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文字機器創作集第六輯 WMC_e6

象裡有象:通電造影
Cinema Expanding: Visualising the Unseen

 

隨著影像媒介的變化,不同時代的學者均有其實驗影像的理論,希望能為視像媒體開拓更多的可能性。Gene Youngblood(1970)發表 Expanded Cinema(膨脹電影) 的概念,著我們對投影和如何觀映作出翻新,尤其要「活化」觀映的場所;那時候,投影活動一時風行其道。六、七十年代,廣播技術開始普及化,作出呼應的創作者把「膨脹」的想法推及至電子影像技術,把訊號發送、視覺特效及掃描線等元素也帶入實驗中去討論,並將當代影像與傳統的菲林影片分隔開來。「膨脹」強調的是延伸 – 尤其對創作媒體的整體的定界有意義的打開、延展。「膨脹」、「延伸」、「延展」是不停止實驗的態度和活動。新科技、器具、機器的出現,就必然有再度的「膨脹」。

來到這個影像泛濫,製作技術普及的年代,文字機器創作集以「膨脹電影」為題去探索「膨脹」狀態的不同面向,邀請四位關注和理念有所不同的媒體藝術家。吳子昆、羅海德、王鎮海、楊鳴謙,各自編寫廿一世紀的影像研究,不單以展覽的形式發表;為期三個月的媒體藝術展覽系列,亦是藝術家實驗電影的行動研究,將會打開你對影像媒體的認知和想像。

Cinema has never stopped evolving. Scholars and researchers likewise continue to theorize what it means to keep moving images alive through critical experiments and curious hypothesis of cinema’s possible future. Gene Youngblood, in his book Expanded Cinema (1970), proposed artists should re-activate the audience and revitalize the spectator’s space, a call then echoed by various artists, including Nam June Paik, Stan Vanderbeek, Stephen Beck, Steina & Woody Vasulka and so on. Already in the 1960s, with the popularization of television broadcast technology, new artistic raw material streamed in, such as electronic signals and their transmission process, visual effects, scan lines and so on, which expanded the range of moving image experimentation beyond playing with celluloid, montage methods or light projection. The word “expanded” in “Expanded Cinema” emphasizes extending, especially the definition of moving images, relentless exploration of new territories and endless experimental actions alongside new tools or machines.

In our time, images are ubiquitous and imaging tools accessible to everyone. The Writing Machine Collective takes up Expanded Cinema as the 6th edition’s point of departure. Four media artists, Ng Tsz-kwan, Hector Rodriguez, Wong Chun-hoi and Yeung Ming-him (Hugo Yeung), each present their own “expansion” of contemporary digital moving images. The 3-month exhibition series shows not only their moving image works, but also the process of their research, the many questions asked, the technical solutions they tried out, and the conceptual landing they re-discovered. It will be a series of deep experiences.

假如速度與跑姿換腳幅度無關
Running, Walking, Jogging along the timeline with the same speed

王鎮海 Wong Chun Hoi | 楊鳴謙 Hugo Yeung
10.27 – 11.18 | 12nn – 7 pm daily

灣仔軒尼斯道365-367號富德樓6樓
6/F, Foo Tak Building, 365-367 Hennessy Road , Wanchai

王鎮海和楊鳴謙的《假如速度與跑姿換腳幅度無關》,是兩位年青媒體創作者合成的雙個展,「跑姿」確有不同。王鎮海對活動影像的「動」作出物理上的重塑;楊鳴謙則意圖打開誰是觀眾、觀眾與影像的主客關係的種種問題。王鎮海的《勤力電路1.4 開著了的投影機(持續創作)》把交流電流化作為待發的單子(monad)、創作的原素材,書寫著像電影般具時間性、強調流程、帶起合和清晰結尾的微敘事。說是「膨脹」電影的搞作,箇中是對合成媒體的解構潛進至深至微處,憧憬著未來的電影,卻不忘「電」的原塑力。今天,我們對「電力」的存在於人間看成理所當然,王鎮海讓我們重新「看」到電的實時表演,寫出可看的新電」影。楊鳴謙的《諧波蒙太奇》以數學上的「離散傅立葉變換」(discrete Fourier Transform)作為編碼的運算基礎去編排預先處理好的影像,空間的安排上以音樂的和聲(harmonics)和合奏(ensemble)為基本法則,透過觀眾與現場發聲物件的互動寫出聲與影的彈道(trajectory)

Presented by two emerging artists, the duo-solo exhibition highlights different approaches in their art-making footsteps. Wong Chun-hoi demonstrates the “motion” of moving image in physical reconstruction while Hugo Yeung Ming-him attempts to question the definition of “audience” by challenging the power relationship between audience and images. In Wong’s work, hardworking circuit #1.4– a switched-on projector [work-in-progress], a power circuit is turned into a monad, as the originary material to generate micro narratives that foreground cinematic temporality and processes, and play with the notion of denouement. As a form of “Expanded Cinema”, Wong’s piece calls attention to its varied media composition by breaking down temporal processes so as to invite visitors to scrutinize the finest elements at work. As such, the work points to the future of moving images, persisting in electricity’s “sculpting” power. While the electricity has always been taken for granted in our daily life, Wong sets off a real-time performance of electricity to make it visible, to write a “new” kind of images that move. Yeung’s Harmonic Montage organizes prepared samples of stills and algorithmically via a generative system he builds using Discrete Fourier Transform (DFT) in mathematics. Spatial arrangement of the work follows the rules of harmonics in music. Live ensembles in the venue are the result of visitors interacting with prepared sound devices, with audio-visual trajectories prescribed by the artist’s algorithm.

 

王鎮海畢業於香港城市大學創意媒體學院,為批判性跨媒體實驗室的主修本科生。創作主要涉及聲音和電子零件,並於中港台多地展出及表演。2018年獲第二十三屆ifva獨立短片及影像媒體比賽「媒體藝術」組金獎。創作以外,亦會提供技術支援予各藝術家,現為「據點句點」藝術工程師。

WONG Chun-hoi graduated from the School of Creative Media, City University of Hong Kong, as a major in the Critical Intermedia Laboratory. Focusing on sound and electronics, his works have been showcased and performed in Hong Kong, Taiwan and Mainland China. In 2018, he received the Gold Award in the Media Art category of the 23rdifva Awards. As the artistic engineer at Floating Projects, he also provides technical support for various artists.

   

楊鳴謙,數碼媒體藝術家,為首屆香港城市大學創意媒體學院新媒體文理學士畢業生。作品主要以電腦演算探索電影美學的可能性。2015年起為「據點句點」之成員,並於2016年發表首個個展,及後到德國GENERATE! Festival for electronic arts 2017參展。2018年,為賽馬會ifva影像嘉年華的參展藝術家。

YEUNG Ming-him (Hugo Yeung) is an emerging digital artist exploring the possibilities of algorithms and computation as artistic media to expand the audio-visual aesthetics of cinematic experience. He debuted his solo show in 2016, and published his work at GENERATE! Festival for electronic arts 2017, Germany. He graduated with a Bachelor of Arts and Science in New Media from the School of Creative Media, the City University of Hong Kong. He is a member of the Floating Projects Collective since 2015. 

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歧路結節 開合解謎
Hidden Variables: Forking Paths of Visuality and Technology

羅海德 Hector Rodriguez
09.26 – 10.15 | 11am – 7 pm daily

上環文娛中心6樓展覽廳
Exhibition Hall, 6/F, Sheung Wan Civic Centre

計算媒體有助於我們重新思考和經驗我們的電影傳統嗎?展示一個深諳電影史和理論的學者如何深探數學理念的程式化運算對分析、開發電影的可能性。分佈展場的是藝術家2011-2018的作品群,有單窗錄像、多頻投影、數碼平面圖、貌似動畫的活動影像、紀錄實驗過程的錄像文字圖表。 一組一組的設置簇聚,細看,是多重的對話和相互連結。同一個數學定理衍生出來的作品長相外貌體格氣質不盡相同,在另一時段的作品裡又找到不一樣的翻身。訪者因此必須主動好奇的看,在不同的作品中來回遊走去弄出端倪;要不,就從其中一個叫《閱讀室》的作品開始,先理解背景因由。像歧路花園的空間設計,活化了看的慾望,對有心者而言,謎底近在咫尺。

Can computational media help us to rethink and re-experience our cinematic heritage?  Can computer technology dialogue with the cultural past? Hidden Variables showcases the research-creation work of an interdisciplinary artist and scholar with a film studies background who re-invents classical cinema using algorithmic technologies.  

This exhibition is a retrospective of Hector Rodriguez’s computational and generative cinema projects from 2011 to his most recent experiments. His art pieces, all based on data extracted from classical films, appear in a variety of forms, from single-channel videos, multiple projections, digital prints, and animations to audio-visual and textual documentations of the processes of research and experimentation.

Many of the works have been completely reconfigured specially for this exhibition, which includes a new intensely colorful version of the artist's classic work, Gestus: Judex. 

The works in the show form rich clusters and multiple connections. Visitors are invited to wander freely and curiously to and fro between works in order to discover unseen relations, or, stop by the research/reading room in order to acquaint themselves with the basics of the artist’s processes of experimentation. The “forking paths” design reactivates the desire of seeing the past anew. 

Some of the works aim to visualize mathematical ideas. Rodríguez expresses abstract formal concepts in concrete visual terms. 

The application of new algorithms to existing moving images not only reveals those images in a new light but also calls attention to the technologies themselves. Technology here takes on a self-reflexive aspect. 

One of the main tasks of media art, the artist believes, is to open the black box of technology and discover previously unknown artistic possibilities. 

展覽亦展出羅海德與Felipe Cucker共同創作的《Approximation Theory 》。
This exhibition also includes the work Approximation Theory, by Felipe Cucker and Hector Rodriguez. 

羅海德是一位數碼藝術家和理論家,他以移動影像為創作對象,探索通過電腦技術對移動影像歷史和審美進行重新組合所產生之獨特可能性,並於2014年就其對藝術及文化的貢獻獲香港。

他的作品曾於台灣、新加坡、紐約、波蘭、德國、西班牙、希臘等地國際展覽展出,曾獲2003年度「香港藝術雙年展」最佳數碼作品獎項,「香港當代藝術獎2012」的優秀藝術家獎及日本文化廳媒體藝術祭評審團推薦作品,他亦曾任微波國際新媒體藝術節藝術總監,目前是文字機器創作集研究總監。他現時在香港城市大學創意媒體學院任教。 

Hector Rodriguez is a digital artist and theorist whose work explores the unique possibilities of computational technologies to reconfigure the history and aesthetics of moving images. He received a commendation award from the Hong Kong Government for his contributions to art and culture in 2014. 

His works have been internationally exhibited across Taiwan, Singapore, New York, Poland, Germany, Spain, Greece and awarded the best digital work in the Hong Kong Art Biennial 2003, achievement award at the Hong Kong Contemporary Art Awards and jury selection of the Japan Media Art Festival. He was the Artistic Director of the Microwave International Media Art Festival, and is director for research and education for the Writing Machine Collective. He currently teaches at the School of Creative Media, City University of Hong Kong.

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全情定位漂浮系統
(G)Local Empathy System
吳子昆 Ng Tsz Kwan

09.01 – 09.20 | 11am – 7 pm daily

上環文娛中心6樓展覽廳
Exhibition Hall, 6/F, Sheung Wan Civic Centre

展覽引用吳子昆專業專長「經驗設計」(experience design) 的多媒體語法,著我們意識到影像在鬧烘烘的都市生活裡無時無刻發揮著宣傳商品的遊說作用。吳發揮藝術的批評思考,在展場擺設了一個路路不同的陣,又或說是崎嶇迂迴的遊走路徑,「重演」街頭巷尾大小屏幕撞臉蓋天的情境。這回商品變成通俗劇電影的哭笑怒罵,卻因著大小不一的屏幕以及屏幕與觀者之間的距離,構成撞擊高於和諧的觀賞旅程。觀者或拾得似曾相識的戲劇情感碎片;這兒一大片,那兒一小塊,像召喚訪者,又像把他們排拒於丈外。「膨脹電影」的活化作用,其基調在於播放媒體的物質條件在展場空間裡的調度,而觀者,就不能再被動的接收。

Adapting his professional expertise in multimedia experience design, Ng Tsz-kwan reproduces the ubiquitous presence of moving images in our daily surroundings onto the exhibition site. By doing so, he exposes our visual culture’s lure of consumption and shifts our attention to the fact that technology, and in this case display devices for moving images, are no neutral presence . The on-site labyrinth of screens and projections mocks the myriads of images that scream at us in every corner of our public space. Where commodities are replaced with ordinary melodramas, contrastive display devices and viewing distance deconstruct a balanced viewing journey into shock and chaos. Fragments of emotional drama stir up visitors’ remembrance of something familiar and not quite. Ng’s [G]Local Empathy System follows Expanded Cinema’s basic principle of revitalizing moving images by highlighting the visitors’ physical presence in a dynamic space, hence encouraging active viewing through spatial mobility.

 

  

吳子昆,yU+co. [lab} 的創辦人及執行創意總監,公司是由他早年創立的多媒體設計公司N.T. Lab 與荷李活創作設計公司yU+co. 合作而成。他於1997 年獲香港中文大學學士,主修藝術;並於2000 年獲英國中央聖馬丁藝術設計學院碩士。專注創作互動媒體裝置,作品多次於本港及海外展出。亦擅 長互動媒體在不同層面的應用,並曾於多間本地大專院校任教相關科目。2007 年獲《透視》雜誌選 為「四十驕子」之一,該獎項授予大中華地區40 40 歲以下的傑出設計師。 

Ng Tsz-kwan graduated from The Chinese University of Hong Kong in 1997 with a bachelor’s degree in Fine Arts and, in 2000, earned his Master’s degree at Central Saint Martins College of Art and Design, London. Kwan continues to lecture in multimedia, electronic arts and design-related departments of various Universities and Institutions throughout Hong Kong. He has long devoted to electronic and video art, and has exhibited in London, Berlin, New York, Helsinki, Japan and Korea, in addition to numerous local exhibitions. He applies interactive media design to art, commercial and exhibition sectors, and persistent in exploring the use of different media for integrated design solutions for his clients. In 2007, Perspective Magazine commended him as one of the 40 outstanding design professionals under the age of 40 in Greater China. Kwan remains the Co-founder and Executive Creative Director of yU+co.[lab} since 2006 when he partnered his interactive multi-media design company, N.T. Lab, with award-winning Hollywood-based creative design firm yU+co., giving rise to yU+co.[lab]. 

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關鍵詞 Keywords:
Real-time experiments, opening the black box, re-activating the reception location, deconstructing images, deconstructing cinema, reconstructing cinema, sequential ordering and random ordering, AC as artistic raw material, visualizing mathematical concepts, image archive, computational cinema, algorithm, ensemble cinema, visual signal analysis, art and mathematics, overtone, harmonic, montage, custom-made software, visual mathematics, software art, future cinema, art from data, research-based practice, auditory fingerprints, calculus, frames, continuity, inertia turned into force, an on-off switch as a writing tool, hardware random number generator, simple electrical circuit, binary Logic, countable loops, unpredictable clockwork by time difference

解構電影院的實驗現場 | 结構影像 | 黑箱裡的作業 | 排序 | 隨機 | 衍生 | 疊進 | 電力作為藝術創作的原素材 | 影像庫 | 數位電影 | 合成電影 | 視覺訊號分析 | 數學與藝術 | 泛音 | 諧波 | 蒙太奇 | 自製軟體 | 視覺的數學 | 軟體藝術 | 未來電影 | 資料產生的藝術創作 | 以研究為本的創作實踐 | 畫面的格數 | 延續性 | 慣性作為推動力 | 開關作為書寫的行動 | 交流電流作為待發的種子 | 亂數發生器的硬體 | 電路 | 二進邏輯 | 可數算的迴圈 | 發條裝置不可預測的時差  | 以研究為本的創作實踐 | 聽覺指紋 | 微積分 |