15 May – 20 July 2008, Hong Kong Museum of Art

5 WMC artists/teams participated in Hong Kong Museum of Art’s “Digit@logue” media art exhibition.

WMC_e3, a showcase of recent new media innovations, in Digit@logue, a historical survey of media art collected at the Hong Kong Museum of Art, curated by Ellen Pau. The WMC component was sub-curated by Linda C.H. Lai. [WMC introduction and curatorial statement on video…]

Five works were featured, all created for this show:

Bryan Chung’s I Second that E-motion
Mike Wong’s Grapheme
Morgan Wong and Yvonne Lau’s Curtain of Scripts
Hector Rodriguez’s Kinematograph,
Justin Wong, Hamlet Lin, and Eva Schindling: Txt-Me-1st 

***See video interviews with all WMC artists in the “WMC: works at Digit@logue” session below.

Mike Wong, Hector Rodriguez, Bryan Chung and Linda Lai each presented a talk across the month-long Saturday-afternoon lecture series.

Weekend talk series contributed by the WMC team:

創意電腦 (粵語) | Computer as a Creative Tool (Cantonese)
王健明先生 (香港城市大學創意媒體學院助理教授)  | Mr Mike Wong (Assistant Professor, School of Creative Media, City University of Hong Kong)
2008.05.24 (星期六 Sat)  | 2:30-4:30pm

資料視算與藝術創作 (粵語)  | Data Visualization and Art (Cantonese)
鍾緯正先生 (香港城市大學創意媒體學院講師)  | Mr Bryan Chung (Lecturer, School of Creative Media, City University of Hong Kong)
2008.06.14 (星期六 Sat)  | 2:30-4:30pm

建構媒体藝術素養 (粵語)  | Developing Media Art Literacy (Cantonese)
黎肖嫻博士 (香港城市大學創意媒體學院助理教授)  | Dr Linda Lai (Assistant Professor, School of Creative Media, City University of Hong Kong)
2008.07.05 (星期六 Sat)  | 10:30-12:30pm

媒體藝術 + 教育 (英語)  | Media Art + Education (English)
羅海德博士 (香港城市大學創意媒體學院副教授)  | Dr Hector Rodriguez (Associate Professor, School of Creative Media, City University of Hong Kong)
2008.07.12 (星期六 Sat) | 3:30-4:30pm

WMC works at Digit@logue

Bryan Chung’s work in the foreground on the right…

Bryan CHUNG 鍾緯正
I Second that e-Motion (2008)

It is a writing machine. A machine writes by itself automatically. Writing in usual sense, aims to establish its authority by being non-volatile. …Writing on sand can be a possible way to trigger reflection about volatility of recording and archive. Digital media demonstrates this volatile nature. In this project, I plan to make a simple machine that writes or draws on a pile of sand. The visible marks on the sand will not be legible but just records of what has been happening in the exhibition venue. Over the days of the show, it forms a historical archive of the visitors’ movement around the exhibit… [artist’s interview…]


Yvonne LAU 劉美延, Morgan WONG 黃榮法
Curtain of Scripts 簾卷詩 (2008)

In Curtain of Scripts, moving Chinese texts will be projected on a long strip of fabric hanged from ceiling. It is a work of automatic, self-generating Chinese characters forming a continuous painting-like moving image without visitors’ intervention. Curtain of Scripts uses “recursive” computer algorithm, a process visualized as the repetition of the same group of characters on the canvas, which will resemble stacks of mountains when looking from afar. On the one hand, this work on the one hand plays with the illusion of depth-perspective via repetition of the same ideograph in different sizes. On the other, it is a visual-poem, compatible with Apollinaire’s Calligrams, which unfolds in time and with programmed rhythm… [artist’s interview…]

Hector RODRIGUEZ 羅海德
Kinematograph (2008)

Kinematograph explores the possibility of an alternative, and essentially writerly, form of cinema based on the display and analysis of video data. Part of a series that explores the fundamental concepts of information theory and cybernetics, Kinematograph investigates entropy encoding. The theory of encoding addressees one of the fundamental aspects of writing: the construction of a dictionary. To encode an item (a word, image, sound, etc.) is to associate it with a codeword. A dictionary is thus built, which relates every symbol transmitted by a source with a corresponding codeword. In this work, a video image is looped and encoded in real time using a variant of the Huffman compression algorithm. The basic data set comprises the brightness values of every pixel in a video image. The computer analyzes the frequencies of different brightness values in some source movie, and then assigns a minimum-redundancy binary code to every brightness level. Kinematograph can therefore be seen as a contribution to the search for alternative, information-based forms of cinematic and literary art in a digital age… [artist’s interview…]

Justin WONG 黃照達, Hamlet LIN 林耀邦, Eva SCHINDLING
Txt-me-1st (2008)

Txt-Me-1st is an environment where visitors can create their own spam message by sending a SMS text to a “machine” installed inside the museum with their mobile phone. The “machine” comprises of different old typewriter’s parts and a computer program that turns the incoming text into a spam message through a series of physical interactions and computational algorithms. After the final text is generated, it will be sent back to the visitor’s mobile phone. [artist’s interview (Justin Wong)…]

Mike WONG 王健明
Grapheme (2008)

Grapheme is a simple electronic device inspired by the ubiquitous emoticons used in our daily on-line chatting activities.  This rapidly evolving visual language is quietly forming a new writing system which challenges the position and effectiveness of traditional languages in digital media.  Emoticons which were once simple ASCII glyphs only but they are now slowly replaced by visually rich image bitmaps or animations. Graphemecomprises of a blank keyboard, two obsolete PalmOS PDAs (Personal Digital Assistants) reprogrammed by the artist and some outdated peripherals.  It disables completely the use of regular alphabets, and only allows typing emoticons using the blank keyboard, which will then be displayed as image bitmaps on the color screen and as original ASCII glyphs on the monochrome screen.  Grapheme, from the artist’s Technostalgic project, is a piece of reprogrammed obsolete electronics which the artist created as a response to the evolution of emoticons… [artist’s interview…]