The Real Story of Ah-Q 《阿Q正傳》
Daniel C. Howe & John Cayley
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.
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 (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》。
Rehearsals for muted films #2
Ip Yuk-yiu 葉旭耀
《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).
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.
map01 is an experimental visual exploration of procedural interference between transcendental functions.
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。
Vaulting Space 《翻騰空》
Linda Lai 黎肖嫻
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.
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。
The Fading Piece 《消失之中》
Jess Lau 劉清華
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.
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.
Theorem 8 《第八定理》
Hector Rodriguez 羅海德
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.
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 Screen, Cinema Journal, Game 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。
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.
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。
Weather Forecasting 《氣象預測》
Zoie So 蘇慧怡
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 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.
Hello Zombies 《回轉喪屍》
Winnie Soon 孫詠怡
“We are with you every day, 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.
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).
More information: www.siusoon.com
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>。
Justin Wong 黃照達
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.
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）。