“[Zombie] is a soulless human corpse, still dead, but taken from the grave and endowed by sorcery with a mechanical semblance of life-it is a dead body with is made to walk and act and move as if it was alive. “ – William Seabrook, The Magic Island, 1929
“I have always been interested in the performative and operative dimension of software that often comes into relations with culture, data and network protocols. Since 2009, my artworks have had a more specific focus on how the Internet works in both technical and cultural dimensions. Working with data, network protocols and software, directly and critically, has become a way of mine to understand and reflect upon techno-materiality, power relations and the aesthetics of the everyday network.” – Winnie Soon
“We are with you everyday, we live in the Internet with peculiar addresses and enticing titbits, but you call us “spam”. We wander around the network, mindlessly, and you wanted to trash us, but we are still everywhere. We are just the children of your economic and social system, but you ignore and avoid us. We are not dead, we write, we create.” — zombies
—This artwork examines these nonhuman zombies as a cultural phenomenon that produces quantified data and network identities. Through running the automated living machines, the artwork intervenes the network by writing spam poems to zombies and reading networked replies continuously. This project explores zombies of the living dead that bring forward social, technical, capitalistic and aesthetic relations in everyday lives.
Winnie Soon is an artist-researcher born in Hong Kong and currently based in Denmark.
Her artistic practice ranges from interactive & network media, installation to digital print. In 2012, she received Silver Award in the 17th ifva in HK (Interactive Media Category). Artworks have been exhibited internationally including Pulse Art and Technology Festival (USA), FutureEverything Art Exhibition (UK), Mobile & DMB Festival (Korea), Stuttgarter Filmwinter Festival for expanded media (Germany), International Digital Art Festival (Bulgaria), PhotoPark (China), Microwave International Media Arts Festival (HK), amongst others. In addition, she is a co-founder of a UK and HK based non-profit art organization InNoPO where she has curated and devised art projects.
As an artist-researcher, Winnie’s research interest lies in: Practice-based Research, Collaborative Art practice, Critical Code Studies, Media (art) Theory, Internet Culture and Network Art, Cultural and Web data politics. Her PhD project is provisionally entitled Beyond Data Representation: Rethinking Liveness in Software Art. It is about the aesthetics of computational processes in the context of software art, in particular artworks that are data-driven and software based.
As an educator, Winnie has lectured widely in China, Taiwan, United Kingdom, Denmark and Hong Kong. She holds a MA in Media Cultures (City University of Hong Kong) and a MSc in Digital Art & Technology (University of Plymouth, UK) both with Distinction. She obtained scholarship and sponsorship from various organizations such as University of Plymouth, University of Hull, Aarhus University, Lingnan University, Groundworks and Pacific Century CyberWorks.
She worked in creative media industries during 1998-2008 with solid experience in media & technology management. Winnie had managed various entertainment & lifestyle commercial projects in listed companies: PCCW, China Mobile, SINA and Edenred.
She is currently a PhD fellow at Participatory IT research centre (Department of Aesthetics and Communication, Aarhus University), and visiting researcher at School of Creative Media, City University of Hong Kong, and adjunct Professor in Interactive design at Savannah College of Art and Design (HK).
Winnie Soon’s collaborative work with Helen Pritchard, jsut code, was part of the WMC_e4 (2010).
孫詠怡生於香港並從事研究及藝術工作。她的作品探討電腦程式與網絡文化之間的關係，並多以互動媒體、網絡媒體、裝置藝術及數碼印刷呈現作品。孫氏曾在不同的藝術館、藝術活動、大學及研討會裡演講及展出其作品，包括 V&A Museum, Pulse Art and Technology Festival, FutureEverything Art exhibition, 微波國際新媒體藝術節, 國立臺北藝術大學及香港浸會大學等。孫氏現為丹麥奧胡斯大學(美學及傳播系)之博士研究生，並於城市大學創意媒體學院從事客席研究工作。2010年曾與Helen Pritchard於文字機器創作集第四輯合作發表<jsut code>。更多資料: www.siusoon.com
Display 1: spammer emailDisplay 2: sending out spam poemsDisplay 3: reading spammer or network replies
Acknowledgement:
The Writing Machine Collective
Poet: Susan Scarlata
stop forum spam: http://www.stopforumspam.com/
Fannie Ng @ InNoPO
Polly Poon @ InNoPO
Lilli Hoiting Li
Geoff Cox
大同行
Open Space Aarhus
Keywords | METEOROLOGY, PALAEOCLIMATOLOGY, INSTRUMENTS TO MEASURE AND FORECAST WEATHER, LIMITATIONS IN MEASURING AND INTERPRETING WEATHER DATA
“It is miraculous how the sun in our solar system beautifully interplays with water in all its forms on Earth to bring a variety of life-forms and the very conditions necessary for life itself. Here on Earth we humans feel impelled to predict and to prepare. Will it rain tomorrow? Should I bring a jacket along? Looking at the sky, how can we predict the weather? How far and beyond the clouds and past the stratosphere should we probe to obtain relevant climate data? How much can we learn about the past from weather fluctuations? How profound is our knowledge of the correlations of energies and forces in the universe with the climate? Is our technology sophisticated enough to accurately measure the data and really make sense of it? Do we understand the relationship between air pressure on our bodies and the forces that have kept planets, stars, and galaxies swinging for billions upon billions of years? Every humble measurement and prediction itself is a single solid stroke of the sketch of an ever-moving figure. I feel rather small thinking about this, but also feel a certain bliss having the chance to experience this grand world and its vital impulse.” – Zoie So
Zoie’s work features the spheres of light art, electronic art, mechanical design, digital graphics and programming at interplay, communicating to yield sculptures,multimedia installations and performances of diverse nature. She finds that deep engagement in the practice of art is a holistic process that reveals the active connections taking effect in life, society, nature and the universe between micro and macro spectra in all fields, which lead the artist and the audience in turn to a comprehensive sense of intimate issues.This time her Weather Forecasting starts with some of da Vinci’s weather notes, and studies in meteorology and paleoclimatology, while various forms of water are at play, leading us to experience the grand universe through the very small and close to us.
Zoie So is currently a senior lecturer in the Visual Studies Department of Lingnan University. She graduated with a Bachelor’s degree in Creative Media from the City University of Hong Kong in 2004 and then went on, with the support of several scholarships and art grants, to complete her Master of Fine Arts degree in Studio Arts: Open Media at Concordia University in Montreal, Canada, in 2008. Her works have been exhibited in Hong Kong, Montreal, Milan, Ptuj and Geneva. Her public work Photosynthesis in Motion was commissioned by the Tamar Public Art Project, while Mediated Landscape was also selected for the Hong Kong Contemporary Art Awards 2012. In WMC_e4 (2010), Zoie So exhibited an interactive sculpture, Mediated Facial.
– Harper, Kristine C., 2012: Weather by the Numbers: the Genesis of Modern Meteorology. MIT Press.
Kristine Harper tells the story of the transformation of meteorology, from a “guessing science” into a sophisticated scientific discipline based on physics and mathematics.
– Pretor-Pinney, Gavin, 2007: The Cloud Spotter’s Guide: the Science, History, and Culture of Clouds. Perigee Trade.
Written by a founder of the Cloud Appreciation Society, the book is about an international group of meteorologists, cloud physicists, pilots, photographers and non-professional, which up to now has about 35,000 members and accumulated a lot of material about clouds across various national and cultural groups.
– Carpenter, Clive, 1991: Changing World of Weather. Facts on File.
This book highlights many moments of “outstanding” weather condition in history and concepts in Paleoclimatology, posing questions about long-term and short-term forecasting.
– Charles Aldarondo and the distributed Proofreaders team, 1888: The Notebooks of Leonardo da Vinci; trans. Jean Paul Richter.
– Schwarzbach, Martin, 2002: Climates of the Past: An Introduction to Paleoclimatology. UMI Books.
James Coupe’s site-specific jalousie room, which he created in Hong Kong for the WMC_e5 (2014), is a world premiere.
At 5:00pm today (11 Oct), at WMC_e5’s Opening Forum, he will walk us through the conception and creation of this work. Please join us at Connecting Space-HK (18-20 Fort Strees, North Point)
In Alain Robbe-Grillet’s 1957 novel, Jealousy, a woman is observed in her interactions with a neighbor. It is unclear if the observer is her husband or simply a camera, but regardless, the reader is complicit, always on the outside looking in, all we can know is what we are told and even that is uncertain, non-linear and contradictory.
This installation is an observation room with three parts: a camera that meticulously and obsessively analyses the street and buildings outside the gallery; a camera that is looking for a specific woman inside the main gallery; and a conversation between three people, one of whom never speaks. Binding it together is a disembodied mechanical voiceover.
The work is concerned with the role of the viewer as voyeur, and the fractured, confused narrative that such a position provides. It uses the slatted windows of the gallery to ensure that what we see is always the part, and never the whole
About James Coupe
James Coupe
James Coupe 藝術家，英國出生，現以西雅圖為創作基地。近期的作品經常探討日常生活中「監視」引出的權力和意義，尤其現今高科技監控技術的應用，包括高清攝錄機、面孔識別軟件、電腦網絡搜尋器及社交網站內的計算程式等。Coupe專注新媒體創作，卻往往充滿著對「舊」媒體的思考，例如電影、文學，以及近期的「全景觀」。他的作品介乎虛擬、虛構、與真實之間，探討現今以監控主導的社會突顯人們對自身和彼此相互監視的形形式式，以至把討論引到「窺視癖」對「偷窺狂」的經典辯證論述。這次作品的重點，與其說是又一次對監控作出系統性的意識形態評判，不如說是Coupe對後現代人類的吊詭狀態的關注，試圖以監控作為核心，在題旨上以及作為隱喻的開發潛力上打開更多參照的可能。
James Coupe – “In his recent work, British-born, Seattle-based artist James Coupe examines the power and meaning of surveillance in our everyday life by working with advanced surveillance technologies, including high definition video cameras, facial recognition software, and computer algorithms derived from popular search engines and social media sites. Coupe works in new media but his artistic practice is anchored in an engagement with older media – namely, cinema, literature, and, most recently, the panorama. Situated at the intersection of the virtual, the fictional, and the real, Coupe’s work examines the ways that contemporary surveillance society simultaneously foregrounds self-observation and mutual observation, and thus mobilizes the classic scopophilic dialectic of voyeurism and exhibitionism. But, rather than subjecting surveillance to a systematic ideological critique, Coupe’s interests lie in the way surveillance provides a theme and metaphor for exploring the paradoxes of the postmodern human condition.”
A WORKSHOP BY AUDREY SAMSON(Artist, Researcher in new media)
12.10.2014 (星期日Sun) 3:00-5:00pm / Connecting Space-HK, 18-20 Fort Street, North Point, Hong Kong
Conducted in Language / Free admissions
ne.me.quittes.pas
This workshop examines the different forms of digital data traces that we (often involuntarily) leave online. How is our data being used? How do issues of privacy, data ownership, surveillance and cyberbullying relate to networked digital data? In the workshop we discuss these issues and we think about how data deletion can be a form of gesture against quantification and surveillance. We will think about creative ways we could ritualize the erasure of data and what kind of personal data we would like to delete. No technical experience is required.
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。
Coupe – jalousie room / YoHa – Endless War / Howe & Cayley – The Real Story of Ah-Q / Ip – Rehearsals for muted films #2 / King – map01 / Lai – Vaulting Space / Lau – The Fading Piece / Rodriguez – Theorem 8 / Samson – ne.me.quittes.pas / So – Weather Forecasting / Soon – Hello Zombies / Wong – Autocomic#1
In Alain Robbe-Grillet’s 1957 novel, Jealousy, a woman is observed in her interactions with a neighbor. It is unclear if the observer is her husband or simply a camera, but regardless, the reader is complicit, always on the outside looking in, all we can know is what we are told and even that is uncertain, non-linear and contradictory.
This installation is an observation room with three parts: a camera that meticulously and obsessively analyses the street and buildings outside the gallery; a camera that is looking for a specific woman inside the main gallery; and a conversation between three people, one of whom never speaks. Binding it together is a disembodied mechanical voiceover.
The work is concerned with the role of the viewer as voyeur, and the fractured, confused narrative that such a position provides. It uses the slatted windows of the gallery to ensure that what we see is always the part, and never the whole
YoHa (Graham Harwood and Matsuko Yokokoji) – Endless War
How does the way war is thought relate to how it is fought?
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.
Daniel C. Howe & John Cayley – 阿Q正傳 The Real Story of Ah-Q (2014)
An English translation of The Real 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 (executed by the iPad), 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. Lu Xun’s original text lies closed, nearby on the lectern.
葉旭耀 Ip Yuk Yiu – Rehearsals for muted films #2 (2014)
《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。
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).
Mike King – map01 (2014)
map01
《map01》是透過以數學中的超越函数為基礎所進行的一項電腦視學藝術實驗。
map01 is an experimental visual exploration of procedural interference between transcendental functions.
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. This work adapts the codes of the artist’s former work, Door Games Window Frames: Near Drama (2012, Hong Kong Contemporary Arts Awards), to highlight the counterpoint relations of three image discourses, from the minimalist-constructivist view of the locomotive human body and tools/objects of swordplay to the most basic criterion of locomotion.
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.
Theorem 8 is an experimental video processing software that decomposes every frame in a movie using a fixed database of frames from another movie. By means of a mathematical technique known as orthogonal decomposition, it achieves a superimposition of frames from two different films: Godard’s Alphaville and Witch’s Cradle, directed by Maya Deren. The technique of orthogonal decomposition is often used in surveillance software, and so the work aims to foreground and deconstruct the computational aspects of surveillance technologies. Its underlying philosophy is that radical politics demands radical artistic forms.
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.
It is miraculous how the sun in our solar system beautifully interplays with water in all its forms on Earth to bring a variety of life-forms and the very conditions necessary for life itself. Here on Earth we humans feel impelled to predict and to prepare. Will it rain tomorrow? Should I bring a jacket along? Looking at the sky, how can we predict the weather? How far and beyond the clouds and past the stratosphere should we probe to obtain relevant climate data? How much can we learn about the past from weather fluctuations? How profound is our knowledge of the correlations of energies and forces in the universe with the climate? Is our technology sophisticated enough to accurately measure the data and really make sense of it? Do we understand the relationship between air pressure on our bodies and the forces that have kept planets, stars, and galaxies swinging for billions upon billions of years? Every humble measurement and prediction itself is a single solid stroke of the sketch of an ever-moving figure. I feel rather small thinking about this, but also feel a certain bliss having the chance to experience this grand world and its vital impulse.
“We are with you everyday, we live in the Internet with peculiar addresses and enticing titbits, but you call us “spam”. We wander around the network, mindlessly, and you wanted to trash us, but we are still everywhere. We are just the children of your economic and social system, but you ignore and avoid us. We are not dead, we write, we create.”
—This artwork examines these nonhuman zombies as a cultural phenomenon that produces quantified data and network identities. Through running the automated living machines, the artwork intervenes the network by writing spam poems to zombies and reading networked replies continuously. This project explores zombies of the living dead that bring forward social, technical, capitalistic and aesthetic relations in everyday lives.
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.
“Tracing” is multiple. Following, step by step, moment by moment. Recording. Scanning. Compiling. Archiving. Unfolding. Reconstructing. Decomposing. Deconstructing. Streamlining. Visualizing. Sonifying. Mediating. Transforming. Translating. Transferring. Associating. Mapping. Combination. Permutation. Integration. Hypothesizing. Calculating. Estimating. Interfering. … These are the manifold actions that the artists of WMC_e5 have enacted on the data they are working with.
The impact of computation on both aesthetic expression and aesthetic criticism has been widely felt. Not only artists but also critics are using digital technologies to analyze works of art and literature. Computation generates new modes of art by which criticism and artistic creation meet, an apt description for many works in this exhibition.
Many scholars in the so-called digital humanities, for instance, use the computer to “mine” individual texts, or large collections of texts, for patterns that are not obvious on the surface. Daniel Howe and John Cayley’s The Real Story of Ah-Q (阿Q正傳) is a real-time exfoliation of a famous text by May Fourth writer Lu Xun (1881-1936), through the politically-implicated lenses of algorithmic and networked services.
Cinema scholars and experimental artists have also used the computer to re-examine existing films, presenting familiar content in unfamiliar ways. Linda Lai’s Vaulting Space(翻騰空) is a formal analysis of swordplay syntax by a restless, almost endless combinatorial display of 3 image discourses, to open up our understanding of “montage.” Hector Rodriguez’s Theorem 8(第八定理)uses the information of one movie to decompose a second movie frame by frame, turning “superimposition” into a unique analytic-aesthetic language. Ip Yuk-yiu’s Rehearsals for muted films #2 is a reductive analysis of Hollywood films set against Hong Kong, turning the speech-image hierarchy on its head.
The computer has made possible not only new ways of making art and literature (writing) but also new ways of reading (understanding and analyzing it) it. In the works presented in WMC_e5, reading is also writing, and vice versa. The crucial question for us is: How do computational technologies change what we call reading? The idea of reading is to be understood broadly, to include any act of engaging critically and creatively with a text. We understand reading so that it applies to language in a broad sense, including visual, sonic, and cinematic language. What can the act of reading become in a digital context? For instance, how can we read a film, photograph, or literary work through methods of computational analysis? How can we use those methods to read works of visual and literary art in ways that were not previously possible? Next to Howe and Cayley’s piece on Ah-Q, Justin Wong’s Autocomic #1 is both a reading machine of his own library of comics and a writing machine of potential comics narratives governed by a set of rules. James Coupe’s cameras, for example, survey Fort Street outside the venue Connecting Space-HK as well as the venue itself to generate a ficto-docu narrative, jalousie room, drawing from Robbe-Grillet’s La Jalousie as its meta-script. Mike King’s map01 also takes an inventive approach — by visualizing procedural interference between transcendental functions.
The topic of reading is closely connected to the question of surveillance. Coupe’s work turns surveillance into an artistic metaphor to shed light on our postmodern human condition. Techniques of data mining and data analysis play a crucial part in surveillance activities. Data need to be “read” so as to be rendered useful. Surveillance can therefore be understood as a form of computationally mediated reading. In this way, new forms of reading acquire huge social and political significance. YoHa’s Endless Warmagnifies leaked data from the Afghan War Diary by taking multiple analytical positions as well as makes audible machine sounds when data are running. Moreover, many artists use techniques that originated in, or were inspired by, surveillance applications – such as Rodriguez’s deployment of a mathematical technique, orthogonal decomposition, often used in surveillance software.
We live in a society where privacy is continually under threat, not only due to government monitoring of activity, but also to the widespread collection, analysis, and exchange of consumer data by companies like Google, Amazon, or Facebook. This negative, yin, side of tracing data is equally intriguing. Winnie Soon, with herHello Zombies (回轉喪屍),walks in the shoes of dormant and discharged data waste to play up their endless, zombie-like wandering in the limitless virtual space inside the machine-world. On a performative note, Audrey Samson’s ne.me.quittes.pas (請別離開我) materializes a(n) (im)possible farewell to immaterial data through her symbolic-scientific digital data funeral service.
There is always room for poetics, even when working with computation. Zoie So’s Weather forecasting (氣象預測) articulates an experience that approaches the sublime: the contemplation of the unfathomable, immense impact of a tick or glitch of a minute chunk of data. Jess Lau’s The Fading Piece(消失之中) is a trial of our attention to a process of transposition. It echoes the Chinese title of this exhibition – 《唧唧復唧唧》– which suggests the sounds made by a weaving machine or the sighs of the persevering female weaver: Jik-jik-fook-jik-jik, Jik-jik-fook-jik-jik, … … …
Linda C.H. Lai (WMC Artistic Director) / Hector Rodriguez (WMC Director for Research & Education)
As all 12 works for WMC_e5 open on 9 Oct 2014 at Connecting Space-HK, a special program of 4 works from WMC will be set up at Connecting Space-Zurich to form our bilateral opening.
The FOUR works are:
*Hector Rodriguez – Theorem 8 (single-channel version) – also at WMC_e5, Connecting Space-HK/ [description + video extract]
*Jess Lau – The Fading Piece (duo-channel animation) – also at WMC_e5, Connecting Space-HK/ [description] [video extract]
*Linda Lai – Door Games Window Frames: Near Drama (single-channel version) – a work that shares the same codes running Vaulting Space at WMC_e5, Connecting Space-HK/ [descriptions] [video extract]
*Justin Wong – City Forum (single-channel version) – from WMC_e4, Hong Kong
Theorem 8 (Hector Rodriguez, 2013)
The Fading Piece (Jess Lau, 2014)
The Fading Piece adapted at Connecting Space-Zurich
Door Games Window Frames: Near Drama (Linda Lai, 2012)
羅海德 Hector Rodriguez (文字機器創作集研究總監 / 藝術家WMC Research Director and Artist) and Felipe Cucker (城大學數學系講座教授Chair Professor, Mathematics, City University of Hong Kong)
19.10.2014 (星期日Sun) 5:30-6:00pm
No ideas. Just things. The Hatter’s wisdom and an exhibition about writing. Or reading 《實作評閱一個有關讀寫的展覽》
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
Datafied Research數據化的研究 (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.
工作坊 Workshops:
12.10.2014 (星期日Sun) 3:00-5:00pm
Digital Data Funeral: ne.me.quittes.pas 請別離開我，或，如何為電子數據舉行葬禮
Audrey Samson (新媒體學博士候選人 / 藝術家Ph.D. researcher in new media and Artist)
18.10. 2014 (星期六) 11:00am-1:00pm
觸感學藝．拼貼藝術創作練習 Discover Texture, Color and Feeling in Mixed Media – 劉清華 Jess Lau
[兒童工作坊Children’s workshop] (粵誥主講/conduct in Cantonese)
