Screening II “Video as writing machines” + workshop on Generative Illustration


Screening II – ‘VIDEO AS WRITING MACHINES’

/ Jan 23, 2010 (Sunday) / 14:00-15:15 / Y-Studio, 2/F, Youth Square

Moment from moments // WONG Chun-hoi王鎮海 / 5m / 2010

Take a look at old photos buried for decades under your bed. Old on the surface, young on the skin. Human growth, plant growth. Human becomes moody. Plants become woody. What makes a moment that moment was not the content itself but its materiality. A few lived moments of mine re-generate a new moment of me, intimately, over the light box, or else they would never have the chance to overlap and dissolve into each other. By the way, how long is a moment?

β // Kenji WONG 王偉健 / 15m / 2010

β is based on the artist’s research of light-box advertisements along the Tsuen Wan Line of the Mass Transit Railway (MTR). The method was to capture all light-box advertisements at every station on 23rd February 2010. The result was 572 photos turned into a 15-minute slideshow in video form.

Map of Problematique // WONG Fuk-kuen 黃福權 / 1m 45s / 2010

This work creates rhythm by regulating the motion of passers-by on the street from footage I collected in Fan Ling. I also want to explore how still and moving images work together to generate musical sense. Audience may consider this an MV, but actually I am re-writing the song Map of the Problematique by MUSE with my images.

I narrate the O // Iriz YUEN 袁雅詠 / 10m 15s / 2010

Listen. Descriptions. Ocean.
Let literature narrates the walk towards the sea.

3 stories // KWOK Chui-han Bao 郭翠嫻 / 3m 18s / 2010

Stories are usually read silently from a book with picture illustrations. This time, there is only my voice speaking words. Let’s see what kind of a story audience will get. I’d like to discover something about seeing and hearing.

Fish 1/2 // KWOK Chui-han Bao 郭翠嫻 / 2m 42s / 2010

One place, One fish. This work is about a fish. It moves in and out of the camera frame randomly. I use the footage to generate a video piece with some hidden rules that instruct me how to organize the shots. Look for the logic behind.

Wide Rothko // Vasco PAIVA / 10m / 2008

Using footage and audio recordings made in Hong Kong and in several locations in the Chinese province of Yunnan, Wide Rothko creates a new form of visualization exploring the relations between abstraction and figurative imagery.

Loss of footage: an invisible consciousness // Keith WONG 黃柏麒 / 5m / 2010

I lost my computer in March 2010, together with it all my video footage in the hard disk. Afterwards, I painstakingly sorted out all possible sources to redeem whatever I could – some final drafts, scratched DV tapes, and clips in secondary storage systems as well as those sent via e-mail. So here is the new story I weaved with the fragments at hand. I seem to discover an invisible consciousness hidden in my visual language, things I cannot talk about in my daily life.

Explosion // Alan KWAN 關子維 / 6m 50s / 2010

There are 3 explosion footages in extreme slow motion. Using Max/MSP/Jitter, I created the effect of two explosion clouds of different colors merging to form a black one. I imagine myself doing what the capitalists do – to act as a manipulator and design images whereby real meanings and nature of things are distorted. Ironically, with the music (Dream by John Cage) and color, the explosion, originally a lethal and terrible thing, becomes poetry or a painting with spreading ink. I have also removed the context: everything except the explosion clouds has been deleted from the scene. I substitute the pleasure of seeing for the contemplation on the horror of violence. But isn’t that what advertising does?

Communication // Winnie CHUNG 仲浩甄 / 4m / 2010

This work questions the normal practice of communication. We receive messages systematically through reading and listening. What would become of communication if what we hear is not what we see?

Live show is(n’t) showing live // Jolene MOK 莫頌靈 / 5m 2s / 2010

This short video plays with the notion of what is and what is not a LIVE SHOW… To me a videographer, a ‘live show’ begins with the moment I press the record button and ends when I press it again, whereas in the editing process, there is hardly any live moments as I show the record of records, and present the presence of the completed present.

 

Workshop: ‘GENERATIVE ILLUSTRATION’ 衍生漫畫 / Mr. Justin WONG 黃照達

16:00-18:00pm / Video Shooting Studio, 2M/F, Youth Square, Chaiwan

Cutting and pasting have become familiar commands used on the computer in everyday life. This workshop will take the action of “cut and paste” back to its origin and explore how we can draw from a database of graphics to create new artworks. Using graphics from his comics, Justin Wong will lead workshops attendees in creating their own comics by following a simple direction that he uses whilst creating: selection, cutting and pasting. This workshop aims at revealing the infinite possibilities of using database-driven creative methods.

「剪下」及「貼上」,大家對這兩個日常生活經常使用的電腦指令不會陌生。這個工作坊會帶大家體驗「剪下」及「貼上」的起源,及探索我們如何從畫像的 資料庫製作嶄新的藝術品。黃照達會利用他的漫畫繪圖,指導工作坊參加者用 幾個簡單的指令 - 即 「選擇」、「剪下」及「貼上」-創作自己的漫畫。這工作坊旨在揭示資料庫主導創作的無限的可能性。

 

Today Saturday: Screening I + 2 Lectures @ Youth Square

2 Lectures

14:00-16:00 / Y-Studio

Dr. Hector Rodriguez: ‘Cinema, Gesture, Computation’

19th century motion studies and early silent films documented and displayed gesture as such, often against neutral or dark backgrounds. They isolated gesture from any spatial or temporal location and focused attention on its intrinsic kinetic properties. The original vocation of cinema was the purification, analysis, and exhibition of gesture. Its subject matter often consisted of those repetitive body motions that philosopher Henri Bergson regarded as the essence of comedy. The subsequent rise of Hollywood narrative cinema, however, marginalized this gestural obsession. As character-driven story-telling came to dominate mainstream films, the purity of gesture was subordinated to narrative structure. This talk argues for a return to gesture as the fundamental aspiration of cinema.

Dr. Kenny Chow: ‘Cognition, Computation, and Creativity’

Humans create computers. Can computers think like a human? Can computers create artifacts like what humans do? When we make things with computers, where does creativity lie? in humans or computers? Have computers made us think like a computer? Is it a paradox?

 

SCREENING I: “Video as Writing Machines” / January 22, 2010 (Saturday) / 17:30-18:40 / Y-Studio

a video program from an open call for works on image-text dialogue and generative process (Curated by Linda Lai)

Broken machine / Carla CHAN陳好彩 / 3 m / 2010

We type what we think. Internet communication makes us type more and more. Typing makes sound, but as we type we lose the sound of our actual speech. I therefore created the Broken Machine: direct contact with people is broken, our voice is broken.

Untitled (Traces) / Vasco PAIVA / 5m 37s / 2010

Traces made in the water by the passage of a boat are treated by an algorithm that multiplies and overlaps the recorded footage. The result is an abstract visualization whereby the graphical properties of water dilute our perception of linear perspective.

Won’t be shy anymore / Step AU區詠欣 / 1m 59s / 2010

In the form of a poem hidden in a postcard, the artist speaks out her love and pain to her lost children.

Feeding the wolf / Step AU 區詠欣 / 1m 53s / 2010

I framed my mind onto a window. Simply, I was just daydreaming in class.”

Flowpoints: Kiss / Hector RODRIGUEZ 羅海德 / 8m / 2010

This is an experimental animation that deconstructs Andy Warhol’s movie Kissusing a motion tracking software the artist designed. The software computes and analyzes the micro-movements of the body in the original film. The resulting images represent motions rather than figures. The sound synthesis technique is a variant of the same algorithm that generates the images.

One strange case, two strange people / Doris POON潘韻怡/ 21m / 2009

This work shows two persons’ dialogue as a kind of “time image” (Deleuze). The lack of clean logical linearity in the conversation provides viewers with much room for interpretation. In this work, time is not objective. Each viewer forms his/ her own sense of time. I am curious about how viewers construct time with my video.

Decontextualization / Kenny WONG黃智銓 / 4m 15s / 2009

Ignore the passage of time, the varying of circumstances, and the speaker. I explore meanings by stepping backward to revisit the ‘origin’ of the text. I reduce the content to something “always true.”

Stutterer / Alan KWAN 關子維 / 7m 51s / 2010

Kwan Tsz-wai is a stutterer. Instructed by her doctor, she puts a speed-altering device on her mouth and looks forward to the day the treatment is completed so that she can speak normally and fluently.

Thickness of time / LI Yi-fung 李倚風 / 3m 50s / 2010

Normally, a new shot supercedes the previous one. My piece does the opposite. All shots that have appeared will stay while new ones are laid over them – with a 10-second delay. This is a thick description of time. Actually, there is thickness in time and distance in between the layers as well as between the image and sound signal.”

Spatial pattern / Carla CHAN 陳好彩 / 5m / 2010

Is it one space or many spaces? Are the four windows one space or four spaces? I have created a unified space with four windows to merge fragments into a world that you don’t see, but has emerged from a place I visited. Look for the secret rules that keep the fragments splitting and merging.

The 12 works presented at WMC_e4, opening this Friday at 8:00pm

 

A quick walk-through of art works exploring computational thinking @ WMC_e4

Kenny CHOW 周嘉年 + D. Fox HARRELL

Coding Landscapes, Crossing Metaphors《「編」風景,「渡」喻意》

The artists adopt visual image sequences to form poetic scenarios, as is the case in Japanese Renku poetry, whereas visitors’ gentle finger work brings in mini human avatars scrolling through the virtual landscape.

模組圖案編製出的風景卷軸,參與者透過兩種迥異的操控界面,在城市與自然的環境間跳躍。

Mary FLANAGAN

[borders] [archive…] [video-1…] [video-2…]

Walking breaks up the illusion of a cohesive landscape – for this is a virtual walk through shared online multi-user worlds. [borders] documents such walks as they reveal hidden virtual property lines, invisible flaws of algorithmic landscape rendering and cut-off points, thus the constructed nature of the apparently seamless world.

網上漫步的錄像記錄:穿越虛擬世界中不同虛擬人士所設立的虛擬領土,以虛擬步行重新探討邊界、財產與空間的定義。

Enrica HO 何佩霖

Le Montage de l’émotion 《情感蒙太奇 1.0 版》

A tribute to Wassily Kandinsky, the work Le Montage de l’émotion re-codes words into colors based on the coding system in Chinese telegraph, in order that interpretation gradually gives way to visual perceptual experiences.

向瓦西里 · 康定斯基(W. Kandinsky)致敬的作品,利用中文電報碼把文字訊息轉化成顏色與位置。

HO Yue-jin 何禹旃+ Iras TAM 譚慧心

Mouse-click notation 《嘀嘀.嗒嗒》

This work is a recording machine of the mouse click activities of a computer, at a closer look, a sound installation that re-invents the clicks, alluding to the 2-word/sound utterances of ancient China poetry. Mouse-click notationtravels a long way, mapping the 2-word grievances of ancient Chinese laborers onto the contemporary digital time’s obsession with the binary.

記錄和再造使用電腦時的滑鼠按鍵聲,回響著遠古時把勞動聲音化成二言詩句的歷史。

 

IP Yuk-yiu 葉旭耀

Between the threshold of good and evil: film noir no.1 (Double Indemnity) [watch…]

A re-imagination of the film noir tale of crime and deception as a one-bit moral drama…

閾值之間的善惡

黑色電影之首:《雙重賠償》

黑色電影中的犯罪與欺騙故事,重新影像化成一齣一位元的道德劇。

 

Linda C.H. LAI 黎肖嫻 + Gary NG 伍紀穎

Scriptorium藏經樓[archive…]

What’s in common between scribes copying manuscripts in the medieval age and female workers in garment factories in Hong Kong in the 1960s? Look for the scattered individual stations of their invisible assembly line. Intervene. Your casual input would endow upon an automated system new authorship and moments of play.

藏經樓抄寫員與香港車衣女工,為什麼他們的「耕耘」總是要「默默」地進行?觀眾隨緣介入各個步驟,《藏經樓》(又名繕寫室〉,令鬱悶的文字生產線轉化成一連串目的未明的遊戲。

 

Vasco PAIVA (João Vasco Paiva)

Sea of Mountains海之山》[watch…]

A digital video input is used for the score of a generative sound piece, revealing within a framed parcel the immense possibilities of the ocean. Sea of Mountains is an image-and-sound installation, a loop regarding infinity, or is it perhaps an attempt for a glimpse of natural structure?

千變萬化.不離其宗。軟件分析波浪的高低起伏,把看似千篇一律的海面影像轉化成鋼琴樂章。

 

Hector RODRIGUEZ 羅海德

Gestus (Beta)《姿勢》[archive…]

Cinema is an art of gesture. 19th-century motion studies indicate that isolated gestures can be studied from any spatial temporal location to focus on their kinetic properties. This work invents secret connections between movie clips: the gestures of a person in one video bear the invisible motion trajectory of another invisible being elsewhere.

提倡電影應該以動作、姿勢為本,透過分析現成影片中人物的動作,剪輯出原片中沒有的新姿勢。

 

Zoie SO 蘇慧怡

Mediated Facial第二表情》[archive…] [video impression…]

No dismay at fixing the expression of a face by a grab or a kick, a pull here and a thud there. Mediated Facial is an interactive sculpture made of wooden structures and elastic ropes, a metaphor of how electronic media pull the strings of our everyday communication.

以手腳控制嘴臉,織出來的面譜成為參與者表達情感的「代言人」。正如我們每天都借助/隔著不同的電子媒介互相溝通。

 

Winnie SOON 孫詠怡 + Helen PRITCHARD

jsut code

Statements on life and death gathered real-time from Twitter are turned into images as a matrix bar code. Only visitors’ participation could activate the decoding of the encoded images to sort out the meanings.

一件須要大家合作完成的裝置藝術作品。來自Twitter的文字被轉化成QR電子代碼,作者邀請參觀者一同加入解碼的過程。

 

Told TO 涂業生

Visual Diary Generator《文字引擎》

As visitors lay a notepad on the desk, the artist’s memories would be dictated line by line on the blank pages, disclosing the secrets of his visual diaries. The Visual Diary Generator is an experimental installation transforming pixels extracted from video clips into words.

人工智能用它的記憶與邏輯理解我們的影像,把影片解讀成字句,為我們訴說每一段故事。

 

Justin WONG黃照達
City Forum《城市論壇》

City Forum evolves from the artist’s database-driven comic work Gei Gei Gaak Gaak (2007- ), by which repeated usage of image and graphic prototypes generates endless commentaries on social and political issues. With a rich library developed for 3 years, City Forum stretches the print work’s generative possibilities by creating a complex narrative via computational animation, thus loosening the boundary of comic writing.

政治漫畫《嘰嘰格格》中的人物、圖案與文字被置於一個隨時偶遇的地貌之中。角色隨時碰頭,引發出一場又一場的「城市論壇」。

 

Selections for ‘Video as Writing Machines’ – video screenings at WMC_e4

 

banner_wmc4-screening

a video program from an open call for works on image-text dialogue and generative processes in imaging / curated by Linda LAI

Venue: Youth Square, Chai Wan (a 3-minute walk from Chai Wan MTR station Exit A)

SCREENING I / January 22, 2010 (Saturday) / 17:30-18:40 / Y-Studio

 

Broken machine / Carla CHAN陳好彩 / 3 m / 2010

Untitled (Traces) / Vasco PAIVA / 5m 37s / 2010

Won’t be shy anymore / Step AU區詠欣 / 1m 59s / 2010

Feeding the wolf / Step AU 區詠欣 / 1m 53s / 2010

Flowpoints: Kiss / Hector RODRIGUEZ 羅海德 / 8m / 2010

One strange case, two strange people / Doris POON潘韻怡 / 21m / 2009

Decontextualization / Kenny WONG黃智銓 / 4m 15s / 2009

Stutterer / Alan KWAN 關子維 / 7m 51s / 2010

Thickness of time / LI Yi-fung李倚風 / 3m 50s / 2010

Spatial pattern / Carla CHAN 陳好彩 / 5m / 2010

 

SCREENING II / Jan 23, 2010 (Sunday) / 14:00-15:15 / Y-Studio

 

Moment from moments / WONG Chun-hoi王鎮海 / 5m / 2010

β / Kenji WONG 偉健 / 15m / 2010

Map of Problematique / WONG Fuk-kuen黃福權 / 1m 45s / 2010

I narrate the O / Iriz YUEN袁雅詠/ 10m 15s / 2010

3 stories / KWOK Chui-han Bao 郭翠嫻 / 3m 18s / 2010

Fish 1/2 / KWOK Chui-han Bao 郭翠嫻 / 2m 42s / 2010

Wide Rothko / Vasco PAIVA / 10m / 2008

http://www.writingmachine-collective.net/wordpress/wp-content/uploads/2014/07/banner_wmc4-screening.jpgLoss of footage: an invisible consciousness / Keith WONG黃柏麒 / 5m / 2010

Explosion / Alan KWAN關子維 / 6m 50s / 2010

Communication / Winnie CHUNG 仲浩甄 / 4m / 2010

Live show is(n’t) showing live / Jolene MOK 莫頌靈/ 5m 2s / 2010

 

 

Lectures and Workshops for WMC_e4: full schedule


22 Jan 10:00-12:00 / Y Studio / workshop for primary school students

29 Jan 10:00-12:00 / 2M/F / workshop for primary school students

Daniel Chong: ‘Chinese Ideogram & Animated Word-pictures’

Through playing creative games about Hieroglyphs, the course will let participants experience the relationship between pictures and texts and the transition from pictures to texts.

It will also introduce the last Hieroglyphs in the world: Dongba script (Naxi script)

莊德華: 意像圖與”字” “動”圖

透過創作和遊戲,讓孩子親身體會象形文字從圖畫轉化成文的過程。並介紹世界謹餘的最後象形文字—東巴文。

22 Jan 14:00 – 15:30 / Y-Studio

Dr. Hector Rodriguez: ‘Cinema, Gesture, Computation’ [Lecture]

The original vocation of early silent cinema was the purification, analysis, and exhibition of gesture. The subsequent rise of Hollywood narrative cinema, however, marginalized this gestural obsession. As character-driven story-telling came to dominate mainstream films, the purity of gesture was subordinated to narrative structure. This talk argues for a return to gesture as the fundamental aspiration of cinema.

羅海德博士: 電影、姿勢、計算

(英語進行)

「無聲電影」最原始的使命,在於精煉純、分析及對形體姿勢的展現。其後出現的荷里活「敍事電影」卻為了說故事的功能而把這種對姿勢的執著邊緣化。隨著角色主導的電影敍事續漸支配主流電影藝術,精煉單純的形體姿勢藝術遂淪為故事結構的輔助。這次講題正是要回到姿勢的本位,重尋電影靈感的所在。

Dr. Kenny Chow: ‘Cognition, Computation and Creativity’ [Lecture]

Humans create computers. Can computers think like a human? Can computers create artifacts like what humans do? When we make things with computers, where does creativity lie? In humans or computers? Have computers made us think like a computers? Is it a paradox?

周嘉年:認知、計算、創意

人類創造電腦,但電腦能以人類的方式思考嗎?電腦可以如人類般創作藝術品嗎?當我們靠電腦製作事物,創意又如何定位呢?在於人,還是在於電腦?我們的思維有否被電腦同化?這,又有矛盾嗎?

23 Jan 16:00 – 18:00 / 2M/F

Justin Wong: ‘Generative Comics’ [Workshop]

Cutting and pasting have become familiar commands used on the computer in everyday life. This workshop will take the action of “cut and paste” back to its origin and explore how we can draw from a database of graphics to create new artworks. Using graphics from his comics, Justin Wong will lead workshops attendees in creating their own comics by following a simple direction that he,too,uses whilst creating: selection, cutting and pasting. This workshop aims at revealing the infinite possibilities of using database-driven creative methods.

黃照達:衍生漫畫

「剪下」及「貼上」,大家對這 兩個日常生活經常使用的電腦指令不會陌生。這個工作坊會帶大家體驗「剪下」及「貼上」的起源,及探索我們如何從畫像的資料庫製作嶄新的藝術品。黃照達會利 用他的漫畫繪圖,指導工作坊參加者用 幾個簡單的指令 - 即 「選擇」、「剪下」及「貼上」-創作自己的漫畫。這工作坊旨在揭示資料庫主導創作的無限的可能性。

 

29 Jan 14:00 – 16:00 / 2M/F

Dr. Linda Lai: ‘Generative Thinking in Contemporary Art & Creative Writing’ [workshop]

 

‘Generative thinking’ has many names.

In biology, morphology, self-multiplication…

In mathematics, series formation…

In music, serialism…

In cybernetics, emergence, from single unit to complex structure…

In computing, algorithm

In art, rule-based creativity

This is a workshop in which participants apply ‘generative thinking’ to making individual and collective art pieces on the spot, experience computational thinking in a game. The activities will be accompanied by a short presentation of major art works in modern and contemporary art that manifest generative thinking.

黎肖嫻博士:衍生性思考 - 當代藝術與創意寫作中的軌跡

「衍生性思考」有很多不同的名稱︰

生物學︰形態學、自我繁殖…
數學︰數列構成…
音樂︰序列式作曲法
電腦控制學︰從一個單位演變為複雜結構
電腦運算︰演算法
藝術︰規則為本的創作法

參加者可於這個工作坊應用「衍生性思考」即場創作獨立及集體的作品,從遊戲中體驗運算思維。除活動外,屆時亦會有簡短介紹彰顯「衍生性思考」的當代藝術個例。

 

30 Jan 14:00 – 15:30 / 2M/F

Prof. Mary Flanagan: ‘Playworlds’ [Lecture/Workshop]

In her recent work, internationally recognized artist and cultural theorist Mary Flanagan discusses games and art. Games are systems and, like other forms of art such as theatre, set up an imaginary and magical space for things to happen. Games are spaces for encounter and surprise, and rarely are two games played alike. Different players, circumstances, chance operations (what we also call ‘luck’) — these all work together to create dynamic and incredible experiences.

In many of Flanagan’s game related artworks, she plays with game conventions and expectations, or uses such expectations for alternative purposes. For example. she will remove win states and read the game-as-system as one of duration and choice. She will often make conditions by which players see the culture around them, and the games they are playing, through a new lens.

In this talk Flanagan will discuss three works as they relate to the gaming phenomenon, [domestic] (2003), [perfect.city] (2009), and the [borders] series (2010-11).

Prof. Mary Flanagan: 遊戲世界

國際認受的藝術家及文化理論家Mary Flanagan於 近期的作品中經常論述遊戲與藝術的關係。遊戲,像其他如戲院的藝術一樣,是一個訂立虛擬及魔幻空間讓事情發生的系統;遊戲,能讓人砌磋及為人帶來驚喜;同 一個遊戲玩法相同,玩的經驗卻絕不會重複 。不同的玩家、情境、運氣 – 結合起來便會帶出生氣活力及不可思議的體驗。

Flanagan不 少與遊戲有關的藝術作品中,巧妙地針對遊戲的傳統及遊戲中‘期望’的成規進行批判與創作性的玩弄,並尋求另類以至顛覆性的用法,去展示遊戲機制的特色,例 如沒有輸贏的遊戲,又或者以過程為重,又或強調做出選擇和決定的玩法。她亦會製造不同情節,讓參加者體會自己身邊的文化,並從新的角度體驗遊戲。

這次演講中,會探討有關遊戲現象的三件個人作品,包括︰[domestic](2003), [perfect.city] (2009), 及 [borders] series (2010-11)。

12 works by 15 artists in the upcoming WMC_e4: some highlights

The Writing Machine Collective 4th edition (Jan 14-30, 2011) promises to be a fresh and thrilling showcase of crème de la crème local media arts talents. 15 artists come together to offer us 12 unique works that explore how something so crucial to everyday life, the computer, can be an artistic medium. Utilizing no less than 100 pieces of electronic equipment (including huge LCD monitors, computers and projectors), and over 2 years of conceptualization and research, our exhibition aims at pinpointing the procedural operations as the computer’s basic, and rediscovering the generative and computational elements in existing art forms. Expect to see the awe-inspiring Scriptorium that mimics the production of books through a series of monitors; the eye-opening Gestus featuring an assemblage of 20 monitors; the hip jsut code that turns what you put on Twitter into an art work; the undeniably fun Mediated Facial, a 2-meter tall wooden sculpture where you are invited to tug and pull at to create your own masterpiece – just highlight a few. For a change, come, too, to view short videos showing ‘writing’ in the present continuous tense. And the best part is: there are loads more to see and learn at our exhibition. (Michelle Rocha)

Open call for short video: ‘Video as Writing Machines’

Videos as Writing Machines

an open call for video work 15 minutes or under

for the 3 screenings of COMPUTATIONAL THINKING IN EXISTING ART FORMS, WMC_e4

Jan 22-23, 2011 @ Youth Square

 

Open Call for short videos in 3 categories 作品徵召

1. Image and text

Videos made up of still and/or dynamic images and text:

We welcome any moving image sequences constructed to revisit/experiment/re-invent the the relationship between images and text – as words with content and as a form of visual graphics. We would like to screen works that open up our expectation and exploration of the two visual elements.

影像與文字/文本

由形象與文字/文本結合而成的錄像:文字與影像的關係好像未被認真解析或定義或詮釋。在此,我們希望看見一些經由錄像實驗混合出來的新‘視’物,將影像與文字的關係在推展,擴展出不一樣的面貌。

2. Typography

Videos which play with words as well as the images of words…

Imagine a movie with no main characters or beautiful sceneries, but mainly words. Imagine a video work in which motions occur to alphabets and characters.

Typography itself is a concrete visual object. It is the arrangement of words in space with attention to its physical features — size, style, and the rendering of its fine visual variables. We wonder how fonts can be rendered to become moving images..

字體排版

排版.錄像.遊樂場:

你有見識過沒有演員、佈景卻只有字體排陣的影畫戲嗎﹖

字體排版本身已是個很實在的視覺藝術模式。字體的大小、款式與排放風格直接透露著不一樣的空間構造。我們很期待當字體被「活化」時,觀眾會接觸到怎麼樣的新鮮「質感」。

3. Generative Video

Videos created with rule-driven principles:

Video works often are appreciated as a tale, a painting, a poem, or an essay. Can you imagine a video work that is itself a system of images operated on a set of hidden rules?

Repetition with variation seems simple. As a rule applied to a group of audio-visual fragments, a complex work may result. The setting of rules is to make positional and permutational arrangements to audio visual elements, so that completely new images and unexpected sequences can be produced. In this category, we would like to screen video sequences created based on the design of rules applied to images to open up new, complex and unpredictable outcomes.

Generative art forms often begin with a singular, simple unit which, when subjected to operational rules, become complex systems.

自我衍生、延展不息的錄像?!

守規則但不守規矩的錄像:

錄像常常以故事、圖像、詩詞或散文的姿態出現,又或以這些不同創作體裁為素材化成錄像作品。那麼,現在讓我們想像一種新的錄像,本身就是一個像系統,有其內部的運作和演算法則,把零碎的影像片段有秩序的建構成完滿的體系。可以嗎?

當然可以!

系統內的規則都是為了設定基本原素而建立的程式,套用到錄像創作上,儘管手上的視像物料相同,只要微調系統內的假設數值,影像的佈置便陳出不窮,應運而生。

只要有一套規則,縱使是一個單一的單元,也可演奏出變幻莫測的錄像!

關鍵在於發明設計精準的規則,然後發現你手中素材的潛在力。

 

DoorGametxt

 

Video as Writing Machines 2010 /

The Writing Machine Collective edition 4 (WMC_e4)

Regulations

1. Requirement of the entry:

1.1 Running time must be under 15 minutes.

1.2 There is no restriction on production year.

1.3 Non-English spoken videos should have English subtitles.

2. Submission of the entry form and the upload of the videos:

2.1 Entry form should be submitted via email to

2.3 Each submission should have one entry form.

2.4 There is no entry fees.

2.5 Videos can ONLY be upload online to the WMC_e4 Vimeo Group via entrant’s own Vimeo account.

2.6 If selected, the filmmaker will be contacted to provide an uncompressed version of the video either by mail or via ftp.

3. Submission deadline:

The submission deadline is 27th December, 2010. All applicants must become a member of Vimeo Group – WMC_e4 ( http://www.vimeo.com/groups/wmc4 ) and have their videos uploaded to the group by this date.

4. Screening dates and venue:

Screening will run from January 22, 2011 to January 23, 2010

At Youth Square, 23B Chai Wan Road, Chai Wan, Hong Kong (3 minutes away from the Chaiwan MTR Station)

5. Jury:

5.1 All submissions will be selected by members of WMC_e4.

5.2 All decisions are final.

ENTRY FORM AVAILABLE HERE []

 

 

WMC_e4 Physical Exhibition arriving Jan 13-31, 2011

PHYSICAL EXHIBITION:

January 14-30, 2011 / Youth Square, Chaiwan, Hong Kong Island

12 works will be presented by 16 artists:

Mary FLANAGAN (International Guest Artist), Linda C.H. LAI, Hector RODRIGUEZ, IP Yuk-yiu, Justin WONG, CHOW Ka-nin Kenny, TO Yip-sang Told, João Vasco Figueirinhas PAIVA, HO Yue-jin, Iras TAM, Winnie SOON, Zoie SO, Helen PRITCHARD, D. Fox HARRELL, Enrica HO, Gary NG

 

SCREENING of video works from open call:

“Video as writing machines” / January 22-23, 2011 at Youth Square / a total of 3 screenings

 

VIRTUAL EXHIBITION ON-LINE:

A group of works accessible on-line would be curated. Details to come soon…

 

CONVERSATIONS, DIALOGUES + EDUCATION EVENTS:

A series of artist talks, theoretical exposition, master workshop, and children workshop will take place in the course of the exhibition. Stay tuned for details…

 

WMC_e2 Workshop: “Inform 7”: text based interactive fiction

Inform 7 Workshop | April 2007 | Dr. Hector Rodriguez

Would you like to learn how to write your own text adventure game? How about writing an interactive fiction? Inform 7 is a new programming language designed specifically for adventure games and interactive literature. It is very easy for non-programmers to learn, since it uses natural English sentences. After only a few hours of training, you can begin to write your own game or story. You can design complex locations and objects, even characters who react independently to the decisions of the player.

The basics of Inform 7 will be introduced in a gradual manner. This workshop is designed mainly for friends with little or no programming experience. Those who are afraid of programming are especially welcome.

Time:
7th, 14th, 21st and 28th April, 2007 (Saturday)
2:30pm – 5:30pm

Place:
PC Lab Y726 Core Y
School of Design
The Hong Kong Polytechnic University

Workshop Leader:
Dr. Hector Rodriguez
Associate Professor, School of Creative Media, City University of Hong Kong

*This workshop is conducted in ENGLISH and is for FREE ADMISSION.

ENROLMENT: send your NAME, EMAIL ADDRESS, and CONTACT NUMBER to info@writingmachine-collective.net by the 4th April 2007. Seats are limited to 30 and allocated on a first-come-first-served basis.

workshop coordinator:
Yvonne M.Y. LAU

supported by the HK ADC
sponsored by School of Design, Hong Kong Polytechnic University