HK

In this talk, software artist Hector Rodriguez will describe in detail the creative process leading to the production of his recent work Theorem 8 (2013), now on show at the 5th Writing Machine Collective exhibition. The main challenge of the project was to transform an abstract mathematical concept into a visual artwork. In particular, the basic idea for this piece is to assert and explore the geometric structure of digital images. The artist will outline this conception and the process of developing it. While the content of this talk necessarily contains mathematical ideas, these will be presented in an elementary way suitable for a non-technical audience.

This talk offers a unique opportunity for audiences to experience a very detailed and in-depth description of the production of a specific work of art, from the standpoint of its creator.

The mathematical consultant to the project was Felipe Cucker, Chair Professor of Mathematics at the City University of Hong Kong. Professor Cucker is the co-presenter of the talk.

Description of the work

visit this page


Hector Rodriguez (WMC Research Director) is an experimental software artist whose work investigates the specific possibilities of information technologies to reconfigure our experience of moving images and our relation to film history. His work integrates video art with mathematics and computer science, exploring the tension between digital abstraction and cinematic representation. He currently teaches computer arts, film theory, and art/science at the School of Creative Media of the City University of Hong Kong.

Web site: http://concept-script.com/


Felipe Cucker (Chair Professor, Mathematics, City University of Hong Kong)


19.10.2014 (星期日Sun) 5:30-6:00pm

WMC_e5 on 11 Oct 2014
WMC_e5 on 11 Oct 2014

No ideas. Just things. The Hatter’s wisdom and an exhibition about writing. Or reading


Harald Kraemer (城大創意媒體副教授School of Creative Media City, University of Hong Kong)

19.10. 2014 (星期日Sun) 7:15pm                  

Screen Shot 2014-09-22 at 10.56.30 amDatafied Research


(Transmediale series / Transmediale 短講對話系列) – an evening of short position papers // Christian Ulrik Andersen (丹麥DK), Manuel Bürger (德國GER), Geoff Cox (英國UK/丹麥DK), Søren Pold (丹麥DK), Jane Prophet (英國UK/香港HK), Daniel Howe (美國US/香港HK), Damien Charrieras (法國FRA/香港HK)

The Transmediale Series is organized by the Participatory IT Research Centre, Aarhus University,
transmediale/reSource, and the School of Creative Media, the City University of Hong Kong.

Related posts:
Two weekends of lectures, forums and workshops starting 11 Oct 2014
On Facebook:


a work per day (6): Jess Lau’s energy flow in A FADING PIECE 消失之中


The Fading Piece at Connecting Space-Zurich (2014.10.09)
The Fading Piece at Connecting Space-Zurich (2014.10.09)



– Jess Lau 劉清華

Stop motion animation (20 minutes) / [video documentation…]





It has already gone too far.
Who knows when? Who knows how? It just gradually happens.
We remains,
Wandering randomly,
On the streets, Into the alleys,
And in our faintly discernible memories.
One day,
Seems to be secretly,
Or quietly,
It comes.
Again, It comes.

The Fading Piece is a duo stop-motion animation with sound. The animation on the right shows a diminishing pastel while the one on the left reveals the development of a line-drawing on the Kwun Tong landscape, simultaneously, line by line. Gradually, the skyline of the city is covered by black strokes left by the pastel.


The Fading Piece (2014, Jess Lau)
The Fading Piece (2014, Jess Lau) @WMC_e5, Connecting Space-HK

Substances and energies are unceasingly circulating and transforming. A stop-motion animation in the virtual world formed when the pastel in reality transformed into the scenery (Kwun Tong landscape) on paper, simultaneously, line by line. The animation is the recorder as well as the carrier of the energy.

I spent around half a year, 4 to 5 hours a day, to make this stop motion animation. Alongside every stroke I made, I had to record the drawing and also the pastel. I repeated around 14,000 times to finish it. Unlike other animations, I highlighted the process of the creation of animation, an all-along meditative process of making as it happened.


About Jess LAU



Jess Ching-wa Lau – a media and illustration artist, born in Hong Kong, 1991. Her works often contemplate the relations between animation and contemporary arts in general.


a work per day (5): Audrey Samson investigates… what if our on-line data survive us? “NE.ME.QUITTES.PAS”


– Audrey Samson


[video documentation…]

ne.me.quittes.pas, site view @ WMC_e5 (2014.10)
ne.me.quittes.pas, sketch for site display @ WMC_e5 (2014.10) / Audrey Samson

ne.me.quittes.pas is an installation displaying digital data funerals. It is based on interviews that were conducted with participants on the subject of digital death, and how they imagined the afterlife of their data. The participants selected files they wish to permanently delete. The files were transferred to USB sticks which were then placed in highly corrosive acid at the bio-chemistry lab of the City University of Hong Kong. Once the IC chips containing the data were irremediably corroded, the remnants were collected like ashes. These corroded chips are exhibited in ‘urns’ in juxtaposition with the interview material. A video documentation of the degradation ritual is also displayed.



ne.me.quittes.pas / site view @ WMC_e5
ne.me.quittes.pas / site view @ WMC_e5


‘Digital death’ is a growing concern as more and more data becomes digital including personal data and archives. It refers to the issues surrounding data ownership and rights after death. In recent years, numerous start-ups are adressing the issue as well as megopolies like Facebook, Google and Twitter. Social networking sites like Facebook and Twitter have a large number of clients that have deceased.[1] Families and friends start making requests: for the data to be erased, handed over, hidden, or partially shared. These companies have consequently developed policies for what happens after their clients die.[2] Facebook has a profile memorialisation option while Twitter will discontinue the account. Ik R.I.P. was a platform developed in 2009 as a reflection upon this then ‘new problem’.[3] It enabled users of the Mediamatic site to draft a sort of digital will of their Mediamatic profile. More recently companies like Perpetu based in Hong Kong is concerned with handling your digital legacy after you die, a sort of digital executor of your social networking life.[4] LIVESON is a platform that proposes to continue your Twitter presence after you die based on your previous behaviour (with AI).[5] Eterni.me goes a step further and anticipates to collect “almost everything that you create during your lifetime” to then generate an avatar that emulates the deceased and acts as an interface for loved ones to gain access to this database of a lifetime. A host of companies offer services to safeguard passwords to digital data and distribution to the appointed person after death (Legacy Locker, Entrustnet, Digizeker). Some services include the passing on of messages upon death (Deathswitch). There are also a plethora of memorial platforms (Life.Vu, Forever Missed.com, Legacy.com, Tributes.com, Remembered.com, iLasting.com, Last Memories.com). Mostly, efforts are being made to think of ways to keep access to data alive after a person dies, in some cases even a simulation of the deceased.

There is very little said, however, about erasure. Viktor Mayer-Schönberger addresses the issues of data privacy that arise with digital archiving in ‘Delete: The Virtue of Forgetting in the Digital Age’. The lack of context inherent to digital information for example can come back to haunt people later, they may loose a job over an unsavory picture posted 10 years earlier, or be denied access to a country. Many of the initiatives that are thinking about digital death are concerned with data privacy issues, the political and social implications of lingering data.[6] Who should have rights over a person’s data after they die for example. There is another aspect to digital death that Mayer-Schönberger points to, that is that forgetting is paramount, a built-in function of the brain, not a defect, that enables it to function properly.[7] It would appear that a recent study at the University of Basel shows that the brain actively erases information and that mental illness could arise should that process be disrupted.[8] Though we might perceive our memory as failing, it would seem that selective retention is how it is meant to work. The question then becomes, with the advent of digital technology, and cheap, plentiful storage devices, how is this nearly limitless archiving affecting our need to forget?

ne.me.quittes.pas begins to adress a very underconsidered and important part of digital archiving ubiquity: the erasure of digital data. As big data sets are constantly amassed the materiality of data and the question of its erasure is no longer an issue solely related to digital death and mourning but also to privacy, data ownership, surveillance, cyberbullying, etc. The right to erase and/or forget becomes a political gesture that attempts to surpass datafication. ne.me.quittes.pas proposes a digital data funeral in which data is physically degraded, leaving no readable trace, only empty casings. What is already lost in the cloud is out of our control, it is therefore a poetic gesture, a symbolic act, and a mourning ritual. (Audrey Samson)


[1] By the end of 2012 Entrustnet calculates that number to be 3 million on Facebook. See http://www.huffingtonpost.com/2012/12/07/death-facebook-dead-profiles_n_2245397.html. See XKCD for a projection of future numbers: https://what-if.xkcd.com/69/.

[2] See Twitter’s policy adopted in 2010: http://www.thedigitalbeyond.com/2010/08/twitter-adopts-policy-for-deceased-users/, and Facebook: http://www.thedigitalbeyond.com/2012/02/what-happens-to-your-facebook-account-when-you-die/.

[3] Ik R.I.P.: http://www.mediamatic.net/73602/en/www-ikrip-nl.

[4] Perpetu: https://perpetu.co/.

[5] LIVESON: http://liveson.org/connect.php.

[6] See The Digital Beyond blog (http://www.thedigitalbeyond.com/), Passare (http://www.passare.com/how-manage-your-digital-assets-0), Digital Death (http://www.digitaldeath.eu/), My Digital FootPrint (http://www.mydigitalfootprint.com/), Digital Dust blog (http://digital-era-death-eng.blogspot.co.il/), for digital data issues or, Your Digital Afterlife: When Facebook, Flickr and Twitter Are Your Estate, What’s Your Legacy? (New Riders Press, 2011) by Evan Carroll.

[7] Viktor Mayer-Schönberger. Delete: The virtue of forgetting in the digital age. Princeton University Press, 2009.

[8]Cell, “A plastic nervous system requires the ability not only to acquire and store but also to forget.” Volume 156, Issue 6, 13 March 2014, Pages 1153–1166


ne.me.quittes.pas (2014, Audrey Samson)

「數碼死亡」日漸受到關注,因為數據電子化– 無論是個人資料和檔案– 都成主導趨勢。這情況引發出個人「死後」電子數據的所有權的問題。不單是初創企業, 甚至巨無霸Facebook,Google和Twitter等近年來都緊釘著這些問題尋找解決方案。社交網站如Facebook和Twitter有大量已經過身的用戶。他們的家人和朋友開始提出要求:刪除,移交,隱藏,或部分共用相關資料。這些公司也因此制定他們的客戶過身後的對策。如Facebook就有一個profile memorialisation(個人資料紀念存案)的選項,而Twitter將終止該等帳戶。lk R.I.P. 是一個因應這個「新問題」於2009年開發的平臺。它讓Mediamatic網站的用戶,起草他們的電子遺願。最近不少公司, 例如:總部設在香港的Perpetu, 特別關注怎樣處理人死後的電字遺產。LIVESON是一個建議(使用人工智慧)根據你生前的行為延續在Twitter的生命的平臺。Eterni.me更走前了一步∶它蒐集「你的一生中創造的所有東西」,然後虛擬一個模擬死者的化身,並為親人提供一個數據庫。主機公司以密碼保障電子數據,並分發死者給指定的人(Legacy Locker, Entrustnet, Digizeker)。有些服務包括通知死亡的消息(Deathswitch)。像類似的紀念平臺還有Life.Vu,永遠Missed.com,Legacy.com,Tributes.com,Remembered.com,iLasting.com及Memories.com 等。大多數情況下,會用盡辦法去保護電子數據,在某些情況下甚至模擬死者。但什少提刪除。Viktor Mayer-Schönberger提出了「刪除電子存檔」時有關隱私的問題:「遺忘在電子時代的美德」。缺乏上下文電子資訊,有機會為人帶來後患的,例如:他們因一張10年前張貼的照而失去工作,或者被拒絕進入的某個國家。許多人關心電子死亡帶來數據隱私問題、及對於政治和社會影響。例如:誰有權控制人死後的個人資料?另一個Mayer-Schönberger提出的問題是忘卻是最重要的,大腦的內置功能,沒有故障,需要能夠正常運作最近在巴塞爾大學的一項研表明,大腦積極擦除資訊和精神疾病可能出現的應是過程被打亂。雖然我們可能會覺得我們的記憶是消失的,它似乎是有選擇性的保留某些記憶。那麼問題就變成,隨著電子技術充足的存儲設備的出現,而且價格便宜,無限的存檔如何影響我們需要忘記?

《ne.me.quittes.pas》關注有關電子存檔十分重要的部分:刪除數字數據。隨著大數據集不斷積累,數據的重要性和刪除的問題,不再只與數碼死亡和哀悼有關的問題,而關係到私隱,數據所有權,監控,網絡欺淩等。刪除及/或忘記的權利變成一種試圖超越datafication的政治姿態。《ne.me.quittes.pas》提出了一種數字數據葬禮,在其中數據被實體破壞, 不留可讀的痕跡,只餘空洞的外殼。 事情已經超出我們的控制,因此,這是一個充滿詩意的姿態,一個象徵性的行為,和哀悼儀式。(Audrey Samson)

About Audrey SAMSON

Audrey Samson
Audrey Samson

Audrey Samson is an artist and researcher currently based in Hong Kong. She holds a BFA Major in Design Art from Concordia University (Canada), an M.A. in Media Design from the Piet Zwart Institute (The Netherlands), and is currently a PhD researcher at the City University of Hong Kong. She has taught at the Gerrit Rietveld Academy and the Willem de Kooning Academy in The Netherlands, and set up and managed the Digital Art Lab at the Centrum voor Kunst en Cultuur. She co-founded Roger10-4 together with Sabrina Basten, a duo of women that make/break discarded electronics to build wearable electromagnetic field ‘sniffers’. She is also member of genderchangers; a collective of women which promote the exchange of technical skills between women; and a member of Aether9, a collective which explores the dramaturgical possibilities of remote real-time storytelling. She routinely gives workshops on subjects such as wearables, FLOSS, and networked performance.

Audrey Samson 藝術家、研究員,現居香港。於加拿大康克迪亞大學取得藝術學士,專修設計藝術,又於荷蘭的Piet Zwart Institute取得媒體設計碩士。現為香港城市大學新媒體學博士候選人。曾於荷蘭Gerrit Rietveld學院及Willem de Kooning學院任教。創立及管理Centrum voor Kunst en Cultuur 內的數碼藝術實驗室。又與Sabrina Basten共同創立「Roger10-4」二人組,生產電子廢物,也分解被扔掉的電子物品以製作可穿戴的含電磁場的「嗅探器」。Samson亦是「genderchangers」和「Aether9」成員之一。前者是一個推動女性之間交換技術的組織,後者則探討遙距即時式說故事的戲劇理論可能。她亦定期舉辦有關可穿戴的電子衣裝、「FLOSS」及網絡表演的工作坊。


The ne.me.quittes.pas project is indebted to  Prof. Michael H W LAM and Sharon Chiu from the Department of Biology and Chemistry at CityU, for their expertise and generous assistance and facilitation in conducting the experiments.


a work per day (4): YoHa’s ENDLESS WAR, the Wiki-leaked Afghan War Diary magnified…


Endless War @ WMC_e5 (2014.10)
Endless War @ WMC_e5 (2014.10)


– YoHa (Graham Harwood and Matsuko)

[video documentation…]

How does the way war is thought relate to how it is fought?

NATO forces invaded Afghanistan on October 7th 2001.  At that point a system for reporting every interaction between NATO and local people started up.  On 25th July 2010, WikiLeaks released a document set called the Afghan War Diary, over 91,000 (15,000 withheld) reports covering the war in Afghanistan from 2004 to 2010. The reports, written by soldiers and intelligence officers, are mainly short descriptions of military actions but they also include intelligence information, reports of meetings with political figures, and other details. This document was used by a group of newspapers to generate articles, many of which gave new kinds of insight into the prosecution of this war. The full data set however is rarely seen, and access to it is blocked in many territories around the globe.   As a full document it is 108MB of text.  It gives unique insight into the futile nature of the war in Afghanistan but also the ontology of contemporary war as it is carried out on the ground.  Just as an algorithm is an ‘effective procedure’, a series of logical steps required to complete a task, the Afghan War Diary shows war as it is computed, reduced to an endless permutation of jargon, acronyms, procedure recorded, cross-referenced and seen as a sequence or pattern of events.

On 25th July 2010, WikiLeaks released a document set called the Afghan War Diary, which includes over 91,000 (15,000 withheld) reports by soldiers and intelligence officers covering the war in Afghanistan from 2004 to 2010. Endless War is not a video installation but a prolonged real-time processing of the data set seen from a series of different analytical points of view. As the war is fought it produces entries in databases that are in turn analyzed by software looking for repeated patterns of events, spatial information, kinds of actors, timings and other factors. Endless War shows how the way war is thought relates to the way it is fought. Both are seen as potentially endless, computational processes. The algorithmic imaginary of contemporary power meshes with the drawn out failure of imperial adventure.

Endless War is not a video installation but a real-time processing of this data seen from a series of different analytical points of view.  Pick-up microphones on the central processing unit feed back to the inner working of the machine as it processes each result. N-gram fingerprints categorize the summaries of the records finding a pathway through the 76,000 files. The reduction of words to sequences of bytes or letters allows patterns to emerge from the sequences which can be used in trigram matching between entries; and searches for the frequency of terms within those entries. As the war is fought it produces entries in databases that are in turn analyzed by software looking for repeated patterns of events, spatial information, kinds of actors, timings and other factors.  Endless War shows how the way war is thought relates to the way it is fought.  Both are seen as, potentially endless, computational processes.  The algorithmic imaginary of contemporary power meshes with the drawn out failure of imperial adventure.


北約部隊於2001年10月7日入侵阿富汗。自此一個紀錄北約和當地人之間所有互動的系統啟動。2010年7月25日,维基解密發佈了一份名為《阿富汗戰爭日記》的文件,當中包括超過 91,000個 (其中15,000份絕密)由士兵及情報人員作的有關2004至2010年間阿富汗戰事的報告。報告涵蓋了阿富汗戰爭從2004年至2010年由士兵和情報人員紀錄的報告,主要是是軍事行的簡要說明,但它們還包括情報信息,政治人物會議報告,以及其他細節。這份文件在一些報紙中選取文章,其中有許多為對這場戰爭的控訴提供新的視點。這樣完整的數據集是十分罕見,亦被阻止在全球許多地區發怖。作為一個完整的文檔,它有108MB的文字。它為徒勞的阿富汗戰爭及現代戰爭的本體論提供了獨特的視點。

《Endless War》並非一個錄像裝置作品,而是一項持續的、實時式、以多角度分析的數據處理系統。在漫長的戰事中產生出大量數據,將經由軟件程式進行分析,去發現當中的模式,包括事故出現、地理分佈資料、參與人員、時間性及其細節事項等。作品展示大家對戰事的構想,與其實況比對,兩者都看似是沒完沒了的過程,當代列強數理上的想像比照它們實戰上的失敗。《     中央處理器上的麥克風每個處理完的結果反饋機器的內部運作,N-gram指紋在 76,000個文件中尋找分類的記摘要。把這詞語分拆成以字節為單位或字母序列,讓模式以從所述序列出現,進行配對,並搜索這些條目中的術語的頻率。


Endless War
Endless War

*****Endless War, YoHa with Matthew Fuller, 2011, was exhibited at Void Gallery, Derry, Northern Ireland, 2011 and the Kunst Hal Aarhus, Denmark, 2013.







About YoHa

Graham Harwood and Matsuko Yokokoji have lived and worked together since 1994. YoHa’s graphic vision and technical tinkering has powered several celebrated collaborations, including Harwood and Yokokoji’s co founding of the artists group Mongrel (in 1996-2007), which specializes in digital media, and the Mediashed a free-media lab in Southend-on-sea (2005-2008). In 2008 they joined long-time collaborator Richard Wright to produce Tantalum Memorial, which won the Transmediale first prize (2009), was then featured at the ZeroOne Biennial (San Jose, USA), Manifesta07 (Bolzano, Italy), the Science Museum London, Ars Electronica, Plugin (Switzerland), and Laboral (Spain)

Graham Harwood and Matsuko Yokokoji 自1994年起互為生活及工作夥伴。「YoHa」對圖像的灼見和對技術的玩弄撮成了多個知名的合作計劃。他們共同創立了以數碼媒體創作主導的藝術家組織「Mongrel」(1996-2007);又於英國濱海紹森德設立了自由媒體實驗室「Mediashed」(2005-2008)。2008年,與長期合作伙伴Richard Wright共同製作了「Tantalum Memorial」,並獲Transmediale 2009第一名,其後於美國聖荷西的ZeroOne藝術雙年展、意大利波紮諾的「Manifesta 07」、倫敦科學博物館、奧地利國際電子藝術「Ars Electronica」、瑞士的「Plugin」及西班牙的「Laboral」展出。