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 responded with the surge of projection art. 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 possible modes of moving image experimentation beyond playing with celluloid, montage methods or 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, 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.

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

上環文娛中心展覽廳
Exhibition Hall, 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。

Bringing Ng Tsz-kwan’s profession in multimedia experience design, the exhibition gains our attention onto thelure of consumption by theubiquitous presence of moving images in our daily surroundings. By setting up a labyrinth of screens and projections, Ng critically enquiries the scenario of displays screaming at us in every corner of our public space. Where commodities are replaced with ordinary melodramas, contrastive display devices and viewing distance deconstructed a balanced viewing journey into chaos. Pieces of emotional drama fragments tried to recall the audience remembrance yet locking them out of memory. Expanded Cinema’s revitalisation re-composited the relationship between visual media’s physical presence and spatiality, hence rejecting audience’s passive viewing experience.  

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位40歲以下的傑出設計師。

NG Tsz-Kwan is the Co-founder and Executive Creative Director of yU+co.[lab} since 2006 when his interactive multi-media design company, N.T. Lab, partnered with award-winning Hollywood-based creative design firm yU+co. He graduated from The Chinese University of Hong Kong with a bachelor degree in Fine Arts in 1997, and Central Saint Martins College of Art and Design with a master degree in 2000. He is dedicated to applying interactive media in art installation and business application. His works have been invited for exhibitions locally and worldwide. In 2007, Perspective named him as one of the “40 under 40” which commends 40 young design professionals in Greater China.

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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

上環文娛中心展覽廳
Exhibition Hall, Sheung Wan Civic Centre

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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

灣仔富德樓六樓
6/F, Foo Tak Building, Wan Chai

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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 |