「回聲像」——動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentat by Lois X Wang

第一章 CH. 1 有關回聲像 About "Audiovisual Return" Project

第二章 CH. 2 論壇一：什麼是動態影像？ Forum One: What is Moving Image?

第三章 CH. 3 論壇二：「現場電影」— 以音像形式作為感官研究與實驗方法（如何實驗？） Forum Two: "Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation (How to Experiment?)

第四章 CH. 4 論壇三：「柏拉圖的洞穴」—動態影像的感官探索與未來 Forum Three: Plato's Allegory of the Cave - Sensory Explorations and the Future of Moving Image

第五章 CH. 5 亞洲動態影像平台論壇 AAMP (Asian Artist Moving Image Platform) PROJECT 2018/2019

第六章 CH. 6 音像實驗創作論述《Operation: 虛菩提 \Subhuti》 The Statement of the Creative Audiovisual Experimentation Project: Operation: 虛菩提 \Subhuti

第七章 CH. 7 階段性成果：映演單元 Initial Achievement of the Research: Screening and Performance

第一章有關﹁回聲像﹂計畫

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

一・計畫說明

「回聲像」以探索台灣動態影像延伸發展與未來、現場音像形式表演作為動態影像感官實驗的新方法，作為兩個主要探索方向。結合 ASC （The Art Shelter and Cinema）與 tamtamART 過去的經驗累積，我們將針對當下台灣動態影像的定義與形式、動態影像與數位故事創作、音像創作實踐動態影像的感官探索，以及動態影像的未來等題進行論壇，為確保研討會具有實質跨域交流對話之激盪性與完整性，將邀請國內相關策展人、數位藝術家、影像與聲音創作者，進行三場主題性的交流論壇，每次論壇結尾，以共同討論策劃一場放映單元作為題目之回應，預計於計畫結束前展映。

Chapter 1 第一章有關「回聲像」計畫 About "Audiovisual Return" Project

同時，在「回聲像」論壇期間，將組織一組跨域創作團隊，以「現場電影」形式作為實驗手法，實際參與論壇、回應對話為主旨，委託創作一件結合動態影像研究、實驗形式與數位藝術的展演作品，並於計畫結束前，公開發表實驗成果。交流論壇與此實驗創作計畫將跨越電影史與美術史的交界、跨越聲音與影像的媒介、跨越科技與藝術的領域、跨越社會主流文化與次文化，我們試圖以實驗的成果反應時代與當下的精神事件，找到動態影像與音像實驗的整體藝術觀點。

One: About the Project This project seeks inspiration from the history and experiences of Taiwanese moving images with ambitions of discussing the current affairs of creative moving images and audiovisual performances in the digital context, and to put forward a Taiwanese perspective worthy of future attention. Here, Return refers to averting one's gaze towards a return to the past. It is as Walter Benjamin's "Angel of History" – face turned towards bygone time, wings caught amidst the violent storm of progress, and blown against his will towards the future to which his back is turned. Likewise, Audiovisual Return delves into the diversity of voices and sounds that interact with physical barriers and create an echo. Echoes are audible only at a certain distance from the sound source; the same can be said of interdisciplinary explorations and their practice: Following any public forum or discussion, all results must be gathered – but always at a rational distance – in order to build mutual understanding and incite new echoes, namely, imagining the future. The two core exploratory directions of Audiovisual Return are 1) an exploration of the extension, developments, and future of Taiwanese moving images, and 2) an exploration of live audiovisual performance as a new method of sensory experimentation through moving image. This project is informed by our combined experiences with The Art Shelter and Cinema and tamtamART. Our forums will center on topics such as the current definitions and forms of Taiwanese moving image art, moving image and digital storytelling, sensory explorations of creative audiovisual as a moving image practice, and the future of moving image art. Among the invited are curators and artists nationwide. This will ensure that all three forums will provide substantial interdisciplinary exchange both stimulating and comprehensive. Following each forum, collaborations will take place to produce a screening programme in response to the topic. These screenings are estimated to be shown as part of an performance before the end of the project. In conjunction with these forums, an interdisciplinary creative team will be formed. The team will experiment with live cinema audiovisual creations and serve as a discussion panel in the forums. They will also be commissioned to produce a performance showpiece fusing research in moving images, experimentation, and the digital arts. Their results will be presented to the public before the end of the project. The forums and experimental creative projects will overstep the boundaries between the history of film and the history of art; between the mediums of sound and image, between the fields of science and the arts, and between mainstream culture and subculture. Our endeavor is for the fruits of our experiments to embody a response to the times and its current mindsets so we may seek out a holistic artistic perspective towards moving images and audiovisual experimentation.

﹁回聲像﹂

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CHAPTER 1: About "Audiovisual Return" Project

「回聲像」—動態影像論壇與音像創作實驗計劃，以回顧過去台灣動態影像的歷史經驗為初衷，討論數位語境下的動態影像與音像表演創作之現狀，為未來提出值得參照的台灣觀點。「回」在此為朝向歷史之回向，如班雅明所描述回望過去的「歷史的天使」，在擎天而起推往進步的風暴中，背對著未來遮阻強風而行。「回聲像」亦是本次計劃的眾聲喧嘩，聲音在經過物理障礙，產生了反射回音，然而我們必須與每一個發聲源保持一定距離才能聽到回聲，跨學科的探索實踐亦尤之，在公開論壇的集結討論，我們必須保持一段理性思考的距離，才能互相產生理解，激盪新的回音，成為未來的想像。

Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

動態影像論壇與音像創作實驗計劃 3

第一章有關﹁回聲像﹂計畫

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

CHAPTER 1: About "Audiovisual Return" Project

一・「回聲像」—什麼是動態影像？

Part One: Audiovisual Return - What is Moving Image ?

什麼是動態影像？

What is Moving Image ?

這個基本問題不僅僅是討論跨學科的實踐，也廣泛地在電影史或美術史的底蘊下，開啟了爭論。維克多雨果 (Victor Hugo) 在《暮光之歌》（Les Chants du crépuscule，1835）中寫道：「明天將會是什麼，沒有人知道……，今天的一切，無論是在思想中，還是在事物中，在社會中或在個人中，都處於一種暮光將至的狀態。這個暮光的本質是什麼？而什麼又會隨之而來？」[1]，這些話成為了「回聲像」第一個問題的出發點。我們希望由論壇的概念集結與對話，觸及影像的終結和本體論、異己和他性，在重新定義動態影像史的初創，探求動態影像之於人類意識的意義。

This fundamental question is not only a practice of interdisciplinary discussions, but also a catalyst for open debate against the backdrop of film and art history. In a collection of poems entitled Songs of Twilight (Les Chants du crépuscule, 1835)1, Victor Hugo noted, "Everything today—ideas as well as things, society as well the individual—is in a twilight state [état crépusculaire]. What is the nature of this twilight? what will follow it?" These words are the basis for part one of Audiovisual Return. By gathering ideas and facilitating dialogue at our forums; touching upon the concepts of the end of images and ontology, alterity and otherness; and investigating the early stages of redefining moving image history, we hope to uncover the significance that moving image holds for the human consciousness.

二・以「現場電影」—音像形式作為感官研究與實驗手法為什麼是現場電影？

Part Two: "Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation. Why Live Cinema? The Spirit of Era-Present?

「時代－當下」的所有精神事件

探究動態影像感官新視野的手法「現場電影」同時也意味著實驗性的敘事手法，應用於現場表演，實現聲音和影像的實況同步創作，拓延傳統標準敘事，讓攝影機的主觀再現，被擴展成一個更他方的概念。「現場電影」是一個針對聲音與影像的雙軸線生產，在音、像並置下產生互動流變，音、像由此在實況時間中構成交織的能動，以致觀者的意識集中作用於「感官知覺」的實驗與重新定義，以此作為探究動態影像感官新視野的手法。本計劃期間將邀請影像與聲音藝術家、VJ 進行以「現場電影」為概念之實驗音像作品的創作，實際參與動態論壇對話，並以創作進行回應，作為探索聲音、影像與文化等媒介的新感官實驗。

Live cinema is a modern creative audiovisual technique geared towards moving image and live performance. (e.g. "Live Cinema Festival" in Rome) Its wide encompassing of artistic trends and adoption as a narrative approach for many artistic performances have heightened it to a full-fledged fad. The ubiquitous nature of digital technology has allowed science, art, and technology to produce and transmit new information and concepts at lightning speed. To bring a forward-thinking, artists unceasingly strive to tear down the boundary between media and text. Through image manipulation, they utilize various tools and techniques to shape their final results: stylistic mechanics and improvised creations. It is thus fitting to view live cinema as a spirit that reflects both the times and the singular moment.

第一章 CHAPTER 1

「現場電影」是現下關於動態影像與現場表演的音像創作形式，以羅馬的現場電影藝術節為例，探索所有可被稱為現場電影的藝術趨勢，藝術家的表演讓這種敘事方式蔚為風潮。當數位科技在人類生活中無所遁形，科學、藝術和技術急速聚集在一起生成、傳播新信息和新概念，為提出一個面對未來的視野，藝術家們不斷嘗試打破媒體和文本內容之間的界限，由對影像的操縱，使用不同的方法和技術來創建最終的內容，以此作為藝術家對於即興創作和風格技巧的結果，由此「現場電影」的形式可被視為一個反映了「時代－當下」的所有精神事件。

An Investigation of New Horizons in Moving Image and Sensory Techniques The concept of live cinema also hints at experimental narrative techniques that, when applied towards live performances, engenders the real-time creation of sound and image, and expands upon its traditional forms. The Kino-Eye is thus recreated and extended to become a more inclusive concept. Live cinema is built upon the dual axis of sound and sight– a coupling that gives rise to a real-time interweaving of interactions and changes. It even experiments and redefines a viewer's sensorial perceptions. In this way, it constitutes an investigation of new horizons in moving image and sensory techniques. Moving image artists, sounds artists, and VJs will be invited throughout the duration of the project to create an experimental live-cinema audiovisual work. They will partake in the planned forums and respond via creative productions that explore sound and image through intermediaries, such as culture, in new sensory experimentation. Part Three: Plato's Allegory of the Cave Sensory Explorations and the Future of Moving Image

三・「柏拉圖的洞穴」—動態影像的感官探索與未來？「柏拉圖的洞穴」裡，人被囚禁於洞穴深處並背對火光，以致他們認為映在牆上的光與影子就是世界，這是人類對於置身黑盒子內最早的假說，也是人類對於光與身體知覺的原初場景描述。「回聲像」計劃第三提問著重探索感官與影像的交織關係，結果是由策展人、藝術家與專業人士的研究交流並衍生而成，這些研究的目的在於重新梳理自然、非自然、伏流與引流的歷史，並成為可能與當代脈絡結合或剝離的討論，最終重新型塑台灣動態影像的歷史藍圖。

In Plato's Allegory of the Cave, humans are chained in a cave, backs facing a fire. They come to believe that the shadows projected onto the wall are the world and reality itself. This allegory is the earliest recorded conjecture about the black box theater, as well as an example of human sensorial experience through light and bodily perceptions. Part three of Audiovisual Return emphasizes the exploration of these sensorial perceptions and corps of images. The surrounding dialogues and experimental results will be derived from an exchange of research by curators, artists, and field professionals. The purpose of this research is to reorganize natural, non-natural, local, and foreign histories and narratives. This will tentatively establish a connection with contemporary contexts or may be dissected for future discussions. Ultimately, our aim is to restructure the historical blueprint of Taiwanese moving image art.

[1]

Victor Hugo, Les Chants du crépuscule , in Œuvres complètes (Paris:Ollendorf, 1909), vol. 17, pp. 177–308.

第一章有關﹁回聲像﹂計畫

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

二・進駐台灣文化實驗場之動機與助益

CHAPTER 1: About "Audiovisual Return" Project

ASC 是一個藝術家與策展人獨立籌組的當代媒體影音平台，長期致力於動態影像與實驗音像類型藝術之國內推動與海外交流，加強理解新時代語彙，探索跨越科技與藝術邊界的各種可能，以獨立方式建立起國內以音像為主題的藝術節（Osmosis 滲透媒體影音藝術節）。然而，省思過去幾年的海內外實作經驗，台灣自身的相關作品仍必須增加多元性，藝術家的產出亦須受到重視，才能實際達到拓延與提升自身藝術的可能，並且與國際接軌對話；然則，反之，國際平台的建立，便是一具低效能的空殼。因此，近年，我們合作的藝術家與策展人，開始嘗試研發內容，我們認為在製作的最前端，必須投入足夠的心力與時間進行研究，才能強化與促進藝術內容的產生。研發應該先從思考我們自身的文化開始，進行討論與定義，再構築創新實驗的流程，才能真正達到文化實驗的目的。透過堅持深根，可真正厚植台灣的文化實力，並且孵育新一代的創新方案。這也是激發我們進駐「2018Creators 創作 / 研究」徵件計畫最主要的動機，我們期許這將會是台灣新文化場景中重要的實驗活動。

Two: Residency at the Taiwan Contemporary Culture Lab (C-lab) : Our Mission and its Benefits

In recent years, our co-creative artists and curators have begun researching and developing new content. We believe that time and effort must be invested towards research in the beginning stages of production to bolster the resulting created content. In order to fully realize the ambitions of cultural experimentation, research and development must begin with an introspection of our own culture, followed by cycles of discussions, delineations, and innovative processes. Only then can Taiwanese culture be truly fortified and used as fodder to inspire a new generation of creative projects. This is the motivating force behind our application for residency in the 2018 Creators initiative. We greatly hope that this will become the most preeminent experimental event to appear on the Taiwanese cultural scene.

三・研究脈絡與意義

ASC （The Art Shelter and Cinema）與 tamtamART 過去致力研究動態影像與音像創作，透過展演呈現，開發音像創新計畫與國際交流論壇，然而在過程中逐漸發現推展台灣自身論述之重要性，故研擬「回聲像」計劃已久，並希望延續以下三個研究重點，開啟動態影像與音像實驗的新篇章：（一）研究音、像感官的方法論（二）「黑盒子」的未來圖譜註：「黑盒子」，指以群聚於無光暗室的集體為單位，面對聲光，作用感知，並於當下進行集體的意識抽離，並將此時延轉譯成新概念的時空來討論，即為此處指的「黑盒子」。（三）動態影像新視野「回聲像」延續著 ASC 跨越類別範疇與集體共作的獨立精神。在台北發聲的「回聲像」，將會是一場立基於社會的藝術深耕，其主要目標之一是促進生成與深化在地藝術內容，拓延與提升藝術的可能性。特別作用於年輕族群，產生討論與延續，為積極地激發和影響他們的生活而投入，進而孕育下一個新的影像世代。我們希望「回聲像」的計劃過程將生成新的問題、觀點與事件，為策展共作與創作串連注入動能與可能。此計畫藉由匯集策展人、藝術家、學者專家、共同參與集思生產，期待以台灣為出發，為亞洲與世界的觀眾重塑我們自身的文化輪廓，以及提出一個動態影像的未來新視野。

Three: Details, Research Contexts, and Significance of the Project ASC (The Art Shelter and Cinema) has collaborated with tamtamART in the past to research moving images and audiovisual creations, and conduct R&D in audiovisual innovation for international forums via exhibitions, screening and performances. As previously mentioned, this led to discovering the importance of a Taiwanese discourse, which is why the investigations and planning behind the conceptualization of Audiovisual Return has long been in the works. It is hoped that the three core points listed below will continue to write new chapters in the history of moving image and audiovisual experimentation.

第一章 CHAPTER 1

ASC (The Art Shelter and Cinema) is a contemporary audiovisual-media platform independently created by artists and curators. For years, it has consolidated Taiwan's moving image art and audiovisual experimentation as an art form. It has also promoted its exchange overseas to better understand up-and-coming terms and to explore the possibilities of blurring the boundaries between art and technology. The ASC has also exclusively founded Osmosis - a domestic-centered audiovisual media festival. Reflecting upon competitive experiences overseas has stressed the need for Taiwanese pieces to be even more diverse and the need for more respect towards artists and their productions. These factors are essential in expanding and elevating the possibilities of local artwork, and in keeping pace at an international level. Otherwise, the creation of an international platform will be nothing but an empty gesture.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

1) To research the reasoning behind sound and image methodologies 2) To create a "blackbox" archive for future use Note: The term "blackbox" considers a group within a darkroom as a unit. Acousto-optics and sensorial perceptions will be combined together with the duration of dissociation. This duration (durée) also can be seen as a space of new concept. 3) To explore new horizons in moving image art Audiovisual Return carries on the independent boundary-crossing and co-creative spirit of ASC. This Taipeibased project will grow from the artistic roots of society with an eye towards promoting the effective production of the local arts and the far-reaching elevation of artistic possibilities. It will serve a special role for young people specifically, as it encourages them to be ever more invested in their lives and in a new generation of image and art. We recognise the need for a new cultural platform for dialogues, especially in light of rapid scientific and technological developments and the sheer speed and scale with which data is transmitted. This platform must transcend the limits of the traditional museum in order to expand the scope of its message. It is our hope that Audiovisual Return will give rise to new questions, perspectives, and, and actions as it infuses new blood and potential into collaborative curation and creative projects. By gathering curators, artists, scholars, and professionals to work together for audiences both at home and abroad, we greatly anticipate the opportunity for Taiwan to showcase its unique culture to Asia and beyond, in addition to providing a futuristic view towards moving image art.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

第一章有關﹁回聲像﹂計畫 CHAPTER 1: About "Audiovisual Return" Project

四・活動規劃說明本計畫預計進駐台灣當代文化實驗場六個月，期間舉辦三階段公開論壇與交流會，論壇集結相關策展人、數位藝術、聲音與影像創作藝術家與相關專業技術人士為主，每次會議共計組成三至六人小組，參與回應計畫提問主題，會議過程將公開開放公眾參與。除了文字紀錄論壇綱要，會後針對討論結果，依單元題目共同策劃展映單元作為回應；同時，在進駐期間，將組成一組音像實驗創作團隊，團隊需全程參與論壇，並且委託此團隊創作一件作品，回應對話內容，落實創新想像。本計畫的內容成果，以及相關策展與創作行動，將依成階段性完成度，用以參與 2019 年 1 月於韓國亞洲動態影像平台 (AAMP, Asian Artist Moving Image Platform) 的討論，最後計畫於第三屆亞洲電影與錄像論壇 (3rd AFVAF, Asian Film and Video Art Forum) 期間展演呈現。

期程 Phase

第一階段提問 Part One

第二階段提問 Part Two

單元主題 Topic

「回聲像」—什麼是動態影像？ Audiovisual Return - What Is "Moving Image"?

「現場電影」—以音像形式作為感官研究與實驗方法 "Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation

第三階段提問 Part Three 「柏拉圖的洞穴」—動態影像的感官探索與未來？ Plato's Allegory of the Cave Sensory Explorations and the Future of Moving Image

Four: Event Guide and Planning The length of residency at C-lab for this project is estimated to be six months. Three public forums will be held throughout the project period. Forum guests will include curators, artists, VJs, and professionals. Guests will be divided into groups of curators, artists, and professionals (including interdisciplinary professionals). Each group will consist of three-to-six people and will participate in a panel to respond to the key topics of the project. The forums will be open to the public and will allow for audience participation. Following each forum, all attendees will have the opportunity to interact with the guests. In additional to written outlines recording each forum, a screening centering on the results of the forum will be planned as a response to the forum topic. An audiovisual experimentation team will be created in conjunction with the residency. The team must participate in each forum in its entirety. The project will commission the team to create a production in response to the forum discussions and to implement innovative thinking. This project plans to create a moving image archive of the forum discussions and any relevant curatorial and creative tasks. Depending on the degree of completion, there will be plans to participate in the Asian Artist Moving Image Platform Forum (AAMP) to be held in January 2019 in Korea. There will also be plans to participate in the 3rd Asian Film and Video Art Forum (AFVAF) to be held next year presenting exhibition, screening or performance in Korea.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

What is Moving Image?

第二章論壇一：什麼是動態影像？ CHAPTER 2 Forum One: What is Moving Image?

Chapter 2

第二章

論壇摘要在 10 月 28 日舉行的第一次論壇，我們提出「什麼是動態影像？」的大題，邀請了新生代的策展人周郁齡、藝術家吳其育以及許哲瑜，討論現下視覺藝術與電影場域的交界，談論影像不斷擴張的媒體性，並且描繪台灣動態影像現況。對照歐美影像發展脈絡，歸納出在雜混趨勢下，定義媒介分野的重要。首先，我們必須先理解我們跨越了什麼，才能重新面對當前影像的真實與虛構。然而最終，可能不是跨域的問題，而是如何去忘記自己領域的問題，也許這是當下回歸到影像本質最重要的提示。

CHAPTER 2

第二章論壇ㄧ：什麼是動態影像？ Forum One: What is Moving Image?

什麼是動態影像？

Forum Summary On October 28th, we held our first forum, which revolved around the question "What is Moving Image?" Among the invited guests were new-age curator CHOU Yu-Ling, and artists Wu Chi-Yu and HSU Che-Yu, who all participated in discussing the boundary between film and visual arts today. They also holistically considered the ever-expanding potential of images as a medium and briefly talked about the current status of moving images in Taiwan. Of utmost importance was delving into a muddle of trends to draw their own clear delineations between various mediums according to the developmental context of EuroAmerican moving image art. Firstly, we must understand what we have actually crossed; only then can we readdress the facts and fictions of modern images. Finally, the ultimate question may not even concern crossing disciplines, but rather how to forget the questions and issues of our own fields. This may be the most important sign for us to return to the essence of images.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

個案探討 Case Studies

第二章論壇一：什麼是動態影像？

周郁齡 CHOU Yu-Ling

CHAPTER 2 Forum One: What is Moving Image?

首先以英國 BIMI (Birkbeck Institute for the Moving Image) 推出的影展為例，思考機構如何讓動態影像的展演與論述緊密連結。在「戰爭紀錄電影歷史與藝術學校」影展中，很單純的播了兩部紀錄片，呈現 1935 與 1936 年，墨索里尼對於伊索比亞入侵的兩種觀點，一個是入侵者的觀點，另一個是被入侵者的觀點，由兩個放映師以換膠卷的方式交叉播映這兩部紀錄片。換片也是一種現場的蒙太奇，將兩部對立觀點的影像在現場交叉剪輯成型。譬如，A 鏡頭呈現義大利方進行化學攻擊的影像，B 鏡頭接續是伊索比亞被攻擊的影像，所以某種程度上也是現場電影的呈現概念。

在那個年代所謂的紀錄片或是新聞影像，通常會在劇情片播放前以過片片段的形式出現，層級上是附屬於一般電影的播放。當紀錄影片被當作是一個國家政治意識的宣傳管道，過片片段的影像內容，自然被製作成單向且窄化的觀點宣示。影展的手法是針對這個附屬的片段，建立觀點衝突來創生事件，紀錄性影像所承載的訊息意識被衝突提升了，記錄性影像不再只是單純地再現現實，而是有更多的動能，進而成為可被思考的對象。我在台灣美術雙年展的策展過程，遇到一個關於影像的問題。這次主題叫「野根莖」，其中的焦點是關於田野調查，所以展品內容有包含許多紀錄片性質或是紀錄語言的作品。例如：張恩滿以長期蹲點方式攝的拉瓦克部落，以訪談方式呈現部落的拆遷事件，形式類似早期台灣的新聞攝影，呈現人類學式的影像紀錄。在以田野調查作為方法的思考下，能否客觀重回到事件現場是重要的，所以影像會被當作是具有「透明性」的介質。針對「透明性」或是說思考上比較直接的紀錄方式，一些創作者的想法會覺得影像語言沒有被轉換，就好比素材沒有被創作者處理一般，變成只是單純的素材展示。甚至有人會說這似乎反應著，台灣觀眾對於影像的閱讀

T. J. Demos 在 2013 年的著作《The Migrant Image: The Art and Politics of Documentary during Global Crisis》以動態影像來討論藝術家在全球危機的處境下，如何去處理複雜的政治議題。其中很多關於如何用藝術去解決影像與政治的問題狀態。作者對動態影像的定義說明，在電影媒介跟數位媒介彼此越來越匯集下，創造了一種影像的新感性，藝術家此時開始質疑傳統的紀錄方法，把傳統的紀錄推向危機的邊緣，並用這個邊緣位置的施力點來呈現其中的地理與政治鬥爭。紀錄影像大量地被藝術家運用，然而，現在的媒體流動非常快速，相較於過去「透明性」的影像紀錄，當前的紀錄影像姿態在相較之下是「災難性」的。譬如，卡塞爾文件展專注於組織紀錄形式或文件形式的作品，在其長年大量投注下，讓紀錄片快速變成藝術家們會去選擇使用的素材語言。引用 Michael Renov 的說法來回應這個媒介轉換的問題，新一代的紀錄片研究者如果能夠有一個共同的問題意識，那一定會是關於真實的再現。也就是我們對自身的世界產生越多形塑的力量，控制的意圖便會在過程中被討論，進而成為所有抉擇的主要因素。特別是具有歷史基礎的影像製作，成為越來越多權力中心想要著手建制的部分。所以再現或紀錄的手法，其思考有很多種複雜的交疊關係，包括權力、技術與政治等，讓藝術家必須要對紀錄的形式與方法，重新再參與或再發明。

First, let's take a film festival at the Birkbeck Institute for the Moving Image (BIMI) as an example to consider how an institution can create a strong connection between a performance of exhibit and a discourse of moving. At a small-scale film festival, "Records of War: Film, History and the Art School," a simple projection of two documentaries were shown, with each featuring a different point of view on Mussolini's invasion of Abyssinia (the Ethiopian Empire) in 1935-1936. One was from the view of the invader; the

other, the invaded. The BIMI then tasked two projectionists with screening both films by changing out film rolls— a task which, in all its on-site overlapping and editing of the two opposing narratives, became a live montage. For instance, scene A would show images of the Italian military carrying out chemical attacks. Scene would follow with images of the Abyssinians under attack. To an extent, this was a form of presenting live cinema. This film festival was first held in 1937 at the London Film Society, which was two years following the actual event. The director of the programme decided to embark on this experimental screening endeavor in order to confront the audience's perceptions of documentary narratives. At that time, movie-watching was considered a high-end and fashionable recreational activity, where people wore their Sunday's best and went to the theaters for a happy time over the weekend. The exhibit, in efforts to challenge this behavior, chose to screen these opposing documentary narratives in juxtaposition with each other. Back then, documentaries and newsreels were viewed as an auxiliary part of a typical film screening, oftentimes shown before a featured film. This was a means to disseminate any national or political ideologies inherent in the documentary. Secondly, since the typical audience viewed movie-watching purely as entertainment, the content and images of these documentaries were constructed to convey a message in a simple and oneway manner. Thus, what was meant to be an auxiliary film segment had been elevated as a result of this particular screening. The juxtaposition of the documentaries placed emphasis on their opposing narratives, which allowed the audience to ponder that what they had just viewed was no longer simply images from a documentary. During the process of curating the Taiwan Biennial, I encountered an image-related issue. The main theme of the exhibition, Wild Rhizome , places great emphasis on field work — something that will inherently include many works with documentary characteristics or documentary discourses. For example, CHANG En-Man engaged in long-term first-hand fieldwork to film dialogues among the Ljavek tribe and highlight the evictions they are faced with. CHANG En-Man's work functions similarly to early Taiwanese news shoots, which made use of the image documentations of anthropology. I believe whether fieldwork as a documenting methodology can actually allow for an individual to return to the site of the incident is an important issue, and that this is why images are often treated as a transparent medium.

In regards to transparency or a more direct means of documentation, I've heard various thoughts among artists. They believe that if the discourse of the images hasn't been converted, then it's as if the work itself hasn't been properly processed; it becomes something that merely documents. Some even feel that this reflects a resulting lack of growth in the ability to read images among Taiwanese audiences. This is why the issue of transparency for images as a medium is in fact a sign that there have been no additional discussions about images as a medium itself. My aim is not to discuss the pros and cons of the anthropology of images, but rather, if documentary images are simply a medium, are artists obligated to have a conscious awareness of its function? Or can they truly be treated as a transparent tool and nothing more? In T. J. Demos's 2013 book entitled The Migrant Image: The Art and Politics of Documentary during Global Crisis , he centers on moving images to discuss how artists in the midst of globalization crises handle complex political matters and how they utilize art to approach the issues between images and politics. His definition of moving images posits that, as film and digital mediums converge, this has created a new perception towards images, where artists begin to question traditional documentary practices and push them to the boundaries of these crises to capture the geopolitical struggles around the world.

第二章 CHAPTER 2

影展首次舉行是 1937 年，是在入侵事件過後的兩年，當時在倫敦電影學會上映，節目總監決定要做這場實驗性的放映，是想要挑戰觀眾對於紀錄片的觀點。早期電影是一種高級、時尚的休閒活動，禮拜天就是觀眾們穿著正式，開心地去看電影的日子。影展想要挑戰一般觀影行為，所以選擇把這兩部對立的紀錄片觀點交叉呈現。

能力並沒有提升。因此對透明性的美學質疑，揭示了影像媒介的思考框架。我並不是想要談論影像人類學的優劣，但如果紀錄影像只是一個媒介，藝術家對它的操作，到底有沒有必要存有知覺意識？還是說它可以只是一個透明的工具而已？

Documentary images have been widely used en masse by artists. However, with the sheer speed of today's media circulation, in comparison with transparent documenting, documentary images have been placed in a precarious predicament. For instance, documenta, with its focus on textual documentation, has quickly transformed the documentary as the top narrative choice at both the comprehensive societal level and at the current, heavily institutionally-invested level. The words of Michael Renov can serve as a response to this change in mediums. If a new generation of documentary research were to find common ground, it would be about the reconstruction of reality. In other words, as we become increasingly enabled to shape and affect our own world, the concept of control becomes the end goal. This is particularly true with the construction of historical-based images, in which more and more societal centers of power wish to have their own hand in. Whether it be reconstruction or documentary practices, both inherently comprise of complex, overlapping issues, such as power, technology, and society, which all compel artists to re-engage with and reinvent documentary methods.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

第二章論壇一：什麼是動態影像？

吳其育 WU Chi-Yu

CHAPTER 2 Forum One: What is Moving Image?

《閱讀清單》是紀錄我去馬來西亞做的一個訪談歷程，等於說是在一趟旅程中進行且完成的作品。這個計畫除了滲透的支持之外，也跟台灣數位荒原的群島資料庫合作。它是發生在馬來半島東北邊的吉蘭丹州，吉蘭丹州首府哥打峇魯。我的目的是去訪問當地兩個書攤的負責人：黑白書坊的薩伊迪穆沙，以及 Kitartb 書坊的埃茲米爾。

今天主要跟大家分享近期創作，也是跟 ASC（The Art Shelter and Cinema）很有緣份的作品《閱讀清單》[1]，我還是習慣稱 ASC 為滲透媒體影音藝術節，以下簡稱滲透。

高爾彼得斯投影地圖

弄蛇人我們到海邊的時候，剛好有一群人聚在那裡，你可以看到有一個正在耍蛇的賣藥郎中，隨行的翻譯也無法理解當地人在幹嘛，因為弄蛇人一直沒有說明藥跟蛇之間的關係。整個過程都得由馬來話陳述，然後再翻譯，當然也摻雜了我朋友無法聽懂的吉蘭丹方言。當不同的語言經過一層層的轉譯，漸漸地發覺到弄蛇人可能只是用蛇來吸引大家的注意力，而翻譯口中由言語所編成的影像（描述弄蛇人賣藥的場景），其視覺跟聽覺就像文不對題一樣，彷彿被完全切分開來了。這裡的市場文化正在侵蝕著我們虔誠的心靈，這幾個臨時搭建的帳篷下面，假日市集的另一頭，正遠遠傳來演講的廣播聲，情緒激動的演講聲音大到幾乎是破音地從喇叭中播放而出。群眾身旁的牆壁上畫滿了巴勒斯坦戰爭、轟炸、平民受傷和逃亡場景化為壁畫。耳朵聽著演講聲，然後所見牆上畫的熊熊烈火跟滿面瘡痍的風景，在這面牆上畫滿了中東戰士的巷子裡，我已經有點搞不清楚自己到底去哪裡了。

我第一次認識高爾彼得斯投影地圖也是在這趟旅程裡，這張地圖掛在我落腳的民宿裡面，它的投影法跟平常我們看到的麥卡托投影不一樣。因為原本的麥卡托投影法雖然會讓每個國家的外觀形狀正確的呈現，事實上卻擠壓了赤道周邊國家的面積的尺寸。那些赤道國家雖然都很大，人口非常多，但是在他們面對地圖時，他們的認知上會因為自己國家的顯示面積被擠壓，而感覺自己沒有這麼的重要。他們說在高爾彼得斯投影版下，國家的相對面積比例會較為正確，這個選擇反應了某種意圖或危機意識——就影像而言，樹立政治意識的正確是比凸顯現實的原貌還要重要的事情，比國家真實的形狀還重要。戰爭壁畫另一案例是一組城市街景，當地聲浪主張支持巴勒斯坦的戰爭，所以那些市場攤販賣的貼紙，會出現抵制麥當勞、反美、反資本的標誌與宣傳。當時聽到他們在公開場合的演講，嚷嚷著全球市場文化正在如何侵蝕著大眾

[1]

2017 年 ASC 與萊斯特藝術中心（Phoenix Leicester）合作推出吳其育新作展「Reading List」

Today, I'd mainly like to share with everyone our latest work in which we've had the honor of collaborating with The Art Shelter and Cinema (The ASC): Reading List [1]. I'm still used to referring to The ASC as The Osmosis Audiovisual Media Festival, which I'll shorten to "Osmosis" in the following discussion.

to be more proportionally accurate in relation to each other. This selection thus reflects a particular intention or an awareness of a crisis, which is that, in regards to images, the importance of establishing an accurate political ideology outweighs that of displaying real original forms and the true size of each country.

Reading List is a record of my interviewing process during my travels in Malaysia. In other words, it was a work that was carried out and completed during a travel trip. It thus includes a lot of interviews conducted throughout that time. In addition to Osmosis's support, I also collaborated with Taiwan's No Man's Land and with Nusantara Archive. This project took place in the northeastern area of the Malaysian peninsula, in Kota Bharu, the state capital of Kelantan. My goal was to interview the owners of two bookstalls: Zaidi Musa of Kedai Hitam Putih and Ezzmer Daruh of Kitartb.

Murals of War

Though the two men were of two different generations, they were in the same line of business. They would collect books in other lands and bring back to Kota Bharu in hopes of providing locals with impossible-to-find books and information unreachable from the local culture. I realized that I had come to a faraway land— separate from the Malaysian capital, from any major cities, and away from any hubbub of tourist attractions — essentially, it was a place that couldn't be easily found. In fact, at this kind of place, everything had to be interpreted to conduct interviews. The difference in language and culture— that gap— made me sense the large cognitive disparities in our planes of reality. Later, I went on to write a short article about the entirety of this project, including the many notes I made relating to cultural misunderstandings at the time. It was as if, despite seeing so many things, all I really had were my own interpretations, daresay, and even my own misunderstandings about their local life. When I brought back my images of this distant land to introduce, the facts in my cognition and reality itself could not be aligned in the slightest. Here are some examples. The Gall-Peters Projection Map This map was hung up at our B&B. It was also the first time I had seen a Gall-Peters projection map, which differed from the commonly-seen Mercator projection map. The underlying principle of the Gall-Peters projection is the displaying of political ideology overrides the honest portrayal of shapes. Though the Mercator projection accurately depicts the shapes and angles of each country, in reality it has distorted the size of countries along the equator. These countries are actually large and extremely populous; however, when their people look at this map, their perceptions towards their own country are affected by the distortions and compression, such that they feel their country is of less importance. They said that the GallPeters projection allows the surface area of each country

[1]

Another instance relates to a series of street scenes. The locals vocally voiced their support for Palestine in the conflicts, as seen by the many vendors who sold stickers with logos of boycotting McDonald's, of anti-Americanism, and of anti-capitalism sentiment. At the time, I also heard their public speeches arguing that the local marketplace culture was corroding the people's devout hearts. As a result, they must call for everyone to be more devout and the like. There was also an entire series of murals depicting the direness of the Palestinian conflicts, with a drawing style that seemingly created the illusion of transporting the viewers to the chaos of the battle site. Structures, drawn in direct proportion, were blasted apart. There were scenes of explosions and entire buildings engulfed by flames. Suddenly, I felt this sensation: I thought that I had come to some lesser-visited place in Malaysia, but in reality, all the mural scenes were of Palestine.

第二章 CHAPTER 2

雖然屬於不同世代，但他們都在處理一件同樣的事情，將書籍從他方帶回哥打峇魯，希望介紹給當地人那些找不到的書，引入當地文化找不到的訊息。做這個計畫的時候，我發現自己到了一個意象很遠的地方，因為它不在馬來西亞的首都，也不在其他的大城市裡面，不是主要觀光景點的小鎮，基本上一般人外人不太容易去到那個地方。所以所有的一切都需要透過翻譯才能進行溝通。在語言與文化差異之下，那個距離感標記著我跟他們所處的現實其實是斷裂的。後來我把這整個計畫寫成一個短文，包含當時許多因為語言或文化的錯置而記下的誤解筆記。這一切就好像我看了很多東西，但事實上最後的輸出只是一種框架內的自我詮釋。當遠方的影像被我帶回來介紹的時候，認知的事實與現實根本不可能一致，例如：

虔誠的心靈，而我們需要呼籲大家更加的虔誠 ...... 等等言說。另外，有一整個系列在描繪巴勒斯坦戰爭嚴重性的壁畫，使用了虛擬實境（VR）的描繪方式，讓觀者感覺有如在戰爭現場的錯亂感，直接畫出等比例被炸碎的殘垣、戰場的坦克、建築在火海中熊熊炙燃。我以為來到了一個比較少人來的馬來西亞的某一個地方，實際上，整個描繪的場景卻是在巴勒斯坦。

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

The Snake Handler When we arrived at the beach, there happened to be a crowd gathering around. You can see there's a quack doctor right there handling snakes. Even our interpreter couldn't understand what they were doing, because the snake handler never explained what the medicine had to do with snakes. The entire incident was in Malay and then was interpreted. However, it mixed with words from the Kelantan dialect that the interpreter could not understand. As the different languages were filtered through layer after layer of interpreting, I eventually sensed that the snake handler could've simply been using the snakes to grabs everyone's attention. What was described through interpreting (the scene of snake-handling and medicineselling) felt as if my sense of sight and hearing had been completely separated from each other. The marketplace culture here was indeed corroding our devout hearts. The weekend markets were running beneath the slap-dash tents. At the far end, the sounds of a speech came to us; its sheer volume and emotion exploded from the speakers. The wall running by the audience was full of scenes of the Palestinian conflicts— explosions, injured civilians, people fleeing from danger. With my ears listening to the speech, and my eyes on scenes of blazing fires and utter desolation, shifting to a wall full of Middle Eastern fighters, I was at a loss as to where I actually was anymore.

In 2017, The ASC and Phoenix Leicester co-collaborated to promote Wu Chi-Yu's latest exhibition, Reading List.

第二章論壇一：什麼是動態影像？

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

許哲瑜 Hsu Che-Yu

CHAPTER 2 Forum One: What is Moving Image?

這幾年我所有的作品都是跟另一位合作夥伴陳琬尹一起共同創作。《重新破裂》這件作品受到台灣在地實驗的委託，也是次展人游崴在台北市立美術館「破身影」展覽的邀請製作。委託內容來自在地實驗創建的 90 年代影音資料庫，紀錄台灣 90 年代地下文化與事件的影音資料，透過創作，我們試圖找到一個回應該檔案資料庫的方法。

實際上，真正執行的時候，氣球在第一天升上去時，就爆掉了。另外一個故事線是全民計程車械鬥事件，1995 年，全民計程車司機聯誼會跟台北市的車行因為長期搶客的恩怨，在重新橋下發生了大型的械鬥事件。於是，是我跟琬尹邀請了當年曾經參與械鬥事件的五個當事人，一起回到事發現場去重演一場戲。這個事件其實在當年還滿紅的，因為那很誇張啊！有砸汽油彈的，也有肚子被劃開的。全民計程車司機聯誼會當時被認為是親綠的，陳水扁被認為暴力事件的幕後主事者之一，並且在當年的台北市長競選的辯論會上，被候選人趙少康當成弱點來打擊。《重新破裂》的另外一場戲是把噪音吉他手（李那韶）用鋼絲吊在約八層樓高的空中去演奏，這個場景是來自吳中煒的手稿，是他在想像升起各種物件裡面的其中一個點子，但是，當然也像其他物件一樣沒有實現。所以《重新破裂》算是非常局部地、微微地重現了檔案裡的一個小片段，透過吉他手的視角去敘述以上兩個事件，就是拍攝在重新橋上與橋下發生的故事們。

展覽的另一張照片，是桃園小人國主題樂園的廢棄翻模，也是吳先生被一件委託製作的另一個作品。圖片裡是製作模型時所剩材，保存在他自己家中的天台上，就這樣堆成一個山塚，在日曬雨淋下龜裂掉漆。吳中煒本人自己表示這是紀念他爸爸的一種方式，因為他覺得放在那邊很天然。會特別去思考到他的父親，是因為似乎看到一些端倪。台北空中破裂節其實是非常無政府主義的計畫，當時的時空背景正好是台灣言論自由的開端，所謂黨外人士開始有政治上的話語權，也剛好是台灣無政府思想高漲的時候，例如計畫中就有講到要摔蔣公銅像。所以一方面可以由此去描繪他跟爸爸的關係，另一方面可以從家庭的狀態反映出大時代的狀態。

Over the last few years, all my works were created in collaboration with CHEN Wan-Yin. Re-Rupture was commissioned by the ET@T and was also one of the pieces invited by YU Wei to participate in the exhibition Broken Spectre at Taipei Fine Arts Museum. The commissioned content came from a 1990s audio archive established by the ET@T, which includes audio materials about the underground culture and events of 1990s Taiwan. I thus discovered how to respond to the archive.

At the time, I came across a batch of materials that documented a manuscript created by WU Chung-wei, a young and vibrant artist of the 90s. This manuscript became the main inspiration for Re-Rupture . In 1995, he made plans for an art festival called the "Taipei Breaking Sky Festival". In reality, the remaining documents about this art festival greatly fell short of WU Chung-wei's manuscript, and his plan ended in failure. This manuscript details that he originally planned to have a 16-meter tall human-shaped balloon raised directly above the Chongxin Bridge in Taipei. The art festival was to be a month long, to which WU Chung-wei drafted a schedule and attempted to list everything he could think of. He also planned to use the upwards pull of the human-shaped balloon to raise everything up in the air and drop it back down to smash on the ground. The schedule was filled with a variety of activities and ideas: there would eggs, blow-up sex dolls, hot pots, operating laundry machines, bronze statues of CHIANG Kai-Shek, and much more. For the last day of the festival, WU Chung-wei would have everything smashed on the ground and mounded into a trash mountain that would later be taken and put into a car crusher to compact into spherical sculpture. This was his original concept. What actually happened was that, as his plans were being carried out, and as the balloon was being raised on the first day, it exploded. Another story is about the Chuan Ming Taxi Fleet Riot. In 1995, resentment due to long-term competition by the Chuan Ming Taxi Driver Association with other taxi companies in Taipei boiled over into a large riot that occurred under the Chongxin Bridge. Looking at this picture here, Wan-Yin and I had invited five people who participated in the riots to return to the site for a reenactment. This incident was a big deal when it occurred because it was really extreme! There were molotov cocktails and even blood spilled. At that time, the Chuan Ming Taxi Driver Association was seen as pro-DPP, so CHEN Shui-Bian was viewed as one of the behind-thescenes instigators of the incident. During the Taipei mayoral election debates, candidate CHAO Shao-kang used this to attack him.

This picture shows part of the work: there are two photos, one manuscript, and a small statue. I need to point out specifically that we came across this statue while we were compiling materials. We found that WU Chung-wei's father is WU Erh-Chu, a key propaganda artist in post-war Taiwan. This small statue of CHIANG Ching-kuo was made from the molds created by WU Erh-Chu and there were 10 or so in total. These statues were then given as gifts by high-level KMT officials. We were able to find only one statue that happened to be for sale on Ruten (a PChome & eBay JV), which we purchased for $5000NTD. WU ErhChu was a very elite artist for the KMT, who created many portraits and sculptures of various political figures; in fact, the portrait of CHIANG Kai-Shek that was unveiled at the grand opening ceremony of CHIANG Kai-Shek Memorial Hall was painted by WU Erh-Chu and is likely the biggest portrait of CHIANG Kai-Shek in existence.

第二章 CHAPTER 2

當時發現有一筆資料，紀錄著活躍於 90 年代的年輕創作者—吳中煒的一張手稿，也開啟了《重新破裂》主要靈感來源。1995 年吳中煒策劃了一個叫做台北空中破裂節的藝術節，實際上有關藝術節遺留下來的文獻與他的計畫手稿有非常大的落差，因為整場藝術節是失敗收場的。藝術節是為期一個月的活動，因此他寫了一個計畫表，試圖把想到的所有東西都列進表單裡，而這張手稿說明他原本計畫在台北重新橋正上方升起一個 16 公尺高的人型氣球，並且規劃靠這人型氣球的浮力，把列表單上所有東西全部都升到半空中，然後墜落，通通砸落。表單裡的東西非常豐富，有雞蛋、充氣娃娃、煮沸的火鍋、運轉中的洗衣機、蔣公銅像……等等。他計畫在藝術節最後一天，這些東西全部都會被砸爛到地上，堆成一座垃圾山，並且打算把這座垃圾山收集後送去擠壓廢棄汽機車的機具廠，把它們壓成一個球體的雕塑，這就是他原先的計劃內容。

We mainly wanted to film these two events that took place above and below the Chongxin Bridge. Another part of ReRupture was to have electric guitarist LI Na-Shao perform eight-stories high in the air, dangling from steel wires. This scenario comes from WU Chung-Wei's manuscript and was one of the things that he wanted to raise midair. But, just as his other ideas, this didn't take off. So in a sense, Re-Rupture managed to recreate a part of a small section of this file and used the guitarist's point of view to recount the two incidents.

展覽現場有兩張照片、一個手稿，還有一個小雕像。我需要特別說明這個小雕像，在收集資料的時候，我們發現吳中煒的父親是台灣戰後政治宣傳畫重要創作者吳二曲先生。中正紀念堂啟用典禮時，那一張蔣介石的畫像就是吳二曲畫的，而那張畫像應該是全世界最大張的蔣介石畫像。可見吳二曲是一位地位很高的國民黨御用畫師，創作了許多政治人物的肖像和雕塑。照片中的蔣經國像是由吳先生製作雕像再翻模產出的，共計有十幾組，主要是國民黨內部高級官員相互送禮用，我們找到的唯一一組是從露天拍賣用台幣五千元購得。

This is another photo that was used in the exhibition; it's of a replica in the Window On China Theme Park in Taoyuan. This was also one of WU Erh-Chu's commissioned works. The photo shows the materials leftover from making the replica, which was stored in his own home. WU ChungWei took these materials left by his father and tossed them onto the rooftop of his home. You can see that the surrounding area has already started to rot. But since the figurines are probably made out of fiberglass-reinforced plastic, they won't completely break down. They've been weather-beaten to the point that the paint has flaked off. Some of them have cracked as well. WU Chung-Wei himself said that this was a way of commemorating his father because he felt that leaving those materials up there was very nature-like. I feel that what's really interesting is that, at the time, he specifically had his father in mind, because his plans for the "Taipei Breaking Sky Festival" were actually very anarchic. That time in history was when freedom of speech had just begun in Taiwan. Non-KMT party members were given the freedom of expressing political thoughts, and anarchic thinking really took off, as seen in records of WU Chung-Wei's plans to smash bronze statues of CHIANG Kai-Shek. So, on one hand, one can see his relationship with his father. On the other hand, one can see how a family situation could reflect the state of affairs of that period in history. 17

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

交叉提問 Panel Discussion

第二章論壇一：什麼是動態影像？

王文琪（以下簡稱「王」）—你們對於電影與視覺藝術間的界線消弭有什麼看法？以及你們是如何看待台灣現在動態影像的發展？

CHAPTER 2 Forum One: What is Moving Image?

周郁齡（以下簡稱「周」）—我最近有個看法，以金穗獎的實驗片獎項為例，主要是實驗電影導演會去投件，他們的創作語言清楚地來自傳統的實驗電影脈絡，但近期幾屆的評審把界定實驗電影的範圍打開了。例如今年得獎的學生作品類－最佳實驗片獎，林羿綺的《運行針：曼谷》。這個轉變造成了維護實驗電影傳統脈絡的創作者，他們一些心中的疑惑：那麼傳統該怎麼辦？相關討論該怎麼辦？和視覺藝術的脈絡確實不一樣，可是它是如何地不同？我認為，重點是要先劃出界線，必須先定義界線是什麼？談論清楚了，才能進一步知道我們正在跨越的是什麼？

周—請問兩位藝術家在跟實驗電影的導演交流時，有沒有驚覺你們的語言是不同的？吳其育（以下簡稱「吳」） —我認識台灣的實驗電影導演其實只有吳梓安跟林仕杰，而我自己來自於視覺藝術的創作背景，原先並沒有接觸到電影。感覺在台灣無論是機構或是活動，在定位上確實比較有彈性。當然會有一個原有的出發點，但近幾年來也有很多跨越領域的嘗試。例如，我在新加坡遇到一批紀錄片與實驗短片的創作者，他們提到「擴延電影」（Expanded Cinema）的類別，跨領域的影像創作者也可以去投這樣的計畫。就我所知柏林影展也有擴延電影單元，但是不確定亞洲有沒有以擴延電影為主題的影展。許哲瑜（以下簡稱「許」） —我自己參加過兩次影展，一次是鹿特丹影展，另一次是香港的 ifva（獨立短片及影像媒體節）[2]。在鹿特丹影展結束後前往法國，巧遇了競賽短片金虎獎得主之一的秘魯藝術家 Daniel Jacoby，我們一起聊了關於領域分野的問題，有趣的是鹿特丹影展短片類本身是不分類的。很多創作者本來就是做視覺藝術的，可能也有一些是實驗電影脈絡的創作者，什麼人都有。

[1]

始於 1995 年，ifva 前名為「香港獨立短片及錄像比賽」

周—例如作品《高速落海》，想請教其育一開始做作品的時候會做影像類別上的設定嗎？到底是在製作實驗電影呢？還是視覺藝術？這樣的問題會在創作初期被提出來思考嗎？吳—我事實上在一開始概念發想的時候，有一些計畫我覺得它可以有兩種版本，關於可能性是會想想看，看情況而定。就《高速落海》這件作品來說，很多人覺得它像一個演講，又有一點像一個影片，到底是一個電影還是演講？我覺得它還是屬於一個虛構的情節，然後怎麼找到這些東西之間的關聯性才是重點。無論是透過鏡頭，或者是透過媒體觀看，不管是傳統媒體或是數位媒體，觀看的時候是沒有辦法直接去閱讀現實的，所以我們終究沒辦法去詮釋什麼是真實。

WANG Wen-Chi—What are your views on the elimination of the boundary between films and the visual arts? Lastly, how do you view Taiwan's current developments in moving images? CHOU—Recently, I've had this thought. Let's consider the Golden Harvest Awards and its Experimental Film category. For the most part, the directors of these experimental films will send in their films, and it's clear that their creative discourse comes from the fabric of traditional experimental filmmaking. But recently, a few of the judges have expanded the scope of what constitutes an experimental film. Take, for instance, this year's Best Experimental Film in the Student Division: LIN Yi-Chi's Running Stitch:Bangkok — this shift gave rise to doubts in the hearts of creators who wished to preserve the traditional structures of experimental film. What would

happen to these traditions? What about discussions related to this field? It would seem that this indeed was different from the visual arts framework, but how? I believe that the main issue is to first draw that line— there must be a clear definition for that boundary. Only after has this been established can we know what it is we've actually stepped over. Also, I'm very curious about the differences and similarities between experimental filmmaking and creating visual art. When an experimental filmmaker begins their work, they pack a lot into each strand of detail because this becomes how they manage the linear logic of the film. It's a causeand-effect logic where, when A happens, then B occurs. But when it comes to creating a visual art installation, if these structures and contexts become too clear, then it makes the piece look unaesthetic. This is the sort of difference in creative discourse that these two processes have.

CHOU—May I ask the two artists, when spending time with directors of experimental films, did you ever suddenly realize that you all were talking in different languages? WU—Actually, the only experimental film directors I know are WU Tzu-An and LIN Shih-Chieh. I myself have a background in visual art; at first, I hadn't come in contact with films before. I feel that in Taiwan, whether it's an institution or in many events, their categories indeed are rather flexible. There's an original starting point, but there's often a lot of cross-discipline dabbling. For example, when I was in Singapore, I met a group of documentary and experimental short film creators. They brought up the subject of expanded cinema and that creators could send in submissions for these types of projects. I know that the Berlin International Film Festival has a programme for expanded cinema, but I'm not sure if there are any film festivals in Asia on the subject of expanded cinema. HSU—I've participated in film festivals twice. One was the International Film Festival Rotterdam (IFFR), and the other was Hong Kong's IFVA (The Incubator for Film and Visual Media in Asia) [2]. After the IFFR, I went to a video art exhibition in France and happened to meet one of the recipients of the Ammodo Tiger Short Awards,

[1]

Daniel JACOBY. We talked about this issue, and we felt it was interesting that the IFFR didn't separate its short film selection into different categories. Many of the creators were visual artists, some of them may have been experimental filmmakers— all sorts of people entered the competition. At this moment in time, if there is any discussion worth having about moving image, I believe that the issue isn't necessarily about the crossing-over between video art in visual arts and cinema. In my humble opinion, taking about moving images is when we don't discuss films and when we don't discuss the arts; it's when we solely discuss images itself. In other words, we temporarily set aside any thoughts about the structure of film, we don't consider who the audience of these films are. We also don't consider film history or art history, neither do we consider art museums; we only talk about images. So when we stop thinking too much for a bit, then we are more able to shoot whatever. I feel that it's less an issue of crossing disciplines, and more so forgetting about our own area of discipline. When we don't need to ponder over the connection between experimental films and film itself or its connection with the arts, I feel that when it comes time to shoot, we will be more liberated.

第二章 CHAPTER 2

關於實驗電影工作者和視覺藝術家創作方式的異同，我自己也感到好奇。實驗電影工作者處理裝置藝術的時候，因為電影創作背景的線性邏輯有一個傾向是會把作品的閱讀線索設計得很滿，就是 A 因為 B 造成 C 的因果邏輯。但是在處理裝置藝術的時候，一大轉變是必須跳脫影像而進入實體空間，這些由電影概念延伸的脈絡設計，在實體展間的空間部署下就顯得過於清楚了，反而會讓作品變得難以捉摸，兩者之間就是會有這種思考與編寫語言的差異。

從過去一直到今天的此時此刻，如果動態影像這個詞還有值得去討論的原因，我認為倒不是視覺藝術的錄像與電影的跨域問題。我的淺見是，談論動態影像是我們不談電影、不談藝術，只談影像。也就是說，我們暫時不去想電影的結構，不去想觀眾是誰，也不去想電影史或藝術史的史觀差異，更不去處理場域問題，例如美術館或電影院的討論，此時此刻我們就只談「影像」。所以暫時不去設想太多時，可以更傾向於去亂拍。我覺得不是跨域的問題，反而比較是忘記自己領域的那個回返。當我不用去思考實驗電影跟電影或跟藝術之間的關聯時，在創作的時候會比較自由。

CHOU—Chi-Yu, when you first started on this work, or when you started filming, did you feel that this was an experimental film or a visual artwork? Take Nosedive , for instance. WU—I would consider that in practice, this is slightly related to when a person is coming up with an idea; there are some projects where I feel there could be two versions, depending on the situation. With Nosedive , a lot of people think of this as a speech that's also kind of like a film, so is it really a film or a speech? I think it counts as an imagined plot where the main point is to find connections between these things. Whether it's through a lens or through mediaviewing, regardless of whether it's traditional media or digital media, at that moment of viewing, it's impossible to decipher reality; therefore, it's impossible for us to interpret what actually is real.

In 2017, The ASC and Phoenix Leicester co-collaborated to promote Wu Chi-Yu's latest exhibition, Reading List.

「現場電影」—以音像形式作為感官研究與實驗方法（如何實驗？） "Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation (How to Experiment?)

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

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第三章論壇二：﹁現場電影﹂

CHAPTER 3 Forum Two:"Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation

Chapter 3 第三章論壇二：「現場電影」— 以音像形式作為感官研究與實驗方法（如何實驗？） Forum Two: "Live Cinema" Audiovisuals as a Technique for Sensory Research and Experimentation (How to Experiment?)

論壇摘要 12 月 1 日的論壇，藝術家吳梓安分享來自擴延電影脈絡的現場電影表演經驗、鄭先喻以自身數位創作為底蘊，探討即時性的影像生成、邱智群（VJ 邱群）解說如何利用即興影像創作製造現場的感官互動，以及 Jamie Wyld 講說英國與東亞動態影像展演現況及未來。影像的未來將會超越螢幕，變得無所不在，現場電影亦隨附著科技的進步，成為了跨領域與跨媒體的綜合形式，強調以即時性的敘事，來建構觀眾感官與現場的配置，作為一種反映「時代－當下」的所有精神事件，也強調如何製造表演的「現場性」，以及如進入電影院一般的感官性，在此衍生以「精準的光學展演」做為此次論壇以及現場電影方法論的總結。

Forum Summary At the forum hosted on December 1st, artist WU Tzu-an shared experiences of his own live expanded cinema performances; CHENG Hsien-Yu spoke from his own background of digital creations to discuss immediate image generation; CHIU, Chih-Chun (VJ CHIU Chun) explained how to use improvisation video creations to produce an interaction for the senses; and Jamie Wyld expanded on the present and future of exhibits for moving images in the U.K. and East Asia. The future of videos will transcend screens to become omnipresent. As live cinema progresses with technological advancements, it has become a comprehensive medium that spans disciplines and media. Live cinema emphasizes on constructing the audience's senses and the live experience through an immediate narrative as a reflection of all the spirit of Era-Present. Live cinema also focuses on how to create the liveliness in a performance and the sensory experience present when entering a movie theatre. With this, we decided to use "Precision Optics" to sum up this forum and live cinema methodology.

﹁現場電影﹂

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以音像形式作為感官研究與實驗方法

"Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

以音像形式作為感官研究與實驗方法

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

個案探討 Case Studies

吳梓安 WU Tzu-An

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第三章論壇二：﹁現場電影﹂以音像形式作為感官研究與實驗方法

我的角色跟其他三位講者有點不同，我是做舊媒體，念電影的，所以會從電影切入，談現場電影對我來講到底是什麼？

接下來是 60 至 70 年代開始的擴延電影，甚至也可以說在 20 年代就有了，例如 Oskar Fischinhger 在 1926 年的作品《Raumlichtkunst》，當年放映時，用了三個膠卷輪播的方式，已相當異於當時一般的電影概念，這件作品在 2012 年推出了修復版，改以裝置的形式來展示。Gene Youngblood 在 1970 年代提出了有關擴延電影的概念，當時膠卷面對 Video 這個媒材，充滿了科技觀跟未來感的想像，如同我們現在面對 VR、AR 一樣，當時擴延電影也被認為就是電影的未來。當下的現場電影其實包含很多不同的面向，是個相對模糊的詞彙，接下來是幾種範例：蓋馬汀加拿大導演蓋馬汀的《吉姆利醫院傳說》模仿早期電影，用擴延電影語言加上數位剪接，做出鬼魅式的氣氛。 2011 年，紐約表演藝術雙年展（Performa Biennial）和林肯中心共同製作，重新呈現這部作品，加入管弦樂隊以及擬音現場演出，將畫面重新剪成三個螢幕播放，成為介於電影與演唱會之間的跨界形式。演出中，擬音師都穿上護士服，在一個魚缸裡面做出各種奇怪的音效，讓觀眾看電影也同時看擬音師在表演，揭露了影像幻覺背後的形貌。另一例，2016 年，他在巴黎與蒙特婁做的直播電影《Seances》。他從報章雜誌搜集了一些遺失電影的資料，在美術館搭攝影棚重新拍攝。過程中，邀請觀眾在現場觀賞，同時進行直播，把現場拍攝視為一種表演，讓電影回到戲劇的模式，但我避免用「退回」這個詞，因為它應該是平行的，有各自的發展。

彼得格林納威在 2010 年的《最後的晚餐》以多媒體裝置呈現，用影像去占領空間，屬於比較浸入式的，不是劇場，也不是電影。每個環節都是敘事的一部分，觀眾可以隨意走動，用自己的方式體驗背後的意涵，利用空間中的影像去說故事，甚至可以同時說很多個故事。寺山修司 70 年代，寺山修司在劇情片跟劇場之外，也拍了許多實驗短片，其中風格夢幻的情色短片《蝶服記》，當年放映時，用實物遮住投影機部分光源，作為現場表演形式，展現了寺山修司向來喜歡討戰觀眾的意圖。同樣是 1974 年的作品《Laura》，影片中有三個瘋女人一直朝向觀眾叫罵，播映到一半時，演員森崎偏陸突然衝入放映現場對觀眾叫囂，隨後又從現實空間被抓到螢幕中，被影像中的瘋女人調戲，最後再全身赤裸地被推出來，回到觀眾前的現實空間。去年紐約重製了這場表演，一樣的森崎偏陸，不一樣的是影像裡年輕的他，整整跨越了 40 多年的時光。我第一次做現場電影是 2015 年，用幾部短片集結成約 90 分鐘的節目，找了音樂家做配樂，包括現在還在合作的劉芳一。我們在紐約各種場地表演，生成不同的概念。與合作的實驗音樂家們，通常會產生很多的即興創作，跟與他們持續溝通，也是一種重新探索作品的方式。去年在蕭瓏文化園區，我們把膠卷剪成各種輪播段落，再把這些段落即興使用，透過玩具或濾鏡製造現場效果。這是我第一將膠卷剪成片段，利用投影機去玩影像，發現材料重新使用的可能性。現場表演很重要的一環是如何製造出電影院那樣的感官性，並賦予它非常強烈的在場性，對我來是說是「即興」讓每次表演都有不一樣的可能發生。

My role is slightly different from the three other speakers'. I'm in traditional media and I studied film so I will be discussing what live cinema means to me from a film perspective.

films to return to a theater format. I refrain from using the term "revert" because they should develop in parallel.

Let's start with the concept of a film concert. During the silent film era, the way movies were screened was very similar to theater performances where there were projectionists, reels, live music, and Foley artists. Live cinema in the past is similar to radio dramas or dubbing in the silent film era. It imbued the film with liveness. But in this era, this kind of screening would be a type of performance.

Peter GREENAWAY's 2010 film, Leonardo's Last Supper , is presented as a multimedia installation. The exhibition space is taken up by videos and is more immersive than theater or film. Every link is part of the narrative and audiences can walk around freely to experience the subtext in his/her own way, telling a story or even multiple stories from the videos.

Later on came the expanded cinema that started from the 60s to 70s or even as early as the 20s. For example, Oskar FISCHINHGER's 1926 work, Raumlichtkunst , used three reels in rotation to screen the film at the time, which was pretty conceptually different from its contemporary movies. A restored version was re-released in 2012 and presented as an installation. When Gene YOUNGBLOOD proposed the concept of expanded cinema in the 1970s, film reels had these technological and futuristic imaginations about this new medium, videos, in a way that is similar to how we look at VR and AR right now, expanded cinema was considered the future of films. Live cinema in the present era encapsulates many facets and is a slightly vague term. Here are some examples: Guy MADDIN Canadian director Guy MADDIN's Tales from the Gimli Hospital mimics early films and uses the language of expanded cinema with digital editing to create an eerie tone. Performa Biennial and the Lincoln Center commissioned a rescreening of this film in 2011. A string ensemble and a Foley artist performed live as the movie is recut to be played on three screens. The performance comes out as a crossover between a movie and a concert. During the performance, the Foley artist dons a nurse costume and creates strange Foley in a fish bowl. As the audience views the film and the Foley artist's performance simultaneously, the illusion underlying the film is seemingly unveiled. Another example is his live-stream cinema, Seances , which was shot in Paris and Montreal. MADDIN collected information on lost films from print media and recreated the films on sets built in art museums. He invited the audience to view on-site and online during the process as he considered the shooting a performance. This allowed

Peter GREENAWAY

Shuji TERAYAMA In the 70s, Shuji Terayama, in addition to dramas and theater, shot many experimental short films, one of which is the hypnotic and erotic short, Butterfly Dress Pledge . An object was used to block part of the projection during the original screenings, demonstrating TERAYAMA's tendency for challenging the audience. Laura , also created in 1974, depicted three manic women verbally attacking the audience. Midway through, actor Henriku Morisaki suddenly appears to antagonize the audience before being taken from the reality into the screen. He is then harassed by the women, stripped naked, and then pushed out of the screen and into the reality the audience occupies. Over 40 years since his younger self performed the same act, Henriku MORISAKI once again performed the act in a recreation in New York last year.

第三章 CHAPTER 3

CHAPTER 3 Forum Two:"Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation

先從電影音樂會概念開始，默片時代電影的放映其實很接近劇場，現場有放映師、膠卷，放映後還是需要現場的配樂、擬音。所以以前的現場電影就類似默片時代的配音或廣播劇的形式，讓電影更有臨場感，這種過去用於呈現電影的方式，對這個時代來說，在很多場合就變成了一種表演。

彼得格林納威

My first experience with live cinema was in 2015 when I compiled a 90-minute program from several short films. I also asked musicians to produce soundtracks for the program, one of the musicians is LIU Fang-Yi who I continue to collaborate with. We performed at many stages in New York and generated many different concepts. Collaborations with experimental musicians often result in a lot of spontaneous creations and continued interaction is a way to rediscover a work. Last year at Soulangh Cultural Park we showed a collage made from various sources that were cut into loops, improvised, and presented with live effects from toys or filters. This is the first time I edited film reel into blocks, played with the video using a projector, and discovered the possibility of reusing materials. A crucial aspect of a live performance is in how you recreate the way movie theaters engage the senses and give it a strong presence. Improvisation, for me, is the variable that allows for different possibilities at every performance.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

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第三章論壇二：﹁現場電影﹂以音像形式作為感官研究與實驗方法

鄭先喻 CHENG Hsien-Yu

我自己早期蠻迷戀音像形式，做過一些相關創作，今天來探討這個領域有可能的變化或延伸。

《沙箱》

《Afterlife》的遊戲設定為人類攻擊蟲子，由觀眾操縱蟲子抵抗人類，包括一個電動玩具機台、捕蚊燈以及顯示遊戲裡還有幾條命的顯示器，遊戲裡的生命是藉由這台機器實際打死的蚊蟲搜集而來，可以說是一命換一命。遊戲機台內容改編自《宇宙侵略者》，內容是人類抵抗外星人的侵略，沒有結局是它的特色，玩家只能夠持續挑戰下一個難度並累積高分，直到用完所有的生命而死亡。蚊蟲這種小型生命人們往往隨便打死都不會難過，但如貓狗等大型生命體，就相對容易產生憐憫心。捕蚊燈更是一個特別的發明，是為了不打擾自己的生活，專程發明一個東西去毀滅其他生命。我希望透過這個作品，去探討人對於生命價值的階層性，也因為人類這樣的特點，導致了很多問題。《肖像習作》

《棲息地》這件作品是一個封閉的生態圈，是 2016 年與張碩尹合作雙個展時創作的。我們製作了一個封閉的溫室，放蚊子卵進去，在比較小的箱子內用管子用來餵血，讓它們不斷繁殖，長成之後牠們有些會飛到旁邊另一個較大的溫室，而裡面設置了捕蚊燈，飛過去的蚊子有可能被電死。溫室旁的電腦螢幕顯示一個荒島遊戲，當每一隻蚊子死亡，島上就會出現一個人，生命週期大約是 20 分鐘，如果不去理會他就會死亡，每一個人死亡，小溫室就會啟動血閥餵養蚊子，讓他們得以繼續繁殖。荒島遊戲中，觀眾可以用投放補給品的方式，延長人的生命，一個補給品可以增加 5 分鐘生命，只要人不死就不會再放血，降低蚊子產卵的慾望。反之，觀眾也可以選擇直接殺死人，讓血閥持續放血直到滿出來。這個作品在虛實之間，構成一個互相影響的輪迴循環，討論生命的量跟生存這件事情。

社群媒體基本上被塞在一個時間線上，我思考有沒有具有身體感的方式，可以讓沉溺在瀏覽器或電腦面前的人，更容易地去察覺在一個他看不見的地方，有其他真實存在的人正在網路世界做些什麼。因此做了一個瀏覽器的外掛，只要朋友之間裝上這個裝置，就可以在螢幕桌面上看到對方的游標，如果在使用中，游標就會移動，明確知道對方正在使用電腦。後來滑鼠發明人 Douglas Englebart 於 2013 年過世，所以我用當時剩下的素材做成 2013 年的《肖像習作》來紀念他。 Live coding 其實一直都有，近幾年可能因為國內外舉辦的 Algorave[1] 活動變得流行起來。我做現場編碼，大概都沒有明確的敘事線，必須仰賴當下的感覺創作，有時候現場編碼會存一些不同的語碼，來處理不同的線條、影像、效果，通常精神狀況好的時候，就會做出自己覺得不錯的作品，先前我也因為滲透媒體影音藝術節舉辦的活動，在 2015 明日音樂祭做過類似的表演。

Back in the days I was pretty captivated by the audiovisual format and I created some work related to it so today I'd like to delve into possible changes or extensions to this field.

Sandbox I transmitted a specific signal using a software defined radio to jam signals from the telecom company in the exhibition space so when the audience enter, their cellphones are stripped from them. I can receive the phone's hardware code and sim card number and send messages to the audience. This allows the audience to actively imagine something before they are told what the artwork is and its content through the text sent after the phones are intercepted and then they can freely interpret the artwork. Artwork material that doesn't exist has always been undiscovered things in human history, therefore people think that "nonexistence" is relevant to this issue. But radios are effectively radio waves, they have always existed. People only began to believe in its existence when people understood it and harnessed it as a tool.

SecondLife: Habitat This artwork is a closed ecosystem that I created for my duo solo exhibition with CHANG Ting-Tong in 2016. We created a closed chamber and placed mosquito pupae inside. In the smaller chamber we placed a tube for bloodfeeding, allowing them to continuously procreate. After they mature, some will fly to the larger chamber in which we placed a bug zapper so mosquitos that enter might be electrocuted. A survivalist game set on an island is shown on the computer screen besides the chamber. When a mosquito dies, a humanoid avatar appears on the island. The avatar's life cycle is roughly 20 minutes and if neglected, the avatar will die. The avatar's death will activate a blood valve in the small chamber, feeding the mosquitoes and allowing them to procreate. Audiences may send in supplies to extend the avatar's life. One supply can extend the avatar's life for five minutes, and as long as the avatar doesn't die, no more blood will be let into the small chamber which lowers the mosquito's desire to lay eggs. The audience may also choose to simply kill off the avatar, letting the blood valve channel flood the chamber.

Afterlife Ver. 2.0 The game in Afterlife is set up so that humanoid avatars attack bugs and the audience manipulates the bugs to fend off the avatars. The installation includes game consoles, bug zappers, and a screen showing how many lives you have left in the game. The number of lives you have in the game is the number of bugs the machine actually killed, essentially it's one life for another. Afterlife is based on the game Space Invaders where humans fend off alien attacks. Space Invaders is known for its lack of ending; players must continue playing the next level for a higher score until all their lives are depleted and they die. People are usually unaffected with killing small life forms such as bugs, but sympathetic when it comes to larger beings such as cats or dogs. Bug zappers are an especially unique invention that was specifically invented to obliterate another life in a way that least affects one's own. I wanted to use this installation to approach the issue of a caste-based perception to the value of life because this human perception has resulted in many issues.

第三章 CHAPTER 3

CHAPTER 3 Forum Two:"Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation

我在現場用一台軟體無線電機發送特定的訊號，干擾電信公司的訊號，觀眾的手機進到這個空間就會被搶奪過來，我可以得到手機的硬體碼跟 SIM 卡 ID，然後塞一些訊息給觀眾。讓觀眾主動去想像某一件事情，透過手機被攔截後傳送的文字，告訴他們某一個空間的作品樣貌與內容，由觀眾自行解讀作品的樣子。那些不存在的作品的內容，都是人類史上尚未發現的東西，所以大家會覺得「它不存在」這件事情似乎有什麼關聯，就像無線電其實就是電波，一直以來就存在，可是直到人類理解它，把它變成工具之後，才開始真的相信它的存在。

《Afterlife Ver.2.0 －生命的來來去去》

Portrait 2013: Douglas Engelbart Social media is effectively fitted on a singular timeline. I was thinking of a way for someone entirely engrossed with their browser or computer to detect what other people, in a place that he/she cannot see, are doing in the online world. I wanted to do it in a sensory way so I created an extension for a browser. Install the extension with a friend and you're able to see their mouse moving on your screen. When you see the mouse move, you know for certain that the other person is using their computer. I used the remaining materials to create Portrait 2013: Douglas Engelbart in memory of Douglas ENGLEBART, inventor of the mouse, when he later passed away in 2013. Live coding has always existed but has risen in popularity in recent years due to Algorave[1] events held around the globe. When I code live, I don't really have a clear narrative but rather rely on how I'm feeling in that certain moment. Sometimes when I code live, I save different codes to process different lines, images, and effects. When I'm in a good state, I usually create something that I think is pretty good too. I've also previously performed a similar act during T Fest because of OSMOSIS Audiovisual Media Festival events that I've attended in the past.

The artwork exists between reality and the virtual, constructing a co-active reincarnation cycle and sparking a discussion on the quantity of life and survival itself.

[1]

利用演算法製造現場音樂的銳舞派對，常大量現場編碼技術，資料來源：Cheshire, Tom." Hacking meets clubbing with the 'algorave'."WIRED UK, 29 Aug. 2006. Web. Accessed 20 Dec. 2018

[1]

Using algorithms to creates a rave party with live music and large scale live coding technologies. Source: Cheshire, Tom." Hacking meets clubbing with the 'algorave'."WIRED UK, 29 Aug. 2006. Web. Accessed 20 Dec. 2018

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

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第三章論壇二：﹁現場電影﹂以音像形式作為感官研究與實驗方法

邱智群 CHIU Chih-Chun

刑具爺算是家將裡面的領導角色，我把他假想為台灣白色恐怖時期一個警總的角色，來批判台灣過去極權教育的歷史。我的工作就是把概念更視覺化，告訴大家自己是被什麼樣的環境包圍，因而塑造出一個戴著面具流竄在台灣這個鬼島上的形象。最後是鬼鎮（Ghost Town），我用 3D 素材結合 TouchDesigner 在製作上做出變化，詮釋大家都是身在台灣這個主體上的鬼魂，不斷被威權欺壓，逐漸變得無所適從。

三牲獻藝幾乎都沒有練團，現場表演全都是即時性的，我也很著重感官刺激，就像動作片很直接感受到視覺上的暴力。前面《三牲祀》提到的資訊，具有強烈破壞性象徵意義，我想要闡述的就是這種資訊破壞，並且如何去表現音樂，使它在混亂中呈現更加細緻一面。

因為 Audiovisual 是 Audio 在前，要用視覺表現 Audio 這件事情，如何說故事就不能像電影的敘事結構，追求的是當下視覺衝擊性，更具破壞力與渲染力。我的作品當中也有一些來自早期 VHS 文化假想的科技，到現在還是覺得相當特別，科技不發達時對未來的想像反而更加奇幻。

三牲獻藝處理表演的方式很多變，配合影像與否以及表演人數每次都不一定，和現場電影相關的是最近的《神嬉舞夜》，是今年三牲獻藝在「大溪大禧」的一場開幕式活動。選擇以劇場的方式去演繹，由陸、海、空三種動物去做廟會的詮釋，像是擺在供桌上的三牲。

三牲獻藝最近一張專輯《家將》封面，是我製作的 3D 模型，講述遊蕩在台灣的鬼魂，上面的雲就是家將，是台灣無形的警總，人們一直被拘束，遊蕩在這座城市，不知道自己要幹嘛，不知道那些所謂在地台灣的意識是什麼？我本身一直很想透過創作提問「台灣人到底是什麼？」這件事情。

我在製作影像內容時特地做了一些安排，例如蓮花池，利用兩個分開的螢幕，如同電影式的劇場，讓觀眾可以感受到被這場秀包圍。早期現場的影像依附於一些派對文化或樂團演唱會，常運用別人的作品去拼貼，後來我慢慢有了 VJ 的工作，轉變成獨立藝術家的思考方式。

Sam-Seng-Hiàn-G is an art group consisting of KO JhihHao, Kai-Yu HUANG, and JHENG Ge-Jyun that is known for their performance art that infuses traditional Taiwan temple music elements with electronic music. They perform roughly once a year and I take advantage of this collaboration to express my creative vision and present the audiovisual language from Sam-Seng-Hiàn-G . The content proves that every year we are taking in information and transforming, for example, we criticized the current state at On Site in 2013 and we digitalized religion and culture at the 2014 Sam-Seng-Tshak to express this information panic and chaos that is filled with religion or temple culture. Sam-Seng-Hiàn-G rarely practices and most live performances are improvisations. I'm also very focused on sensory stimulations like the visual violence that you get from seeing an action film. All the information I presented about Sam-Seng-Tshak are symbolic of highly destructive forces, so what I'm trying to lay out is this kind of destruction of information and how you present it with music to allow for a more refined facet to rise above from the chaos. Sam-Seng-Hiàn-G performances are varied in methods depending on whether images are used or how many people there are. Shenxiwuye was Sam-Seng-Hiàn-G 's performance for an opening event at Daxidaxi and one of the performance most comparable to live cinema. They chose to perform using a theater model and interpreted the religious festival using three animals from land, sea, and sky to represent the Sam-Seng (three animals) offered to the Gods on altars. I made some special arrangements when producing the image content. I set up a lotus pool and created a movie-like theater using the two screens to encase the audiences in this show. Images for earlier live events were mostly reliant on party culture or band concerts so it was often pieced together with other people's artworks.

When I started becoming a professional VJ, I was able to transform my mindset into that of an independent artist. General XING plays a leader in Ka-Tsiòng. I imagine him as a garrison command during the White Terror in Taiwan and use him to critique the totalitarian education of Taiwan's past. My job is to visualize the conceptual and inform everyone what environment they have been surrounded with in order to sculpt an image of one wearing a mask and roaming throughout Taiwan. Lastly is Ghost Town, I used 3D materials and TouchDesigner to switch it up during production and to present the idea that everyone is a ghost on the entity that is Taiwan as we are continually oppressed and beaten into perplexity.

第三章 CHAPTER 3

CHAPTER 3 Forum Two:"Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation

三牲獻藝是柯志豪、黃凱宇、鄭各均組成的團體，擅長把台灣傳統廟會音樂元素加入電子音樂的表演藝術。大約一年只演出一次，每年我都會藉這樣的合作來表述我的創作理念，呈現三牲獻藝的視覺語言，內容完全體現我們每年吸收到訊息與轉變。例如 2013 年在「混種現場音樂祭」是直接批判時局，2014 年《三牲祀》則把宗教文化更加的科技化，表達充滿宗教或廟宇文化的資訊恐慌與混亂。

Audio is first and foremost in audiovisual, visually expressing audio will result in something different from a movie's narrative structure. What is pursued is the visual impact, in other words, it should be more destructive and infectious. There are some early VHS (imaginary culture) technology included in the works as well which I still consider to be incredibly special because we had a more fantastical vision for the future when technology was less advanced. I produced a 3D model for the cover of Sam-Seng-Hiàn-G 's latest album, Ka-Tsiòng . It depicts a ghost wandering in Taiwan and the cloud above is the Ka-Tsiòng which symbolizes the shapeless garrison command in Taiwan. People are constantly restrained as they wander this city uncertain of what they should do or what it means to be local Taiwanese. I, personally, have always wanted to raise the question of "What a Taiwanese person is?" through my creations.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

第三章論壇二：﹁現場電影﹂

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

交叉提問 Panel Discussion

— 以音像形式作為感官研究與實驗方法

Jamie WYLD

我是 videoclub 的主辦人，我們是英國一個關注動態影像的單位， 2006 年在布萊頓創立，聚焦很多不同面向，包括駐村、影像與製作等。目前我們在英國有兩檔展覽，一個是藝術家方迪，另一個是叫做啾小組的團體，他們作品聚焦在珠江三角洲的經濟變化與移民的關係。

另一個案例則是布萊頓的團體 Blast Theory 做的是一種情境式的影像或電影體驗，讓觀者能夠沉浸在這個演出裡頭。參與的觀眾手機裡面會收到一個劇本，按照劇本去演出，就會受邀到《A Machine to See With》計劃裡演出，被引導去搶銀行。另外一個《A Machine to See With》計畫，則請部分參與者在城市裡面遊蕩，其他的參與者透過電腦去抓他們，透過電腦來進行互動。現在現場電影表演甚至可以用光做操作、電玩遊戲等，都可以是現場電影的形式。比如說有一個團體叫做 Boredomresearch，他們用動態影像引擎紀錄蚊子的飛行軌跡，並以光線來呈現飛行動態，做成一個視覺展演《AfterGlow》。很多現場電影在探討「現場性」這件事情，到底什麼是現場性？什麼構成是現場性？我們一定要有觀眾才有辦法做現場性嗎？電腦的演出跟展演是不是也可以創造現場性？現在有各種探索正在進行當中，包括 AR、VR 的應用，沉浸式的演出體驗等，我相信將來體驗式或沉浸式的設計，一定會超越螢幕的存在，影像將會是無所不在的。

In 2008, the Hamburg art group, A Wall is a Screen, did a special screening, BRIGHT ON , on the streets where audiences trailed the visuals which ultimately led to the art exhibit. I guess you can also call this a form of live cinema. FENG Mengbo is also one of the Chinese artists that we previously invited to perform his work Bruce LEE VJ Project live at Brighton's Fabrica Gallery which was once a cathedral. The cathedral has a lot of oddly shaped windows which allowed for an interesting contrast to Feng's live performance. The Brighton group, Blast Theory, creates a simulated images or movie experience, allowing the audience to immerse themselves into the performance. Participants will receive a screenplay on their phones and if they act it out, they will be invited to perform in a project called A Machine to See With which guides them to rob a bank. The other A Machine to See With project invites some of the participants to wander around the city while other participants will try and catch them using their computers so it's an interaction through computers. A lot of live cinema performances nowadays even manipulate light, video games, etc. and they are all forms of live cinema. Take Boredomresearch for example, they track mosquitos' flight paths with moving image engines and then map out the flight patterns with light beams to create the visual performance AfterGlow . A lot of live cinema are now discussing the issue of liveness. What is liveness? What makes it liveness? Do we need to have an audience to make it live? Can we create liveness with computer performances and exhibits? There are a lot of ongoing experiments including the use of AR, VR, immersive performance experience, etc. I believe that, in the future, an immersive or simulated design will surpass the existence of screens and videos will be omnipresent.

王文琪（以下簡稱「王」）—如何看待不同形式的現場電影表演？彼此有交集跟跨越的可能嗎？鄭先喻（以下簡稱「鄭」）—影像、表演和音樂本來就是相輔相成。比方說電子樂器和取樣機，就是因為電子設備開啟了創作者去創造不同的玩法，激發而成的精采結果，影像也是這樣。當然到表演就是另外一件事，現場表演面對的是觀眾跟現場的配置，表演者本身一定會把他的感官跟想表達的東西往外投射。現場電影其實是非常即時性的敘事，它可以透過不同的媒材和工具變得更精彩，很直接帶給觀眾，我自己是很期待。吳梓安（以下簡稱「吳」） —我認為科技有很多種創作的可能性，當科技把不同的東西整合在一起，會產生另外的效果，比方說 VR 目前處於發展初步的階段，但也許有一天它變成跟電影類似，成為一個比較建置化的東西。但相對來說，在沒有建置化的混亂狀態，反而比較會有創新的可能。有時候錯誤的東西，反而是比較美或有趣的。不管是高科技或低科技的東西，也許可以找到一個中介點，畢竟大家活在這個時代有太多可能性，應該多試著把不同的東西合在一起，再創造出跟當前所見不同的東西。邱智群（以下簡稱「邱」） —現在科技自身已帶有輕易與便利性，讓創作變得沒有那麼難，任何人都可以去做創作，用自己的感受與意識形態表現。加上網路的普及，想要發什麼文都可以，輕易就可以讓大家看到個人的故事，一起思考自己到底是什麼？台灣人是什麼？或是自己在這個地方應該去做些什麼事？可以盡量去做，不管是錄像或科技性的東西，軟體或策展，最重要的是去闡述自己想要講的。

王—在《Live Cinema Unraveled》書籍裡，擷取 VJ 現場混製（Mixing）概念，提出現場電影最重要的精神是「準確的光學展演」，這個光學展演可能包含了光影、聲音跟影像的的完美調度，大家對於這個概念有什麼想法？ Jamie Wyld （以下簡稱「J.W.」） — 土耳其藝術家 Kutlu Ataman 的《Mesopotamian Dramaturgies》在一個大型工業倉庫裡，運用了九個螢幕的互動式裝置，觀眾可以把手放在螢幕上來啟動影像播放，畫面中一個女子會走過來，把手跟你的手疊在一起，這可以算是一個精準光學展演的例子。

邱—如果以我做現場的經驗來說，就是不要被觀眾打斷最好，可是總是會有觀眾介入，破壞作品完整性，可是相對來說，這種無預期也是有趣的。王—表演前會針對於影像素材做類似像電影剪接概念的編排嗎？邱—我覺得共同記憶這件事情很重要，比方說 90 年代電影頻道常播《唐伯虎點秋香》，如果在廟會場合架起布幕放映這部電影，大家就會很有共鳴，在戶外空間中，觀眾便可以介入其中。我的表演內容一直想要強調共同記憶，這就是現場電影能讓觀眾介入的最大用意，讓有趣的事情在現場發生產生，在共同場域裡面共同歡樂。吳—電影是封閉性，表演因為現場狀況和人的關係，沒有辦法做出嚴謹的結構或敘事編排，對我來說這就是擴延電影（Expended Cinema），表演本身似乎沒有那麼重要，重要的是如何去互動。

第三章 CHAPTER 3

CHAPTER 3 Forum Two:"Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation

2008 年漢堡的藝術團體 A Wall is a Screen 在街上做的一場特別放映「BRIGHT ON」，觀眾在路上跟著這些影像一路去追尋藝術作品的展演，你也可以說這是一種現場電影的展示。馮夢波也是我們邀請過的一位中國藝術家，曾在布萊頓一座曾經是教堂的空間 Fabrica Gallery 現場表演作品《Bruce Lee VJ Project》，教堂空間內有很多特殊形狀的窗戶，讓他的現場演出跟這個景象呈現了很有趣的對比。

I am the director of videoclub, a platform with an emphasis on moving images in the U.K. We were established in 2006 in Brighton and focus on many different aspects including residency, images, production of moving images, etc. We currently have two exhibitions going on in the U.K., one is with the artist Di FANG and the other is with a group called Jiu Society. Their works spotlight the relationship between economic shifts and immigration in the Pearl River Delta.

鄭—簡單講，其實現在隔閡一定是越來越少，當然要廣義的去探討影像這件事情，很多東西可以交叉去比較。如果狹義的去講，影像它就只能發生在一個框框裡。

J.W.—大家認為所謂的現場性（Liveness）是什麼？鄭—空間與時間現在已經可以藉由很多不同的媒介去打破，其實 Live 的定義一定會藉由社會的發展而轉變。比方說，現在對著電腦看叫 Live，可是以前一定要去現場才是 Live，所以現在社群媒體平台的 Live，也帶給我們另外一種想法。簡言之，突破了時間、空間限制，讓觀眾同樣能享受或理解，不管是表演還是創作都是成立的。吳—電影跟攝影一樣，它是一個關於過去、回憶的媒材，即便直播也是透過時間跟空間的中介，某種意義上人跟人之間一定都是有時差的。對我來說，「現場」就是當下的創作跟環境結合在一起，只發生在那個時候的東西；另外一個現場，是觀眾的感官，感官如何去接收環境裡面製造出的東西？我比較反動派一點，我覺得劇場就是現場。邱—我都在現場演出，基本上會把自己擺在觀眾角度。如何帶來更刺激的感受是我創作的初衷，大家的情緒越能跟影像或音樂產生共鳴，我就覺得自己盡責了。至於

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

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第三章論壇二：﹁現場電影﹂以音像形式作為感官研究與實驗方法

觀眾可以得到什麼訊息，我覺得沒有那麼重要，因為我深信作者已死論，無論創作者想表達什麼，音樂或影像可以直接觸動觀眾的心才是最重要的。 J.W.—觀眾看到作品後的情緒反應，跟現場性之間有什麼關聯？這個情緒的重要性又是怎麼樣？

鄭—就像梓安講的，你一定會跟群體共同去參與，如果當你能夠理解投入，期待的情緒就會高漲。每個人一定會知道自己適合什麼樣的環境，如果是適合到現場投入情緒產生、共鳴的活動，當然就要去現場。反過來說，對表演者而言，是不是真的有去感受到群眾的情緒？這一定是有。但我的壞習慣是不太理會，依舊照著自己的意思做，導致作品侵略性越來越強，因為我想要直接把我想要講的事情，直接灌他一拳讓大家知道。

WANG Wen-Chi—What do think of different formats of live cinema performances? Are there any possibilities of them crossing-over and intersecting? CHENG—Images, performances, and music have always been complimentary to each other. Electronic music instruments and samplers are examples where electronic devices have opened up new ways for creators to create and produce brilliant results. The same goes for images as well. Of course performances are different because live performance is directed towards an audience and any live set up. Performers will project his/her own senses and anything he/she wants to express. Live cinema is a very immediate narrative. It can be made different through different medium and tools to be presented directly to the audience. It's definitely something I'm excited about. WU—I think technology fosters a lot of possibilities in creating things. When technology brings a lot of things together, it creates this different effect. VR, for example, is still in its initial development phase, but maybe one day it will become a movie-type thing where it is more established. On the other hand, the chaotic state

CHIU—Technology is innately easy and convenient. It makes innovation easier and allows everyone to create using how they feel and their ideology. With the prevalence of the internet, you are able to post whatever you want, easily sharing with everyone your own personal story and pondering upon who you are. What a Taiwanese person is. What should you do in this place? And you can just go do it, whether it's video recording, techy stuff, software or curating. The important thing is to express what you want to say.

people can resonate with this and be included in outdoor spaces. My performances have always emphasized a shared memory which is the primary purpose of allowing audiences to participate in live cinema, interesting things happen on the set and we can share in the joy at a public space. WU— Movies are enclosed but for performances, because of on-set circumstances and people, it's difficult to produce a rigorous structure or narrative. But this is what "expanded cinema" is to me, performance in itself isn't as important, but rather how you interact. CHENG—Simply put, the gap is closing. If you want to discuss moving images in the general sense, you can compare them with a lot of things. If you're being very specific, then moving images can only exist within a box.

J.W.—What does you guys think the so-called liveness is? WANG—The book Live Cinema Unraveled took the idea of a VJ mixing live to propose that the most important aspect of live cinema is precision optics. The optics performance may include the prefect mixture of shadow and light, sounds, and images. What do you guys think? J.W.— Mesopotamian Dramaturgies is the work of Turkish artist Kutlu ATAMAN where he sets up interactive devices on nine screens in a large industrial warehouse. The audience can put their hands on the screen to start the video. A woman starts walking towards you in the screen, and puts her hand against yours. I think this is an example of precision optics. CHIU—From my own experience with live performances, it is best to be uninterrupted by the audience. However, there are always some that intrudes and disrupts the work. Perhaps on the other hand, the unexpected is what makes it intriguing.

WANG—Do you rehearse or arrange the visual materials before performances as they do when editing movies? CHIU—I think a shared memory is important. In the 90s, TV channels aired the Flirting Scholar a lot so if we set up a screen to project this movie during religious festivals,

CHENG— Time and space can now be broken by a lot of mediums. The definition of "live" has changed as society has developed, for example, watching something on a computer can be "live," but in the past you had to be on-site for the event to be "live." So "live" on social media platforms introduces a new mentality. Simply put, it overcomes the limitations of time and space, allowing audiences to enjoy or understand whether it's a performance or creation. WU—Film and photography are the same. They are both mediums of the past and of memories. A live stream also employs space and time as medium so there is a certain time difference between people. For me, "live" is creation and the environment coming together in the moment and happening only then and there; the other kind of live is the audience's senses and how they receive the things created in this space. I'm more reactionary and I feel like theater is live.

is attempting to express, what matters is that the music or the images can have a direct effect on the audience.

J.W.—What is the relationship between liveness and the audience's emotional response after viewing a work? What is the importance of these emotions? WU— The act of coming to see my performance indicates that he/she belongs to a certain cultural group and all cultures are cumulative processes so can we really say "present"? Or does it extend beyond the present? I'm skeptical about this. All languages are mutually exclusive, you have to understand and enter into the language of this field to be emotionally affected. The emotions arising within me when I'm watching a performance or creation is a kind of tension that exists between people. CHENG—Just as Tzu-An mentioned, you participate in this with a group. If you can understand and invest yourself into it, excitement will surge. Everyone knows which environment suits them best, if they're more suited for live events where emotions can run high and they can resonate then they should go to live events. But on the other hand, as a performer, is it really necessary to feel what the audience is feeling? Absolutely yes. But, out of bad habits, I don't ever really do that and I just do what I want, making my work more and more invasive because I want to say what I want to say. Punching them in the face will let them know.

第三章 CHAPTER 3

CHAPTER 3 Forum Two:"Live Cinema" - Audiovisuals as a Technique for Sensory Research and Experimentation

吳—觀眾看我的表演，表示他可能屬於某一個文化群體，而所有的文化都是累積出來的，因此我們可以說它是當下嗎？或者不只是當下？這點我比較懷疑。所有語言都是有排他性的，必須了解並進入這個場域的語言，才會有情感上的觸動。我自己在看表演或創作的感受，是屬於這種介於人跟人之間張力的感情。

before becoming established allows for more room for innovation. Sometimes mistakes are more beautiful or more interesting. High-tech or low-tech things may be able to find a middle ground because there are too many possibilities living in this generation. We should try to integrate and combine different things to create something unprecedented in this world.

CHIU—I always perform live and basically position myself in the audience's perspective. I create to excite and simulate the senses. I feel like I've done my job when people's emotions can resonate with the images or the music. What message the audience receives is of less importance to me because I'm a firm believer in the theory that the author is dead. It doesn't matter what the creator

「柏拉圖的洞穴」—動態影像的感官探索與未來 Plato's Allegory of the Cave - Sensory Explorations and the Future of Moving Image

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

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第四章論壇三：﹁柏拉圖的洞穴﹂動態影像的感官探索與未來

論壇摘要回聲像於 12 月 22 日舉辦第三次論壇，藝術家許家維闡述數位與類比的新定義，破除人與非人的二元對立，並且指出事件之間的超連結動力。藝術家余政達則以角色扮演建構驚喜的交換關係，思考即時的媒體與現場的表演性。黃建宏老師則拋出了總結的問句，人到底要以什麼樣的「狀態」進入數位時代？讓我們回到柏拉圖的洞穴，靈魂們因為肉身與枷鎖而不得動彈，觀看牆上的火影、收聽穴內的聲音以為就是世界。直到有一天來到洞口，卻仍然被無法直視的日光，灼眼焚燒。在洞內與洞口相異的兩個端點，直觀地處理感知皆被認為是非真理之物，必須通過柏拉圖所開出的教科（數學、幾何與天文學），指引我們從運算去望向真理，由此言說，也為動態影像的未來留下伏筆。

Forum Summary In the third session of this project, we invited artists HSU Chia-Wei and YU Cheng-Ta, and Professor HUANG Chien-Hung to present their works and share their views on the future developments in moving pictures. Hsu touched upon the issues of setting new definitions for digital and analog images, breaking the binary opposition between human and non-human, and the dynamics of vertical connection between events. YU shared his thoughts and experiences on what he, although in a fabricated identity, received in a series of exchanges and the performativity of real-time media. In closing, HUANG proposed several topics for further discussion. In what "state" do we wish to enter the digital era?? Let's return to the most inner part of the Platonian cave where immobile souls chained to their body regard shadows of the dancing fames on the wall as the world. One day they find themselves at the entrance of the cave, only to discover that the blazing sun blinded their sight, and that at either end of the cave, what they see and are able to look straight into is anything but the Truth. Therefore, to have the awakening, we first need to realize the emptiness and selflessness of our senses, then through arithmetic in mathematics, geometry, and astronomy—three subjects Plato believed mankind must learn—will we have the chance to navigate towards the Truth.

動態影像的感官探索與未來第四章

CHAPTER 4

第四章論壇三：「柏拉圖的洞穴」— 動態影像的感官探索與未來 Forum Three: Plato's Allegory of the Cave - Sensory Explorations and the Future of Moving Image

﹁柏拉圖的洞穴﹂

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CHAPTER 4 Forum Three: Plato's Allegory of the Cave - Sensory Explorations and the Future of Moving Image

Chapter 4

Plato's Allegory of the Cave Sensory Explorations and the Future of Moving Image

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

個案探討 Case Studies

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第四章論壇三：﹁柏拉圖的洞穴﹂動態影像的感官探索與未來

許家維 HSU Chia Wei 我去年做的一個作品是關於台灣總督府工業研究所。在二戰期間，日本有一個總體戰政策，其中有一環科學動員，研究者要發展自己的研究來協助軍需產業，所以設計這個台灣總督府工業研究所。因為它是一個科學機構，讓我在處理這個議題時，產生了「從科技史的角度去看殖民歷史」的方向。在這個系列計畫裡面，我處理很多的檔案，它們不一定是從原本的某一個地點或是人的角度出發，甚至也許是從一個礦物。數位與類比影像的差別

程式語言與關鍵詞寫程式這件事情其實跟處理資料庫有關。如果面對一個資料庫，程式語言的功用就是對資料做出分類整理，並給予邏輯，比如當什麼事情發生時要做什麼反應，數位系統中的程式語言，其實就是關於組織事物的方法。例如電影就是一個敘事與資料庫互相拉扯的結果，因為電影導演拍片時不是照劇本的時序發展去計畫拍攝，而是依照實務的製作邏輯來完成拍攝。如上所述，程式語言其實就是處理如何組織事物、組織資料庫的問題。比如說在網路上搜尋一個詞，這個關鍵詞再連到下一個頁面，這頁面裡可能又找到另一個關鍵詞，將它剪下貼上再搜尋，又發現別的事物。我們今日正在用很多這樣的方式讓事件進行超連結。以何子彥的《東南亞關鍵辭典》(The Critical Dictionary of Southeast Asia) 為例，它是一個自動化的即時剪輯，用關鍵詞的思考來展開「東南亞」這件事情。現代社會對這種連結越來越習以為常，但另一方面我覺得它也是對藝術家而言一種有用的方法論，連結不同的概念鬆綁原本的詮釋框架，改變了人類學過去以文明為單位的研究方式。數位影像有很大的一部分是超越人類視野的，透過不同的測量工具連結感應器，才有辦法將數值資料轉化成我們可以理解的某種現象。這是數位影像跟人類視覺之間的關聯。

As digital images incorporate things beyond the human vision, for us to understand them, various tools and sensors are heavily relied on to translate the undetectable to images comprehensible to us.

The Difference Between Digital and Analog Image

Human and Non-human, Reality and Virtual Space

The two fundamental differences between digital and analog image are: First, how digital images are generated. The process of transforming editing, programming language, and pixels information is describable yet insensible to us, whereas the making of analog images is a completely different experience. Second, digital image is more than just the human senses. The images we look at or read today encompass not only resolution or content, but also the volume and number of likes they generate online, and even different content platforms. They have all become part of an image. Therefore, incorporated with such feature, digital images we encounter nowadays are in fact a part of the information age.

Last year, I was at the Former Japanese Sixth Navy Fuel Plant in Hsinchu filming one of my works using my aerial photography drone. The Fuel Plant was where Japanese airplane fuel was produced during World War II. Regarding controlling drones, in the initial stage, it takes one quite some time to learn how to control it to take off and land, and maneuvering it really did require some skills. As time progressed, drones have become much more common, and their prices have dropped to a point where an iPhone cost more. Moreover, no maneuvering skills were required to control a drone, the maneuvering is now taken over by smartphone apps. With GPS in a smartphone, data from at least three satellites is captured upon turning the phone on. We often think that we are the one controlling the drone, but that's not the case. In fact, it is the drone that's controlling itself, which is made possible through the integration of technique and communication among different systems built within. What we think is controlling is in reality merely giving commands.

人與非人、現實與虛擬實境去年在新竹海軍第六燃料廠拍的作品，當年這裡是用台灣總督府工業研究所的研究技術在這個地點生產飛機燃料，這個作品是用空拍機拍的。關於空拍機，以前我們要操縱機械式遙控飛機其實是很難的，要學很久才有辦法穩定的起飛、降落，很需要技巧；可是今天空拍機已經非常普遍，比一台 iPhone 還便宜，不用學什麼飛行技巧，手機拿出來 APP 連線就可以控制它。開機後只要能抓到三顆以上的衛星，電腦就可以有基準定位進行飛行運算。我們會誤以為是自己在操作空拍機，但實際上我們並沒有進行直接的操控，而是給它「指令」而已，是空拍機自己在操縱自己，機身內部有一大堆系統在自行運作，所以飛行是各種複雜技術的整合運算結果。還有一部分是，我們跟空拍機溝通其實是透過網路，登入網路時是一個用戶，在網路裡面的身份就是一串 IP 位址，而空拍機也是另一個相對的 IP 位址，所以這兩個 IP 位址可以相互溝通，造成我們控制飛行的現象。可是如果換個角度想，程式語言的邏輯裡面，電腦其實分不出來 IP 背後的訊號發射，哪一個是來自人類、哪一個是空拍機自身的感應器，因為兩個都是對等的一組 IP 而已。如果試想極端一點，比如說中國不能用 Google、FB，所以要翻牆。而翻牆就是創造一個虛擬的 IP。所以 IP 位址有時只是一套程式，各式各樣 IP 位址可能是一台機器、一個程式，有可能是人或非人。想像一部電腦，它分不出來對方是一個人還是一道光，因為在背後的溝通其實都只是顯露著不同的 IP 來傳送不同的資訊。所以資訊社會背景下，我們已經大量的跟各種人與非人交織溝通，成為一體的生態。這是一種共生狀態。也是今天討論數位影像很重要的一環，它跟人們的視野以外的東西有著許多關聯。我覺得人與機器之間的視野是已經結合在一起的，分不出來到底是是數位的還是類比、是虛擬還是真實，很多觀點都必須要被重新展開然。今天在講數位空間時，已經不像以前將散播的空間當作一個完全虛擬的東西，其實這空間現在已經跟我們的現實非常密切，甚至也跟自然的生態系有諸多關聯。現實非常密切，甚至也跟自然的生態系有諸多關聯。

Last year I initiated a project that tried to look at colonial history from a science history's perspective. In this project, many of the archives I encountered were not documents or records of a person or place, but rather certain types of mineral substance. One of the works in the project was about the Industrial Research Institute Affiliated to the

Just as we understand how a formula is derived, but we cannot feel the fundamental operations in the process. Likewise, the generation of digital images is undetectable by the human senses. Therefore, our senses need to be translated.

Programming and Keywords Programming and sorting database have many similarities. Let's say the purpose of a program is to sort out data and provide logic to this database, so it knows what to do when what happens, then programming language serves the purpose to provide the method to organize data. For instance, a movie is actually a wrestling between narrative and database. When making a movie, it is often not shot in chronological order, but rather at the convenience of production needs. As I had explained, a programming language is dealing with how to organize data and a database. Today, information is chained in series: we search a keyword online, the term leads us to a web page, and then another, and we find another keyword in this web page. We copy and paste that term and hit the search button, only to discover more new information. In his The Critical Dictionary of Southeast Asia , TzuNyen HO tries to conjure the concept of South East Asia through constant real-time editing of materials which all started from search results of various key words. As the work reflects how modern society is accustomed to such linkage of information, it also provides artists a useful methodology to connect different concepts, shake up the current interpretation framework, and finally, revolutionizes ways anthropologists conduct research— no longer is civilization regarded as a complete unit.

第四章 CHAPTER 4

CHAPTER 4 Forum Three: Plato's Allegory of the Cave - Sensory Explorations and the Future of Moving Image

數位與類比影像的差別分為兩部分，一部分在於其背後的編輯、程式語言及像素，如何透過感官元件轉化成資訊，製作出數位影像。而面對這個過程，其實我們只能以某種概念去理解，卻無法由直觀感知去解讀，這是跟類比影像很不一樣的地方。第二部分是它超越人類的視聽。當我們閱讀一個影像時，已經不是關於解析度或影像的內容，它可能是有關流量、點讚率、轉載平台── 這些內容已經變成影像的一部分。我們在看數位影像時，相較過去，其實多了許多屬於這個影像的其他內容，跟整個資訊社會環扣在一起。數位影像生成的背後過程是不可見的，無法直接感受，就好像數學公式，我們可以了解一個數學公式，可是卻無法直接感受到過程的加減乘除，這似乎指出感知在面對數位系統時需要被轉譯。

Japanese Governor Office, where I got my inspiration from, an institute established during World War II to provide Japanese researchers a place to conduct research to support Japan's military defense industry.

Another thing is, the communication between us and the drone is based on the Internet. Once logging into our account, we become a string of IP address, and the drone another address. That is where such communication begins. However, if we look at this from another angle, in a programming language's logic, it cannot tell whether the presented IP address is a human or a machine. I'll give a more extreme case: Google and Facebook are not allowed in China. If one wishes to get access, VPN is their only option where it works by providing users a virtual IP address. In this regard, an IP address can sometimes be a program, human, or a machine. Imagine a computer not being able to tell a person from a beam of light as its internal communication is based on IP addresses, and these addresses are the carrier of information. That is to say, in the information age, a large portion of our life is living and dealing with inanimate objects—robots, items, a computing program. Such symbiosis state is also found in digital image as it connects the human vision and things beyond. I do believe that this integration relationship has changed, be it human and machines, or the human vision and things beyond, digital signal or analog signal, virtual or reality. For instance, when we talk about digitalization today, we cannot treat it simply as something existing only in the virtual realm. That virtual space has very well blended with our reality, and even with the ecosystem.

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第四章論壇三：﹁柏拉圖的洞穴﹂動態影像的感官探索與未來

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

余政達 YU Cheng Ta

《TELL ME WHAT YOU WANT》關於建立關係，我的想法是是一種順著流動的相處方式。他們問我的名字，我說我叫 David。因為如果說政達，就非常難讓他們記得。在這個計劃裡面，其實一直在處理虛擬的、或者是在鏡頭外的身分。同時我正處在一個進行式的情境裡，在它的時間軸上，我無法即時去反觀，無法去實際寫出什麼劇本。所以我是透過跟他們在實境中發生的交易，去思考如何想像這樣的交換關係？觀察他們的工作生態，是比較偏向於處理替代、處理不正式的過程，後面有很多有因素構成這股不確定性，不管是性或交易，甚至我覺得對我來說最有趣的是這個工作本身的曖昧性質。其實他跟路邊碰到的客戶，沒有一個很固定的費用需要付給他，基本上他們的收入都是依賴在小費，但這個小費，這裡面一直在討論交換、交易之間的關係，到底我們可以怎麼去想像這個交換？這個計畫基本上是透過三個大的交換關係去發展。

交換三：場景。第三個交換是動態影片中唯一的室內場景，我在一個當地的卡拉 OK 拍攝了半天，幫他們生產了兩分鐘的宣傳影片，當做成一個場租的交易。社交場

女神我另一個計畫是去年在北美館（Taipei Fine Arts Museum）的展覽「社交場」（Arena）。思考一個視覺藝術家如何去討論媒體性，或是如果把媒體生產的過程當成一種表演情境，我可以做些什麼活動？於是我找了一個外國朋友，他本身不是一個模特兒，但是我把他帶來台灣的時候就把他包裝成模特兒，基本上是創造了一個性別流動的角色，名叫 TAI。在這個計劃裡，我就像他的經紀人，讓這個 TAI 在台灣進行角色扮演。除了讓他進入業界，在時裝雜誌上拍攝了十頁的版面，還創造了他的 Instagram，幫他生產影像也讓他成為影像。而他全部造型都不是我在主導，就是說你創造了一個具有媒體性的人，但是將他置於不同的產業中，讓不同的機制對這個角色進行塑造。從一個真實的人，變成一個活性的角色，並且成為影像，最後在美術館用不同的表演形式呈現。我在展覽期間安排了一個對我來說可能是表演的表演。美術館開放的時間，我找了一個 MV 的導演，讓他跟台灣當地的 Voguing dancer 合拍了一個 Dance video，所以造型也不是我去策劃的，等於說觀眾可以透過屏幕看到整個製作的過程，我把這些影片也都放上了 Youtube。透過現場發生的事件去製造某種表演性，同時這個展示過程也延展變成作品《TAI》。

交換一：拍片成為朋友之後主要的男性提議我要不要投資一間當地的商店？這個提議讓我開始想像說，如果我們在這個假想的朋友的關係裡面，互相幫忙的交換其實是可行合理的。所以我就跟他說我沒有要以金錢投資這間店，不過如果你幫我拍這部片（基本上我沒有劇本），給你這個東西（影像）當成交換的禮物可不可以行？他當然是說好。交換二：影像我在想他們這樣子的工作生態裡面，如果試想一個關於未來的影像，不知道會是什麼答案？這個交換關係中是沒有金錢的，我就提議說不然來幫你們拍照吧。如果今天要幫你們拍攝一張時尚的沙龍照片，你們會想要穿什麼？第一個人回答說他只想要穿一條內褲，其他幾個人也差不多只想穿內褲。我從來也沒有想像過答案會是穿著一條內褲（笑）。

不會！但是就硬做了一首饒舌歌，然後找老師來教我們跳 Twerking 舞（扭臀舞）。但事實上在過程中是非常的跌跌撞撞，可以說是以什麼都不會的狀態在進行，但最後在影像之中的我們卻是一個煞有其事！這也讓我了解到變裝後所開啟的能力其實是非常可觀的。

西瓜姐妹在「光合作用」這檔展覽中，我與新加坡藝術家黃漢明（Ming Wong）在柏林拍了一個 Music video，兩人化身西瓜姐妹來做現場表演。這幾年我也開始回到自己身上，思考性別的操作的可能性。為什麼會選擇西瓜？在討論過程中當然是想說熱帶情境裡面，「天邊一朵雲」電影裡面那種對於性的一種隱喻：西瓜嘛，多汁嘛、可人嘛，對不對？但是你們知道我發現一件事耶！我聽說導演蔡明亮之所以選則西瓜或雨傘，都不是因為作者自己的設定！剛好都是有贊助商提供這些物件。所以製作上的實際考量也如實的回饋到影像中，進而建構了我們所見的內涵與意象。基本上我與黃漢明兩個人對於表演的內容可以說什麼都

去年我有在台灣開始做一個「Queen Me」計畫，是大稻埕藝術節邀請我策劃的一個表演。在大稻埕那邊有一個地方叫做黑美人酒家，它是 30 年代第一個日式的酒吧，目前已沒有在營運，台北市政府也把它編列為歷史建築。會選擇這個地方做表演，當然是跟在地的娛樂產業或娛樂性的身體，有思考上的連結。所以那時候他們請我來策劃一個表演，我提議可不可以是一個派對的形式來進行？邀請的藝術家基本上是借用他們自己的表演形式，不管是 Voguing、VJ、DJ 等，都是關於表演與娛樂東西，所以算是借用這些娛樂產業的表演形式來組成一個沈浸式場景。表演還有邀請 10 個網紅，同時以他們的各自擁有的平台進行即時的直播，而透過他們各自差異的媒體可以看到不一樣的單位社群。基本上它是一個三個小時的演出，找了四位東南亞藝術家、兩位台灣的 DJ、VJ，然後跟他們討論這些概念，試圖把他們分成流動的表演群，輪流出現在三個不用的舞台。表演在 A 舞台進行 20 分鐘後，接另一個角落的 5 分鐘流動，再接回 B 舞台的 10 分鐘，這樣一直接力下去。觀眾在一個沉浸式的空間裡面去參與表演。面對各個場景，他可以選擇看或不看，也可以選擇跟著某一個表演去看、去連結單位表演的時間軸與相互關係。從這點出發，裡面每個參與者所看到的派對樣貌，基本上會是不同的敘事。

TELL ME WHAT YOU WANT M y f i l m p ro j e c t " Te l l M e W h a t Yo u Wa n t " i s a mockumentary on solo exhibition last year at Honggah Museum. The actors and interviewees in the film call themselves "the marketing boy" on camera, who in real life are marketeers in the sex industry. Whenever an East-Asian or Northeast-Asian person enters their sight, they come right up to them and greet with "Hi, friend. What are you looking for?" I was intrigued by their

peculiar way of greeting and how that relates to the nature of their work, and decided to form some kind of friendship with them to carry out this project. The relationship was a very ambiguous one. When they ask for my name, I simply replied "David," which was only a fictitious name, because Cheng-ta, my real name, is too hard to remember. What's interesting is that this particular project is centered around the virtual and the off-camera identity when everything I'm witnessing and experiencing happen in such instantaneity that it is impossible to pause and reflect on events, let alone coming up with an actual script. So everything in the film was based on exchanges between them and I, and in this process, I explore the essence of such exchanging relationship. Exchange 1: Make A Film The actor asked whether I am interested in investing his store, I replied I had no interest in doing so, but as a gift of exchange, I would like him to be in this film. Exchange 2: Images I asked the actors, what would you wear if you were getting a fashion photoshoot? The first actor said he would like to be only in an underwear. Of all the answers I anticipated or have heard of, that was never something I would expect to hear.

第四章 CHAPTER 4

CHAPTER 4 Forum Three: Plato's Allegory of the Cave - Sensory Explorations and the Future of Moving Image

我去年在鳳甲美術館的個展「TELL ME WHAT YOU WANT」，基本上像是類紀錄片作品，這些演出人員或被訪問的人，都是在紅燈區做淫銷工作，他們稱呼自己是 marketing boy。碰到我們屬於東亞或東北亞的臉孔，他們會馬上靠近你說：「Hi, friend. What are you looking for?」然後我就想說……什麼！？我不是你的朋友啊？這個奇怪的見面開頭，讓我對他們的工作的交流模式產生了好奇。所以在這個計劃裡面，我到那裡試圖去跟他們建立類朋友的關係。

Exchange 3: Scene The third exchange was the only indoor scene. I filmed in a karaoke store for half a day for free, and I shot a twominute promo video for them in return as a trade-off.

Arena In the exhibition "Arena " at Taipei Fine Arts Museum, where I served as the curator, the main idea was to explore what mediailty is to visual artists, and how can the process of producing media set the performing arts scene. Therefore, in this project, I "hired" a model, gave him a fictitious name "TAI ", and even created and managed his Instagram account to make everything seem real. Through such process, a character on the Internet is created, which can also be presented in images, and finally, media material that can be displayed at the museum. At the exhibition stand, display screens also show viewers the complete production process, and the videos were uploaded to YouTube. "TAI " is the end product of the performativity of prior events of the exhibition, and can also be regarded as an extension of the exhibition.

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第四章論壇三：﹁柏拉圖的洞穴﹂動態影像的感官探索與未來

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

黃建宏 HUANG Chien Hung

人到底要以什麼樣的「狀態」進入數位時代？從觀察資訊化的消費行為，跟我們日常所接觸的各類機器中，顯示著我們好像已經進入了數位時代。但人到底要用什麼樣的「狀態」進入到數位時代也許才是真正的問題？

電影與柏拉圖的洞穴由 Cinema 一字去拆解字首字根，我們會得到「動態」與「劇場」兩個單位，所以人類對於電影的原初想像，是一個可以產生或者可以承載動態的劇場。「回聲像」在這次的論壇設計也非常強調（Performativity）這件事情。在我們認知最一般的電影來講，由此切入去做一個想像的話，它其實是一種關於影像裡面的 Performativity。電影裡面的演員、表演、攝影機的運動等內涵（場面調度），全部都是由導演把它放到景框裡面。所以電影它真的感覺上會很像柏拉圖的洞穴，因為它是一個原初場景。針對柏拉圖洞穴的研究認為，洞穴內其實就是指涉著人類的社會。在這裡，大部分的人都被綁在某一種框架中，而框架本身就是指稱著某種技術。也就是說，在人類社會中，他一定需要一些框架、一定需要一些技術、一定需要一些什麼才能立足，所以把所有的東西安置在洞穴裡面。可是對柏拉圖來說，他覺得如果有了一個機會去到洞口，你才會看到真相、真理，也就是說外面的世界才是有希望的，或者說對人類來講才是有希望的。但人待在洞穴裡太久，認知上使洞穴裡的幻象變成真實。也就是你在社會裡面待太久，你跑到洞口突然看到真實世界的時候，那直射的陽光太亮了，你眼睛面對框架外的事物，會是難受而睜不開眼睛，因為感知沒辦法處理洞穴以外的狀況，所以柏拉圖在這時候竟然說了一件事情，不要相信感覺。因為在不知如何處理知覺的狀況下，如果你把所接收到的東西認定成真相，那跟在洞穴內觀看的火影狀況，其實是一樣是有問題的。而柏拉圖他還是給出了一組解決的方案：算數、幾何、天文學。對於柏拉圖來講，人必

德勒茲（Gilles Deleuze）與斯蒂格勒（Bernard Stiegler）的電影理論我們今天面對的問題，如果將它拉回電影的討論，我會用兩個理論家的說法去思考，一個是德勒茲，一個是斯蒂格勒。德勒茲認為電影出現最重要部分，就是它可以讓我們開始去思考影像的分類學 (taxonomie)。影像本身就具有它自己的生態系，而促使這個生態不斷發生和發展的，是創作者還有影像工業本身，我們可以從中看到人與影像之間的共生共存；史蒂格勒則提出「原電影」 (archi-cinema) 的理論。他認為電影是第一個能夠在進入意識之後，讓我們的記憶根據這些影像再度生產記憶的機器。德勒茲跟史蒂格勒所談的兩種電影，其內外關係正好相反，一個是在人體外部變成一個影像的生態係，另外一個是在人體內部，影像將不斷的深入運作。器官學（general organology）斯蒂格勒認為今天的影像的技術，並不是做好一個產品或商品，然後擺出來讓你看而已。而是這些影像技術其實非常的邪惡，它是作用於你的內部。例如，傳統類比影像與 AR、VR 最大的差別在於 AR 跟 VR 產生的空間與立體感，並非是將一個做好的成品擺到你的現實空間裡，而是直接在你的眼球上去做呈像，這就是斯蒂格勒說的器官學。他認為機器都因此可被視為人類的器官，比如現在手機就已經是人的一個複合式的外置器官，因為人將很多生理或心理功能和運作都移到手機裡了。最終影像的技術其實是不斷讓人把他的記憶或他的功能都往外移，也就是說是一個外置化的過程。在影像的機器裡，人類發明影像的第一個意圖是先投射出我們所面對的世界，後來就開始了組織（Programing），用電影去講述哲學或更複雜的事情。接著以電影創作者開始理解，所有的影像，或甚至人的存在都是雙重的，一種是你原本的存在，另外一種是你在媒體裡面的存在。於是要把存在真實的那個人跟存在媒體裡面那個人，試圖做一個平等的安置。影像的資料庫可是人們開始發現他們不再需要去把電影當做一種尋找真實或者揭露真實的一種工具，只要它能夠產生力量，它其實就可以製造出更多。比如說影像分類學，或是創造時間的權利、虛擬的造假之力，這些是德勒茲的說法。

我們都以為藝術家最重要的是創造出影像，但是因為我們越來越活在一個影像資料庫裡面，所以其實藝術家真正在做的事情是，他如何在影像的資料庫裡面選取資料跟重新編排。快速的瀏覽電影史，可以看到電影影像剛開始的狀態是為了投影出這個世界，但到後來，影像本身變成了一個生態系、巨型的資料庫。比如說許家維在他的報告一開始就有提到，現在有非常多分享、複製或轉貼的行為在網路中發生，而透過這些對資料的處理動作會使影像構成一個生態系。影像就像大自然不斷繁衍，它跟人之間的關係非常的微妙，因為人也在對影像進行學習，人同時也在創造影像，如此的交互影響。人類跟影像可以說是以一種雜交的狀態去生成這個生態系，而我們當然都夾雜在其中。

「詩」今天我們在講的 Moving image，它其實是指我們在影像的流動裡進行著影像創作，很多人都還抱持著一種基督教一神教式的觀點來面對創作，覺得你所創造的影像是屬於你的，但我們如果不拋棄這個想法，就會永遠被釘在基督教的十字架上。也就是想法必須改變：你今天創造了一個影像，必須進而去思考你是在什麼樣的流動、什麼樣的生態裡、是在什麼樣的狀態底下「遭遇」了什麼影像，因而必須去創造一個影像？我們如何不將許家維視為一個上帝、不將余政達視為另一個上帝？我們如何去理解他們兩個人是在什麼樣的生態裡，跟什麼樣的影像會面，進而去產生影像？這個時候就會比較能夠理解，我們在一個機器的世界裡面，藝術家到底在扮演什麼樣的功能與角色？藝術家其實是在讓整個世界不斷的對人進行模擬，然後再反向地讓模擬結果，變成控制框架底下的所有物質世界。藝術家是在重新排列出一些詩句，而詩本身就是一種語言沒有辦法書寫出來的真相。.

（science-fiction）的敘事都把人類的未來想像是在一個控制論的封閉系統裡，所以它只有一個命定的可能，或是另外一個對抗的可能。而我們現在必須要去開啟另外一種想像，在這個世界之外、在這個控制論之外，還存在著另外一個世界。最終的問句應該是：我們有沒有可能逃離屬於任何框架的運算（偏離的運算）？

In what "state" do we wish to enter the digital era? The light we see in Chia Wei HSU's and CHENG Ta Yu's respective work set completely different tones. In the former, it is the kind of light only seen in video games and digital drawing, while the latter is often dim, yet is still able to convey such vivid expressions and body movements, and construct performativity of the body experience from an almost analogical approach. Such approach reminds me of scenes in Blade Runner , where "human" and "machines" are tightly connected in a closed futuristic world formed with capital and technology. In the end, however ironic, it is a robot that reminds humans of the importance of "poetry". Film and Plato's Cave Film, as known to the general public, are in reality the end product of the performativity of images. It is the directors that decided what is presented in images. In light of this, a film is very much like Plato's cave in that it contains the most original scene of what is seen. In Plato's theory, the cave represents human society where most people are tied to a certain framework, or technique if you may which is something indispensable in human society. One has to understand something to have the chance to actually walk to the entrance of the cave, where light and Truth exists. Hope exists outside the cave, and therefore every possibility is stored in the cave.

今天我們不管做什麼好像都會被這個世界稀釋掉，因為所有的東西都在一個既定的狀態裡面。在數位世界裡，我們面對任何事情都可以想像它是如何在一定的流程裡面被生產出來。而藝術家在做創作的時候，所開啟的東西到底是什麼？這的確很難用文字去定義。

Despite having every possibility in the cave, one actually forgets what is outside and takes illusions in the cave as reality. It then becomes problematic to perceive what they see in the cognition forming process as truth in that when one's cognition hasn't fully developed. Therefore, Plato advises not to trust our senses when one sees things outside the cave which surpasses their understanding. In the end, Plato proposes a solution: one must learn arithmetic, geometry, and astronomy, and probe into and grasp the logic behind the three disciplines, for that is where the truth lies. In my opinion, with his solution, Plato foresees that the world will lean towards logic that centers around algorithm.

哲學家 Quentin Meillassoux 提出，我們必須要創造出一種虛構，是在科幻之外的虛構。為什麼？因為以往科幻

Modern society is indeed teeming with algorithm of various kinds. Take HSU's and YU's work as examples, HSU's work involves algorithm for digital drawing and

在藝術家的這個手勢裡面，其實是在讓我們看到「詩」不再是關於起源的問題，而是關於你的生命裡面還可以發生的「事件」，還有發生事件的可能。

第四章 CHAPTER 4

CHAPTER 4 Forum Three: Plato's Allegory of the Cave - Sensory Explorations and the Future of Moving Image

我們在許家維的影片裡發現，那個「光」是很奇特的，那個光即使到了地下它還是亮的，是一種在數位繪圖和遊戲裡存在的光；但在余政達的影片裡看到的光，是充滿了人的身體與表情，由身體經驗或類比的空間的表演性所構成，影像是非常暗的。它讓我想到《銀翼殺手》的場景，一個資本與技術合作打造出的封閉式未來世界，電影裡的「人」其實是跟「機器」混在一塊。在電影的最後，反而是由一個機器人來告訴人類「詩」的重要性。

須要努力的透過某種過程，去捕捉背後的那個邏輯，唯有透過運算（algorithm）之後所產出的東西，那個才是真相。總之，這個洞穴到底預示著什麼？人類的生活中就是由處理各式各樣的運算所組成。

動態影像的感官探索與未來

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

交叉提問 Panel Discussion

game design are involved in the creating process, whereas YU's work is the result of algorithm of performativity where performers express their own performativity through the same media.

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第四章論壇三：﹁柏拉圖的洞穴﹂

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

Gilles DELEUZE, Bernard STIEGLER, and Their Film Theories Since we are talking about everything under the framework of film, please allow me to use DELEUZE and STIEGLER's theory to illustrate.

General Organology Film technology today, in STIEGLER's views, is not about presenting the best of images, but rather to have an effect on the human mind. For instance, AR/VR technology aims to present 3D space in our eyes rather than presenting it in the physical reality as traditional analog images do. This is, in STIEGLER's terms, general organology, which essentially describes the phenomenon of machines given the functionality of human organs. Just as smartphones are becoming more like a human organ as they are equipped with more functions similar to that of an organ, image technology can be viewed as a means for humans to externalize memory. By having image as a machine, we first project our perception of the reality, and then use film as a vehicle to explore matters that are newer and more philosophical as we learn to program images. As time and technology progress, filmmakers being to realize that images and human beings have dual existence—one in the material world, the other in the media—which need to be in a balanced state. An Image Database Slowly, people begin to realize film is more than just a means to discover or unveil the truth. Whether it's the taxonomy of images, the right to create time, and power of the false, which are all in DELEUZE's terms, as long as film makes an effect, it can produce so much more. We have long believed that artists are essentially image creators, but as the world is becoming more like an image database, it is then evident that what artists are actually doing is arranging the images they have selected. Henri BERGSON, one of DELEUZE's most important influencer and theorists, purposed in 1910 that the world

Browsing through film history, the development trajectory of film is evident: it was first a means to project the world, and slowly evolved into an ecosystem or database of its own. As HSU mentioned in his presentation, people nowadays post and repost a lot of information, and that will eventually become an ecosystem of images. Trough posting and reposting, images reproduce themselves, and maintains a subtle relationship with human beings in that humans learn from images while producing them. Therefore, it is true that human beings are also woven into the ecosystem of images. Poetry Moving image, under today's context, is image generation in the stream of images. One would be forever trapped if they approach image ownership with a monotheistic mindset, believing that the creator owns it all. Instead, the following questions should be in the minds of modern image creators: Under what environment was the image created? What is the ecosystem? What image did you "encounter" that prompted you to create another image? As receptors of images, we can ask ourselves: How can we not treat HSU and YU as "the God of their images"? What approaches can we take to try to reconstruct the ecosystem and encountering scene they were in when finding inspiration? Only when we ponder on the above questions can we further consider the role of artists in a world full of machines. Artists ushers the world to mimic human beings, and once that material world is created, that ushering becomes a means of control. Such reverse can be regarded as rearrangement of lines of a poem at its core, even though poetry is essentially reality that even languages fail to depict. Hence, the origin of the problem does not lie in "poetry," but the "events" that could unfold in one's life, and every possible development of such. In modern society, our creation and contribution are destined to fade overtime as the world is in a very fixed state. In the digital era, everything is produced in highly similar processes. Under such backdrop, it is extremely to pinpoint what artists have really produced and possibly created. To break free from such limitation, philosopher Quentin MEILLASSOUX purposed that a virtual world independent from science-fiction must be created. Science-fiction narratives work under the premise that future human society is a cybernetical closed system, therefore, creating a new virtual world free of such control is the only possibility. Is there really a world beyond the cybernetical one we currently live in? Is it ever possible for us to escape all forms of algorithm?

王文琪（以下簡稱「王」）—我們一直在大數據的環境裡面，討論著人跟影像之間某種程度上好像被同化的關係。剛剛講到「偏離的運算」目的，是不是像是排拒同化的過程，或是該去思考同化以外的事物？黃建宏（以下簡稱「黃」）—運算指的是在等號的兩端，會有被固定下來的因果。只要有一端被固定下來，我們就可以知道另外一邊答案。而我的問題是：有沒有可能出現一個不指向資料庫裡的運算？有沒有可能將偏離的過程設計出來？所以所謂「偏離的運算」，是我們有沒有可能在等號的另外一邊產出不同的答案？有時候我們會以為，只要是我做的，等號另一邊會不一樣，因為有一個絕對獨特的我。但是在今天的資訊社會裡，最大的焦慮其實是——我不管怎麼做，等號的那一邊都會跟某個人一樣。我覺得同化這件事情，指的反而是今天的科技或大多數主流的慾望，可是我不會用同化這個說法，因為同化是施力於某種「反」的過程，我會覺得那比較像「雜交」，透過雜交在產生一種新的快感。許家維（以下簡稱「許」）—我們以前認為意識形態背後，有些可能是國族主義驅動，後來慢慢變成是市場經濟。但是今天這些話題，在這個資訊社會的情況底下，情況是我們思考方式需要形變。在重新思考「數位」的時候，其實是在想你怎麼去看它、它如何變形、我們如何去理解與辨識它。在此之下必須要有所作為，你必須要去理解、認識它，甚至論及所有技術的細節。余政達（以下簡稱「余」）—我覺得在藝術世界裡面，它的嘗試已經越來越多，但是我們碰到另外一個問題在於說在這個既有的操作裡面，其實有很多東西是我們從藝術行為裡面還不可及的。對我來說，到底是什麼東西產生這個價值？其實有時候是一種認同或信任，透過兩者也的確創造了另外一種可觀的價值。像網紅這件事情，例如我透過抖音（TikTok）的亞太區經理，了解一個大數據的媒體，這件事情沒有問題。可是在過程裡面要去跟這些網紅做合作時，那個對價關係你又不能夠確認，就是說你今天要找十個網紅，你要看他的流量、他的粉絲，最後展出的表演性幅度也隨之不同。那個認同有時候是無法理解的，這個東西太詭異，或者那是種來自媒體效益，這裡面人的價值是超乎過這個介面。但是，我們可能還是無法逃脫非人的情境去設想。網紅的舉例就可以讓我們聯想到資本結構下不斷產生慾望這件事情，我們是不是也還處在那個趨勢下的慾望裡面？許 —我想到兩種垂直的關係，其實是從何子彥創作的一部份來的。我剛剛講到 Zomia、高低社會跟蘇祿海

Sulu Sea，其實這個垂直關係它相對的是平地國家。如何用一個垂直的關係去拉開這個平地國家不同視野？另外還有一種垂直關係就是礦物跟雲端。這個礦物變成我們今天的科技產品，甚至雲端，然後循環，中間拉的是人，透過非人來拉人的視野。這中間有很多討論空間，也會解放我們原本的方法，比如說我們講什麼事件，可能就是談起因、過程、結果、產生什麼影響。可是如果我們的方法論能夠轉一下，它可能是跟地球另一角或跟一百年前什麼事有關，一部分我覺得這樣的超連結動力，也是今天的資訊社會、技術與資料庫這些事情所開啟的一種工具。黃—很多文化研究或者歷史學的角度，在今天看來，是一個完全沒有物質存在的歷史觀點，可是許家維提到那個東剛果跟 iPhone 之間的某種關係，我們會發現在這裡面的運作更強，而且可以觀察到規律存在的反而是物質的流動，這個物質會怎麼流動？其實它背後還是再處理人的慾望，。它呈現我們如何連結出物的生態系跟物的關係，以及它跟人類歷史的問題。我們現在處於一個極大的焦慮，好像數位建立起來的物質世界不斷的在壯大，而且不斷的在包圍在我們，所有人以及在歷史所發生的事情，都很像廢墟。回觀之下不難發現，我們正處在數位發展的廢墟景觀裡面。

第四章 CHAPTER 4

CHAPTER 4 Forum Three: Plato's Allegory of the Cave - Sensory Explorations and the Future of Moving Image

DELEUZE once stated that film's most essential purpose lies in it impels humans to develop the taxonomy of images. He regarded images as something beyond human beings. There is an ecosystem of images, yet it is the creators and the film industry that drive its expansion and development. STIEGLER, on the other hand, purposed the theory of archicinema. He believed that film is the first ever machine that prompts humans to re-create memory based on images they see upon entering our consciousness. Interestingly, the two theorists approached film from opposite ends: one considered film as an exterior network, while the other regard it as something that only sinks deeper into the mind.

is constructed upon images, and that our brain is their container. In the 21st century, I think we should ask it this way: Are we living in images?

最近有一套韓劇叫《阿爾罕布拉宮的回憶》，它裡面在講人跟機器的合體，戴上隱形眼鏡就開始 VR 或開始 AR 的景觀。最後那主人翁，在他拿下隱形眼鏡以後，卻發現自己竟然還在一樣的景觀裡面。所以我覺得這很像人的某種慾望，是他在面對歷史跟在面對物的那個慾望，而我們今天慢慢把它整合成一塊了。

王—請三位用簡短的描述從今天的簡報、過去的研究或是創作的部分，來總結對於動態影像未來的詮釋。許—當我們的思考邏輯跟著我們的視覺同時運作，其實我們自己就是最好的一個 VR，你如何思考事情、用什麼樣的邏輯、如何去分類等，最後與類比結合的樣子，就是這樣，不需要什麼裝置。余—剛剛聽到問題之後，我就想如果當這些都沒有，我們是回到一個白色空間，可是有一個「嗶」的環境音。也是讓人重新去感受到如果今天還有身體這件事情，而不是被隨便化或者是訊息過量的狀態。這會不會是一個逃逸，或甚至每個人家裡都會有這樣的空間？黃—我在想像以後我們在寫自傳時，有沒有可能會變 45

成是說我跟什麼樣的影像相遇？什麼時候變成了一個什麼影像跟別人碰面？我們人對於生命的看法有沒有可能跨越？因為今天科技解決慾望的方式，並不是用一個假的世界來取代真的世界，而是透過虛擬世界跟物質世界完全的嵌合，讓人進入到遊戲的歷史裡面。

—

第四章論壇三：﹁柏拉圖的洞穴﹂

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

動態影像的感官探索與未來

HUANG—Answers to that question will surface after we pass through a certain stage. Is it possible to have algorithms outside of the database? Can it be designed someday? Algorithms are about both ends of the equation. If one end is fixed, the answer is known. Therefore, escaping algorithm to me is whether it is possible to point to a different answer at one end of the equation. Sometimes we think that we are that game changer because we carry that uniqueness. However, in the information age, our biggest anxiety is: no matter what we do, we will reach the same conclusion as others have. Assimilation to me is more of a collective desire of the majority and today's technology, although in my understanding I would view this as hybridization, where we actually end up with something new after such process. HSU— We used to think that nationalism is what shapes one's ideology, and slowly, the market economy, as time progressed. However, in my point of view, many of the matters we touched upon today have evolved into something new. To look at these evolved issues in the digital era, we have to do thorough research, even down to the details of new technology, in order to fully understand it, to see how it has evolved, and what perspectives should we hold. YU—I am more interested in what attributes value to a work. It could be some form of identification, or even trust sometimes. Take internet sensation as an example: what is their value? What gives them value? Is their level of influence determined by the number of viewers they attract? How do viewers identify with them? To me, such identification is rather strange. Even though this can be a we media effect, I believe the level of influence the actual person surpasses that of media form. Or, it could be that currently we are still unable to think from a non-human perspective. When we associate incessant desire with the capitalist world, aren't we still part of that desire?

The other vertical relationship is the one between minerals and the cloud. Mined minerals become technology products, and even the cloud. With humans involved in this vertical cycle, the non-human, or inanimate objects if you may, are factors that change and shape our vision. Of course, there is still much room for discussion on many relating topics, and I believe new concepts and possible solutions will result from such discussions. For instance, when we talk about an event, the focus is usually its cause, how it builds up and what impact it has made. However, nowadays, with the help of technology and database, we can approach events differently, that is, to associate events and take reference from other places around the world, or even a different time period. HUANG— In hindsight, many of the concepts and perspectives in cultural studies or historical studies have left substance out of the discussion, yet in reality, substance, as a whole, is forever changing, and therefore an enteral existence. Its existence not only reflects human's desire, but also the relationship between human and objects, the ecosystem of objects, and human history. We are at a state where we worry the ever-expanding digital world will one day outwin us, as if eventually we would merely become part of the digital development scene, with our history and culture becoming ruins. However, in my opinion, the digital era actually enables the integration of human desire and the history and objects.

WANG—Could you please provide your thoughts on the future development of moving image?

Chapter 5 第五章亞洲動態影像平台論壇 AAMP (Asian Artist Moving Image Platform) PROJECT 2018—2019

第五章 CHAPTER 5

CHAPTER 4 Forum Three: Plato's Allegory of the Cave - Sensory Explorations and the Future of Moving Image

WANG Wen-Chi—In the Big Data era, the assimilation between humans and objects has constantly been brought up. Can we view the purpose of escaping algorithm as the process of defying assimilation, or is it something beyond that?

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

HSU—I think the most perfect virtual reality is when our logic and vision is in sync. Present what you have in your mind, be it the way thoughts are organized and categorized, and combine that with the physical world. This is perfect VR, no device needed. YU— To me, it is to go back to the very beginning: a nihilistic space with ambience. This is the only possible space where humans can actually feel their body, and not be easily overwhelmed by information. But is this something we already have, or is this merely an act of escape? HUANG—Could it be possible that in the future, what is in an autobiography is no longer a recollection of events but encounters with images? Will there be a breakthrough in ways we view life? We no longer use technology to create and replace the physical world. Rather, we integrate the virtual and physical world with help of technology, and become part of the game history.

HSU—Tzu Nyen HO's work reminds me of two sets of vertical relationship. One is the geographical highlands and lowlands, namely Zomia and Sulu Sea. How can such geographical difference change the vision of the lowlands?

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

CHAPTER 5 AAMP (Asian Artist Moving Image Platform) PROJECT 2018—2019

「對話」

A Dialogue

動態影像的未來—超越擴延與差異

THEME: The Future of Moving Image – Beyond Difference and Expansion

亞洲動態影像論壇（AAMP）以「動態影像的未來—超越擴延與差異」為主題開啟策展平台，這不僅僅是風格與形式的綜合問題，近期亦被認為是跨領域的實踐並且也廣泛地開啟了爭論，有如充滿幻想又尷尬尚解的曲折謎團。

The AAMP now opens the curatorial platform by theme of "The Future of Moving Image-Beyond Difference and Expansion" This fundamental question is not only a discussion oriented in style and form, further on interdisciplinary practice recently considered, but also opening the argument widely: it's Imagineering, embarrassment and miraculous standing in front of labyrinth.

維克多雨果在他的《暮光之歌》中寫道：「明天將會是什麼，沒有人知道……，今天的一切，無論是在思想中，還是在事物中，在社會中或在個人中，都處於一種暮光將至的狀態。這個暮光的本質是什麼？而什麼又會隨之而來？」，這些話語成為了研究主題的出發點，也是回聲像計畫的初始引題。

In his poems Songs of Twilight , Victor Hugo noted that for what tomorrow will be, no one knows… Everything today, whether in ideas or in things, in society or in the individual, is in a twilight state. What is the nature of this twilight? These words are a starting point of the theme, also the main reason why we started this research project "Audiovisual Return".

現今的動態影像藝術依舊停留在暮光將至的狀態，我們希望面對影像的終結和本體論、異己和他性，聚合與差異，透過論壇對話提出對於動態影像意涵具有共識的概念。這個「對話」論壇將和每個參與的機構團隊、策展人或藝術家進行連結，無論是意見分歧或融合，在當代語境中彼此交換研究，重新評估有關地區、自然、隱喻和象徵的歷史，再一次以充滿想像的奇特姿態站在這個待解的謎團之前。

依據此階段的研究過程，我們提出「虛構、不可見的場景與歷史迴響」做為策展概念，用以表達台灣動態影像其中的發展脈絡：由歷史書寫與檔案敘事所傳達的特殊台灣經驗。台灣動態影像當下的創作狀態由西方美學理論、在地政治流變以及影像生產機制等背景下，受到同時期發展的台灣新電影與當代錄像藝術影響，彼此間相互匯流，逐跡可見其綜合脈絡。新寫實主義風格起初帶來了影像時間之於觀看方式的改變，影像的藝術性在此時也被帶進了台灣。在電影與視覺藝術形式間彼此跨越的時間進程中，科技與投映裝置亦不斷變革，使得影像過渡到了屬於場域與觀眾感知的覺察關係當中，由強調被閱讀，進一步轉化為虛實交錯的意識結構。劉玗的《名字不為人所知》與許哲瑜的《重新破裂》，分別以歷史書寫與檔案敘事為題的兩件動態影像創作，或以影像裝置，或以單頻投映展示，可視作為兩種變體，皆可視為以影像為主導作為多義文本的手段，表層形式彰顯區域性特定事件與個人的歷史經驗，深層意涵在於建構與此歷史記憶場景相關的詮釋，強化想像的感知。當虛構性拋擲於寫實應有的自然性當中，原本不可見的歷史場景，通過再造、重演，或是重新結構一個虛構的烏托邦空間，指涉了一個可以任由觀者感知自由轉譯，多義的歷史共振體。另一方面，映照出台灣本體對於國族與集體事件的意識，仍存有的不確定感，再現了一個困惑的想像共同體。無論虛構或真實，影像在此貼近洪席耶的美學體制，排拒二元對立的單一性與傳統蒙太奇剪接的詩學 / 再現體制，強調影像本身的感知存在，也就是讓影像所建構的場景本身自行發聲。

This dialogue is a correspondence with each institution or curator and artist, giving an exchange of research to be diverged or converged in the re-evaluation of history of landscape, nature, metaphor and symbolic in the contemporary context. It's all imagineering again and miraculous standing in front of labyrinth, cinema, history of scenes. The AAMP proposes this curatorial collective in the form of dialogue: curatorial presentation featured by each institution or curator and artist throughout the period of our research in 2018, which followed by five-day show and event A Dialogue in January, 2019. "Fictitious and Invisible Scene with the Resonance of History " is an exhibition we curated to illustrate the developmental context of moving images in Taiwan. It is an expression of a unique Taiwanese experience via the display of historical writings and archival narratives. Presently, the creation of moving images in Taiwan is largely based on western aesthetics, the evolution of local politics and the mechanism of image production. Meanwhile, it is also deeply intertwined with the Taiwan New Cinema and contemporary video art which was also developing in Taiwan around the same period of time. New realism first brought a change to the viewer's perspective in relation to time. Meanwhile, the artistry in images was introduced in Taiwan. In the midst of frequent interactions between cinema and the visual arts, technological advancement and projection machines have transitioned images into the sensible relation of a space to the audience. The emphasis on passive reading has further transformed into a consciousness consisting of both fiction and reality. LIU Yu's Nameless and HSU Che-Yu's Re-rupture are both moving images created based on historical writings and archival narratives respectively. The images on display either via video installation or single-channel projection are considered two distinct variations which are essentially means to polysemous texts. On the surface level, the images manifest the historical experience of a particular event in a region or of an individual. Whereas, the significance of such a showcase is to enhance the imagination as well as the interpretation of specific historical memories. When fiction is inflicted on the natural characteristics of reality, historical scenarios that would have otherwise been invisible can be recreated, repeated or reconstructed into a fictitious Utopia that refers to a polysemous resonance of history, allowing the viewers to interpret at will.

亞洲動態影像平台論壇第五章

CHAPTER 5

亞洲動態影像平台希望提出一個對話形式的團體策展計畫：由每一個論壇成員的機構代表、策展人或藝術家透過在 2018 研究計畫期間內容，在 2019 年一月為期五天的「對話」活動，利用展演與論壇活動呈現目前此階段的策展研究報告。

Our idea here is to bring together a dialogue conceptualizing what is moving image means for our sake of consensus since the art of moving image is still in a twilight state, confronting with mortality and ontological, alterity and otherness, friendship and difference.

AAMP (Asian Artist Moving Image Platform) PROJECT 2018—2019

第五章亞洲動態影像平台論壇

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

On the other hand, the images reflect a sense of uncertainty that hovers over Taiwanese consciousness on ethnicity and collective events. Hence, the exhibition also recreates an imagined community of confusion. Fictitious or realistic, images here closely resemble Jacques Rancière's aesthetic regime of art. While repelling the uniqueness of binary opposition and the conventional poetic (or representative) regime of art in montage, an emphasis is placed on the sensibility of being in the images instead. In other words, it allows room for autonomous statements coming from the images and the scenes within. 49

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

第五章亞洲動態影像平台論壇 CHAPTER 5 AAMP (Asian Artist Moving Image Platform) PROJECT 2018—2019

名字不為人所知劉玗｜ 13'44" ｜影音裝置｜三頻道播放彩色｜雙聲｜ 2017 （論壇展演期間以單頻特別版呈現）

這是一座廢棄的山城，座落於金九地區潮濕且芒草遍野的山區，從六十八年廢棄至今的期間，有許多人帶著不同的個人因素來到此地，影片中透過這些人的口述來建構此地的歷史情節、地理環境、人際網絡等各種虛擬或真實的經驗。而當地點成為不可見的影像，名字也不需為人所知了。

重新破裂

Yu LIU ｜ 13'44" ｜ Three Channel Sound Video Installation ｜ COLOR ｜ 2017

許哲瑜｜ 15'19'' ｜彩色｜ 2017

* The original three channel video installation has been edited for theatrical screening

Oral history is a method for collecting historical evidence based on people's memory. By interviewing the witnesses who personally experienced the historical events in question, it makes the records more comprehensive and believable. However, the interviewees may recount something surreal beyond general understanding according to their personal affections, believes or mental states. In comparison with the systematically compiled "official history", are these invisible or even fictional oral expressions closer to personal real-life experiences? This is an abandoned mountain town located in the Shuijinjiu area where silvergrass is thick on the ground with high ambient humidity. Since its abandonment in 1979, many people have visited this place with sundry personal reasons. By reference to the interviewees'dictation, this video seeks to reconstruct their fictional or real-life experiences of the historical, geographical and interpersonal contexts of this place. Since the place becomes an invisible image, it's not necessary to know the names.

1995 年，台北重新橋上空有一個人形氣球，並將各種物件，比方說洗衣機、煮沸的火鍋、蔣公銅像、充氣娃娃……等懸吊到高空中，並試圖將它們摔下、墜毀、堆成一座垃圾山。然而，因為技術與天候問題，氣球最後在短暫升空後即破裂墜落，計劃失敗了。同一年，重新橋下亦發生了一場大型械鬥，當天在場的人們，拿著鐵棒、生魚片刀，互相朝對方身上揮舞。然而，當我們找到了當事人，他們卻說，那其實是一場政治派系鬥爭。《重新破裂》組合了「全民計程車械鬥」與吳中煒未完整實現的計劃「台北空中破裂」這兩個看似不相關的歷史片段。透過陳琬尹所撰寫的劇本，並邀請了五位當年參與計程車械鬥的運將回到事件現場，並將一位噪音吉他手（李那韶），懸吊於重新橋上方演奏。

Re-rupture Che-Yu HSU ｜ 15'19" ｜ COLOR ｜ 2017

In 1995, there was a human-shape balloon on the top of Chongxing Bridge in Taipei, and there was also the attempt of suspending all kinds of items in the air, such as washing machine, boiling hot pot, the statue of CHIANG Kai-Shek, and sex doll, trying to crash them to the ground. But the plan failed eventually; nothing was destroyed. Before everything started, it ended because of the selfexplosion of the human-shape balloon. The same year under Chongxing Bridge, there was also a large-scale fight. The people present there that day slashing each other with iron rod or sashimi knife. When we found the people involved, however, they told us it was actually a fight between political factions.

第五章 CHAPTER 5

口述歷史是一種搜集歷史的方法，以人的記憶作為依據，訪問曾經親身活於歷史現場的見証人，讓歷史更全面、更接近具體的歷史真實。但在這些口述的對象中也依著每個人的個人情愫、信仰、甚至是精神狀態，講述的內容會出現許多脫離一般認知之外的超現實狀態。但相對於篩選過後的「正史」，這些不可見的、甚至是虛擬的個人敘述是否更貼近「個人史」的經驗真實？

Nameless

Re-rupture assembles two seemingly unrelated historical fragments: "People's Taxi riot" and "Taipei Breaking Sky." I invited CHEN Wan-Yin to write the script, and also invited five drivers who participated in the fight at the time to return to the event site, while hanging a guitarist LI NaShao on the top of Chongxing Bridge to play music.

劉玗 1985 年生，目前居住及創作於台北。為藝術創作者、從事美術相關工作、社會參與者。纖細、敏感、直覺並且精準到強烈的個人語彙如同 80 年代出生的影像世代的年輕人，劉玗在大量的電影浸淫中成長 , 所有的敘事、劇本、影像語言、幻想情節成為她解讀世界的方式。從創作可以觀察出她一直在追尋一種非理性、不尋常的、包含各種幻想的與偶然的穿越性經驗。

許哲瑜於 1985 年出生於台北。獲國立台南藝術大學造型藝術研究所碩士學位。藝術家許哲瑜擅長以原創動畫、錄像與裝置創作討論媒體與記憶之間的關係，並透過媒體介面反思真實與虛擬間交錯辯證性。對他而言，重要的不僅僅是通過媒體追溯的歷史事件，還包括無論是私人的還是集體的記憶的構建和可視化。

Yu LIU, Born in 1985. Lives and works in Taipei. Employing a variety of mediums such as video, installation, and texts, Yu LIU's practice focuses much on the "invisibles," the groups of people usually excluded from societal norms due to structural factors, as well as on changes of spatiality. Since she grows up immersing in films, Yu LIU's earlier works share a similar language to cinematography— narrative, script writing, image, fiction are her ways to interpret the world. Originating from the exploration of human/groups, her recent works consist of a series of documentary field researches. Fragmental representations of spaces, histories, images and narrations are interwoven into an integral body of work with parts closely linked and complementary to one another.

HSU Che-Yu was born in Taipei in 1985.Earning his master's degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. HSU Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

第六章音像實驗創作論述︽ Operation: 虛菩提 \ Subhuti ︾ CHAPTER 6 The Statement of the Creative Audiovisual Experimentation Project: Operation: 虛菩提 \ Subhuti

Chapter 6 第六章音像實驗創作論述《 Operation: 虛菩提 \ Subhuti 》 The Statement of the Creative Audiovisual Experimentation Project: Operation: 虛菩提 \ Subhuti

第六章音像實驗創作論述︽ Operation: 虛菩提 \ Subhuti ︾

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

音像實驗創作論述《 Operation: 虛菩提 \ Subhuti 》 The Statement of the Creative Audiovisual Experimentation Project: Operation: 虛菩提 \ Subhuti

讓我們回到柏拉圖的洞穴裡，那最深處，聳立的圓柱繫著無數無盡的靈魂。靈魂們因為圓柱枷鎖而動彈不得，觀看牆上的火影以為是世界。直到有一天來到洞口，卻仍然被無法直視的日光，灼眼焚燒。在這兩個相異的端點（洞內與洞口），直觀都被被視為非真理之物。所以第一我們必須覺知感官的空性，他的無自性，才能有所覺悟。並透過柏拉圖開出數學、幾何與天文學的教科，指引我們從運算中去望向真理。

暗網……，小者可以為一個使用者的互動偵測，如滑動率、點讚率、回復率……）形式，所以必須回到以資訊為單位來看待這個整體。

影像進入到意識以後，並非止於你的接收，而是使意識去依照所接收的影像來生產記憶。影像是為了讓意識活動，繼而生產新記憶（經驗、淺意識或業或何形式的資訊團塊（info-clouds）的技術。

這些記憶、經驗、淺意識或業從來就不只屬於你自己，而是屬於密集交織沒有邊界的雲狀團塊，在你身上被你所察覺到的，不過只是其中的一部分而已，更指向個體與整體的連結。

整體的影像就像大自然一樣繁衍。我們製造影像上傳至網路，這些被編碼的資訊在空中集結，透過各種管道下降至觀者中，與資訊相觸的瞬間造就感知。資訊進入我們的內部後參與重組，就如同人也在對影像進行學習，並且再反饋於世界之中。由此可知數位與類比的世界其實是彼此在同一個系統裡，以一個互相形塑的雜交狀態在發展著。

為了啟動感官而集結的資訊團塊，為了感官經驗而存在。記憶、經驗、淺意識或業都是一種描述資訊團塊的方式，他的產生必然會生成時空的另一端的相應經驗（記憶、業、潛意識）出現，其中的結構有因有果。如影像製作，必定包含作者任何程度上的經驗輸出（受想行識），作者產出的因編碼成為資訊群（影像），與觀者相遇（包含最極限與最低限的接觸）並再生產相應經驗，觀者由此接收到了果（亦為因）。

伯格森說世界是由影像構成的，其中的提問其實是：我們是否活在影像之中？或者我們是否活在資訊之中？雖然說人的大腦是讓影像通過的容器，但影像只是大數據中的一種編碼形式，而數位物質世界中有無數種編碼（大者有音樂文學政治宗教哲學次文化

資訊是屬於一個可見的生態係，作為一個環節，人或物質也不過是夾雜在其間而已。人類是將資訊轉譯的運算機器，任資訊流過體內，最終產出資訊團塊，此團塊也可被視為記憶、經驗、淺意識或業。

所有感知能力的靈魂，都是為了運算資訊（重播記憶、經歷業障、再現經驗）所生。我們接收著圍繞著你的記憶、經驗、淺意識或業，並在時空中再現。身為單位的靈魂的我們，作用是業的紀錄、複製、變異與傳遞。變異包含著無限種可能，也包含著抵消。記憶、經驗、淺

意識或業的重播與再造以致互相抵消，才是整體，才是感知的媒體性，也是這個時代的靈魂的媒體性。

Plato believed mankind must learn—will we have the chance to navigate towards the Truth.

而感知是一必須被校準歸零的維度，經由感知自身去理解感知的不確定性（不可捉摸、空性），認知真實與虛擬的沒有界限，此視野是立基於意識的感知，其像不可捉摸，如同到達洞口的靈魂為肉眼的灼燒而感到痛苦，他的經歷也並沒有使他更接近真理。此種不穩定性並沒有辦法支持我們去建立所謂真實。透過運算，是柏拉圖所指引的道路，唯有在過程之中我們才能自由。必需透過運算資訊（感知）轉譯（運算，也是關乎組織技術與媒體性的過程），透過過程去望向真理。

Images don't just enter our conscious, rather, they stimulate the conscious to generate memories. They serve the purpose of driving the activity of the conscious to create new memories, or any form of info-clouds, be it memories, experiences, sub-conscious, or karma.

Let's return to the most inner part of the Platonian cave, where countless souls are tied to a heightened pillar. Immobile as they are chained to the pillar, the souls regard shadows of the dancing fames on the wall as the world. One day they find themselves at the open end of the cave, only to discover that the blazing sun blinded their sight, and that at either end of the cave, what they see and are able to look straight into is anything but the Truth. Therefore, to have the awakening, we first need to realize the emptiness and selflessness of our senses, then through arithmetic in mathematics, geometry, and astronomy（Input-Process-Output） —three subjects

CHAPTER 6

CHAPTER 6 The Statement of the Creative Audiovisual Experimentation Project: Operation: 虛菩提 \ Subhuti

第六章

Image, like all beings in nature, reproduces. It forms a network in the world of information as we produce images and upload them on the Internet. Once images enter the Internet world, they are coded and categorized into different sets of information. As they are presented to viewers through different channels, ours senses are activated upon such encounters. Humans learn from images and reflect that in the world; likewise, information will go through the same process: they enter into the human mind, and reorganizes itself accordingly. Therefore, it can be concluded that the digital and analog world not only coexist, but also mutually shape each other. Bergson once said that the world is constructed by images. Then the question becomes: Are we living in images? Are we living in information? Even though it is true that our brain is a vessel for images, they are merely one of the coding systems in the realm of big data. In this digital/material world, there are numerous forms of codes: it can be as macro as music, religion,

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

第六章音像實驗創作論述︽ Operation: 虛菩提 \ Subhuti ︾

CHAPTER 6

CHAPTER 6 The Statement of the Creative Audiovisual Experimentation Project: Operation: 虛菩提 \ Subhuti

第六章

philosophy, sub-culture, the dark web, etc., and as micro as predicting interactions with users, e.g. number of likes, replies, etc. It is therefore essential to look at this matter with information as a unit. Information is a tangible ecosystem with humans and substances being the linkages. Humans are arithmetic machines that allow information to flow through and export them. The end product of such info-clouds can also be regarded as our memory, experience, the sub-conscious, and even karma. These memories, experiences, sub-conscious or karma never belonged to us, rather, they belong to a nebulous block of information with no boundaries. What one experiences with their senses is only part of that block which serves as a link and pathway to that block as a whole. We live to experience, and info-clouds congregate as triggers to sharpen our senses. Memories, experiences, the sub-conscious, and karma are all epitomes of info-

clouds, and that their existence generates corresponding experiences on the other end (i.e. memories, karma, the sub-conscious). This is a cause and effect process best illustrated in image production. The experience of the creator—what they felt, thought of, did, and sensed— is coded into information sets, in this case images, and then received by viewers. Regardless of the extent of exposure, upon such encounter, viewers will form their own corresponding experience, which is both the cause and outcome of this process. Souls are created to process information arithmetically, i.e. replay memory segments, experience karma, and represent experience, and most importantly, feel what the information contains. The subsequent experience, memory, subconscious and even karma is then represented in space and time. Humans, each bearing their own soul, are here to record, duplicate, vary, and transfer karma. Given that variation incorporates countless possibilities and equalization, the mediality of our soul and senses in the current age lies in the replay and reproduction of our memories, experience, subconscious and karma.

Nonetheless, constant calibration of the senses is needed, and it can only be done through the sense realizing that there is an uncertainty in itself, that is, intangibility and emptiness. Moreover, there has to be this recognition that there is no boundary between reality and the virtual world, and that our vision is based on what the conscious has sensed. What it senses is intangible, just as the souls at the cave, they have never experienced the truth in that they are occupied with the pain in their burning eyes. Therefore, such uncertainty cannot be the foundation of the reality built by humans. Only through arithmetic, as Plato advised, can we break free from the restraints in the cave. Only through computing information (or the senses) and translating information (the process of organizing, categorizing and mediality (Input-Process-Output), will we have the chance of getting a glimpse of the truth.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

2019

1.26 Sat 19:30

「Back to the Cave Ⅰ」未來寓言【放映】「Back to the Cave Ⅰ」—An Allegory of the Future 〔Screening〕活動地點：光點華山電影院 Venue: Huashan Spot Theater

放映單元一：「幕光之歌」—什麼是動態影像？

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

「明天將會是什麼，沒有人知道……，今天的一切，無論是在思想中，還是在事物中，在社會中或在個人中，都處於一種暮光將至的狀態。這個暮光的本質是什麼？而什麼又會隨之而來？」雨果，《暮光之歌》（Les Chants du crépuscule，1835 ）

Chapter 7 第七章階段性成果：映演單元 Initial Achievement of the Research: Screening and Performance 回聲像—「Back to the Cave」未來寓言 Audiovisual Return：「Back to the Cave」 — An Allegory of the Future

「動態影像這個詞如果有值得去討論的原因，倒不是視覺藝術的錄像與電影的跨域問題。我的淺見是，動態影像是我們不談電影、不談藝術，就是只談影像。也就是說，我們暫時不去想電影的結構，不去想電影的觀眾是誰，我們也不去想電影史、藝術史，不去想美術館，我們就只談影像。所以在我們暫時不去設想太多時，可以更去亂拍。我覺得不是跨域的問題，反而比較是忘記自己領域的那個部分。當我不用去思考實驗電影跟電影，或跟藝術的關聯，感覺在拍的時候就比較自由。」（—許哲瑜，摘自論壇一內容）每一個領域（例如電影）都是關於一種特定的技術群（電影的發展史，美學概念，製作方法，產業生態），在資訊社會以前，特定的技術群所產生的思考判斷與手法，會使成品被規訓在媒介的分野中（如繪畫、雕塑或舞蹈）。但今日的資訊社會背景，我們可以觀察到各個領域內的技術在高速的演繹中，與其他技術群交疊連結形成外於本體的技術團塊，竄改技術群自身固有的定義與邊界（產生跨域）。當論述沒有辦法準確描述技術群組成的差異分野，我們必須要正視技術本身所指引的線索，重新思考（動態）流動影像。

Screening Program One: "Songs of Twilight"— What is Moving Image? "Everything today—ideas as well as things, society as well the individual—is in a twilight state [état crépusculaire]. What is the nature of this twilight? what will follow it?" （Les Chants du crépuscule，1835）

"At this moment in time, if there is any discussion worth having about moving image, I believe that the issue isn't necessarily about the crossing-over between recording visual arts and cinema. In my humble opinion, taking about moving images is when we don't discuss films and when we don't discuss the arts; it's when we solely discuss images itself. In other words, we temporarily set aside any thoughts about the structure of film, we don't consider who the audience of these films are. We also don't consider film history or art history, neither do we consider art museums; we only talk about images. So when we stop thinking too much for a bit, then we are more able to shoot whatever. I feel that it's less an issue of crossing disciplines, and more so forgetting about our own area of discipline. When we don't need to ponder over the connection between experimental films and film itself or its connection with the arts, I feel that when it comes time to shoot, we will be more liberated. "（—HSU Che-Yu, content from Forum One） A field of knowledge (in this case, motion picture or film) is comprised of studies of varying technical level pertaining to such field (e.g. the development of motion picture, movie aesthetics, movie production, and the movie industry). Before the age of information society, the end product of each study is inherited with the ideology and method from which it derived, creating a clear division between different media, i.e., painting, sculpting, and dancing. However, as we enter information society, evolution within fields of study has been witnessed. The boundaries between them have blurred as integration of fields continue to take place where new technique blocks stranger to their original fields have further been created. Under such backdrop, when discourse fails to pinpoint the nuances and differences between the newly created fields and technique, a new approach must be adopted to understand moving image. Clues to such new approach no longer lie in words, but in the technique itself.

高重黎∣ 2003 ∣ 8' 38" ∣彩色∣八釐米∣臺灣

第七章 CHAPTER 7

遠離伊拉克

本放映內容為回應「回聲像」計畫 2018.10.28 論壇（一）主題選片人：周郁齡、吳其育、許哲瑜、ASC 團隊 This screening program is co-selected by the speakers at Forum One taking place on 28th of October, 2018 in response to the research topic. Contributors: Yu-Ling Chou, Chi-Yu Wu, Che-Yu Hsu and the ASC team

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

以家庭電影的方式拍攝，用自身特殊的蒙太奇手法，透過剪接表述意見，包括社會政治狀態與童年記憶，並且自製動畫作為對真實事件的批判。 * 本作品因原始素材不適宜放映模式，故無法於此次活動呈現。選片人—周郁齡

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

重新破裂 Re-Rupture 許哲瑜 Che Yu HSU ｜ 2017 ∣ 15'19'' ∣ 彩色 Color ∣ 臺灣 Taiwan 1995 年，台北重新橋上空有一個人形氣球，並將各種物件，比方說洗衣機、煮沸的火鍋、蔣公銅像、充氣娃娃……等懸吊到高空中，並試圖將它們摔下、墜毀、堆成一座垃圾山。然而，因為技術與天候問題，氣球最後在短暫升空後即破裂墜落，計劃失敗了。同一年，重新橋下亦發生了一場大型械鬥，當天在場的人們，拿著鐵棒、生魚片刀，互相朝對方身上揮舞。然而，當我們找到了當事人，他們卻說，那其實是一場政治派系鬥爭。《重新破裂》組合了「全民計程車械鬥」與吳中煒未完整實現的計劃「台北空中破裂」這兩個看似不相關的歷史片段。透過陳琬尹所撰寫的劇本，並邀請了五位當年參與計程車械鬥的運將回到事件現場，並將一位噪音吉他手（李那韶），懸吊於重新橋上方演奏。 In 1995, there was a human-shape balloon on the top of Chongxing Bridge in Taipei, and there was also the attempt of suspending all kinds of items in the air, such as washing machine, boiling hot pot, the statue of CHIANG Kai-Shek, and sex doll, trying to crash them to the ground. But the plan failed eventually; nothing was destroyed. Before everything started, it ended because of the self-explosion of the human-shape balloon. The same year under Chongxing Bridge, there was also a large-scale fight. The people present there that day slashing each other with iron rod or sashimi knife. When we found the people involved, however, they told us it was actually a fight between political factions.

本放映內容為回應「回聲像」計畫 107 年 10 月 28 日論壇（一）主題選片人：周郁齡、吳其育、許哲瑜、ASC 團隊 This screening program is co-selected by the speakers at Forum One taking place on 28th of October, 2018 in response to the research topic. Contributors: Yu-Ling Chou, Chi-Yu Wu, Che-Yu Hsu and the ASC team

第七章階段性成果：映演單元

Re-rupture assembles two seemingly unrelated historical fragments: "People's Taxi riot" and "Taipei Breaking Sky." I invited CHEN Wan-Yin to write the script, and also invited five drivers who participated in the fight at the time to return to the event site, while hanging a guitarist Li Na-shao on the top of Chongxing Bridge to play music.

選片人—吳其育看是兩個無相關的歷史事件，透過檔案的再現、敘事的交疊，是一部穿越了整個台灣藝術史與文學史的作品。第七章 CHAPTER 7

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

閱讀清單 Re-Rupture 吳其育 Chi Yu WU ｜ 2017 ∣ 19'13'' ∣ 彩色 Color ∣ 臺灣 Taiwan 高爾 - 彼得斯投影的世界地圖修正了一般在麥卡托投影地圖裡高緯度國家明顯面積被放大的現象。這個以政治性企圖作為視覺修正的考量，是讓還給政治經濟較為弱勢的低緯度國家另一種觀看的方式，在面積尺寸上拿回視覺觀感上的不平等；此投影法使得中低緯度地區的陸塊形狀明顯被拉長變形，成為一種為了正確而進行的變造。吳其育的作品戳刺著全球化的景觀體制，與形成現今我們主要認識世界方法的權力機制。眾聲喧嘩的哥打峇魯（馬來半島西岸的吉蘭丹州首府）市集、海邊利用蟒蛇吸引觀眾的攤販、醉心於左派思想的獨立出版書攤，透過不同脈絡的影像碎片在蒙太奇中組裝，市場交易、知識傳播等認識現實的途徑都在觀看與聆聽的關係中重組，讓我們看到從「區域」到「全球」的位差，關聯著我們在全球化中知識和認識的侷限、生存 - 政治現實與其中的交易 / 不可交易。 Gall-Peters projection corrects the distortion of magnified high latitude countries from Mercator projection. This modification is a concern of political attempt as the visual adjustment to return the underprivileged low latitude countries with an alternative way of viewing. Balancing the visible inequality by representing its proper dimensions. Consequently it creates another distortion of stretching the low latitude countries in order to present a politically correct amendment.

第七章階段性成果：映演單元

WU Chi-Yu's works mainly focus on provoking the scenery system of globaliation and intend to form an authority machine in order to gain the knowledge of the world methodology. Throughout the video montage with the heteroglossic market in Kota Bharu (located in Kelantan, Malaysia), the street vendors who attract people by showing their pythons and the left-wing independent book stands. Fabricating a narrative through various contexts of image segments, such as market trades or knowledge exchanges, a path that leads to the reality is reconstructed by the relationship between seeing and listening. With the limited comprehension in globalisation and the dealable or undealable in the existing political reality, as a result, it discloses the contrasts between the local and the global to us.

第七章

透過紀實影像、蒙太奇與分割畫面的配置，再現真實事件的歷史基礎，以及某種社會權力的象徵。

CHAPTER 7

選片人—許哲瑜

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

2019

1.26 Sat 19:30

「Back to the Cave Ⅰ」未來寓言【放映】「Back to the Cave Ⅰ」—An Allegory of the Future 〔Screening〕活動地點：光點華山電影院 Venue: Huashan Spot Theater

放映單元三：「柏拉圖的洞穴」—影像的未來寓言「今天數位影像的一個重要環節在於它其實是包含著人以外的視野，其本質和人類視野以外的東西有諸多關聯（如紅外線影像技術）。電腦沒辦法分辨與他溝通的對象，到底是人還非人？溝通的關係都是由不同的 IP 組成，平等的傳送著不同形式的資訊。所以在資訊社會的視野下，其實所謂的人類已經大量的在生活中處理著各種非人關係（可能是機器人、可能是生物、可能是一套程式），這無疑是一種共生狀態，由資訊所構成的集合生態系。」（—許家維，摘自論壇三內容）讓我們回到柏拉圖的洞穴裡，那最深處，聳立的圓柱繫著無數無盡的靈魂。靈魂們因為肉身與枷鎖而不得動彈，觀看牆上的火影、收聽穴內的聲音以為是世界。直到有一天來到洞口，卻仍然被無法直視的日光，灼眼焚燒。在這兩個相異的端點（洞內與洞口），直觀都被視為非真理之物，但也只有通過感知才能覺知他自身的空性，無自性，我們才能開始運算。通過柏拉圖所開出的教科（數學、幾何與天文學），指引我們從運算去望向真理。

Screening Program Three: "Plato's Cave"— An Allegory of the Future Development of Images "The integral part of digital images today is its level of connectivity to many things outside of human vision, namely infrared imaging. Computers or machines are unable to tell what and who they are dealing with since their basis of communication is built upon IP addresses. Having an IP address enables computers and machines to indiscriminatively deliver information of various forms. That is to say, in the information era, interactions with non-humans—robots, other creatures, even computer programs—have already taken up a large part of our lives, and that we are living in symbiosis with information." (—HSU Chia-Wei, content from Forum Three)

台灣史的結構 The Structure of Taiwanese Histories 張紋瑄 Wen Hsuan CHANG ｜ 2016 ∣ 12'05" ∣ 彩色 Color ∣ 臺灣 Taiwan * 本作品為放映特別版，原作品為結合文件之展出形式。

我叔公是個乩童。他曾經告訴我很多「辦事」的經歷，也告訴我辦事的方法：「借名」。

Statement: My granduncle is a spirit medium. He told me three stories and a method, 借名 (tsioh- miâ), which means "borrowing name" or "in the name of".

在靈的世界，名字會決定一個靈是無主魂或是神靈，而這樣的辨識系統同時說明了名字同時也決定階級，只不過，在這樣的規則中仍然預留了逃逸路線。我循著乩童的故事試圖找出證據來證明他說的事情是「真的」，南鯤鯓、大埤、林邊，直到找證據成為一個不適用的動作，直到「借名」所指出的運作系統比證據展示更貼近真實。

In the spirit world, names determine whether one spirit is evil or god, which means class structure also built upon names. The method 借名 (tsioh-miâ) then provides an escape route under this rule. I visited those places appeared in his stories in order to find proofs, proofs to verify that those stories once happened. I went to Nan-Kun-Shen, Da-Pi and Lin-Bian. In the end, finding proofs became a gesture in vain and the operating system indicated by 借名 (tsioh-miâ) became closer to fact than the display of proofs.

我以這種方法來解釋台灣史們。

I used this method to explain Taiwanese histories.

Let's return to the most inner part of the Platonian cave, where countless souls are tied to a heightened pillar. Immobile as they are chained to the pillar, the souls regard shadows of the dancing flames on the wall as the world. One day they find themselves at the open end of the cave, only to discover that the blazing sun blinded their sight, and that at either end of the cave, what they see and are able to look straight into is anything but the Truth. Therefore, to have the awakening, we first need to realize the emptiness and selflessness of our senses, then through arithmetic in mathematics, geometry, and astronomy—three subjects Plato believed mankind must learn—will we have the chance to navigate towards the Truth.

本放映單元回應「回聲像」計畫 2018.12.22 論壇（三）主題選片人：黃建宏、許家維、余政達 This screening program is co-selected by the speakers at Forum Three taking place on 22nd of December, 2018 in response to the research topic. Contributors: Chien-hung Huang, Chia-Wei Hsu and Cheng-Ta Yu

第七章階段性成果：映演單元

第七章 CHAPTER 7

選片人—黃建宏創作者非常難得地在此創造出一種「會面影像」的感受，意指影像讓人產生了瞬間相遇的熟悉感。 65

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

Ablaze 阿比查邦韋拉斯塔古 Apichatpong WEERASETHAKUL ｜ 2016 ∣ 彩色 Color ∣ 4'46" ∣ 泰國 Thailand 「一個男人和一個女人站在黑暗的樹林中。他們正在尋找著什麼，但這個男人卻刻意阻擋了女人的視線，一股神秘的火焰正在燃燒，但她無法看到。」創作自述：我在參觀國家美術館時，有兩次難忘且重要的遭遇，第一個是由 Raden Saleh 在 1865 完成的雙畫作《Eruption by Day》（日間噴發）《Eruption by Night》（夜間噴發），我被一種無法解釋的憂鬱所震攝，在畫裡所有物被爆裂的噴發凍結在這個電影感的景框裡面，永久的毀滅力量在這兩幅畫間起舞，好奇心驅使我去了解了 Saleh 先生及其作品背後的故事。對我來說，這座火山的謎團體現了一個地區的苦難及其所隱藏的歷史。火山的爆發火光將從他們從深陷地泥沼中解放了出來。政治上，我們也在這個現象的不同階段之中。我們永不休眠。我的第二個印象來自於美術館的大廳，從展間走出來時，因為空間與光的變化，我一時迷失了方向，眼前一座金屬製的植物形貌裝置，攀爬延伸直至屋頂的天井，透著天光，就好像火山噴發的火光還懸浮在這棟現代建築裡，如同海市蜃樓一般。玻璃天花板上有一層金屬網，柔化了光線。在這個結構下面是一個巨大的樹狀柱身。這些金屬分支一路延伸透者光，彷彿獲得了解放。循著 Raden Saleh 畫作裡的光，以及照映在這棵金屬樹身上的光芒，我決定創作一部受到這兩個光所啟發的電影，從詮釋這二維與三維的光表達成為自由的渴望。《Ablaze》是受新加坡國家美術館委託，透過館內典藏作品做為靈感所創作的短片作品。 "A moving painting, brushed with black shadows on white. A man and a woman standing in the dark wood. They're looking for something but the man blocks the woman's vision. A mysterious blaze is burning bright, but she will not be able to see." Statement: My visit to the National Gallery was memorable experience, with two major encounters. The first was the double paintings by Raden SALEH, "Eruption by Day" and "Eruption by Night", both were done in 1865. I was hit with an unexplained melancholy. They were frozen cinematic frames at the vertex of violence. A force of perpetual destruction danced back and forth between the two paintings. And there was a flag, a tiny one at the volcano's base. The curiosity led me to learn more about Mr. SALEH and the stories behind his works. To me, the enigma of the mountain exemplified the region's suffering and its hidden histories. The eruption freed the lights from their trappings. Politically, we are in the various stages of this phenomenon. We are never dormant. My second impression was at the museum's foyer. Coming out of the exhibition rooms, I was temporarily disoriented by the change of scale, and of light. The artworks was dwarfed by the monstrosity of the sky. Yet, like a mirage, the volcano remained hover over the modern architecture. There was a web of metal meshes at the glass ceiling, softening the light. Beneath these structures was a giant treelike column. This artificial flora seemed to branch out to the light, for liberation.

Ablaze is commissioned by the National Gallery Singapore, five award-winning directors, Joko ANWAR, HO Yuhang, Brillante MENDOZA, Apichatpong WEERASETHAKUL and Eric KHOO, band together in this first ever collaboration inspired by the Gallery's collection of Southeast Asian art.

第七章 CHAPTER 7

選片人— 阿比查邦、黃建宏論壇（三）講者黃建宏原以《Phantoms of Nabua》回應主題：「火球、青年們與閃電，利用很簡單的設計，讓人跟影像其實同存於一個生態的狀態裡。」，阿比查邦韋拉斯塔古選擇以完全由光影所構成的《Ablaze》回應研究議題。 67

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

停泊在車站的愚人船 The Ship of Fools Mooring at the Train Station 劉玗 Yu LIU ｜ 2013 ∣ 彩色 Color ∣ 25'06" ∣ 臺灣 Taiwan

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

* 本作品為放映特別版，原為雙頻影像裝置。

創作自述：「愚人船」是一個文學詞語，出現於塞巴斯蒂安•布蘭特於 1494 年創作的「愚人船」，書中描寫一隻漂泊大船上載著 111 個愚人，船中每一個人代表一種世俗性格或社會弊病，是當時社會有名的諷刺小說。然而，愚人船是確實存在過的。在十五世紀，愚人船載著那些神經錯亂的乘客從一個城鎮航行到另一個城鎮，瘋人因此便過著一種輕鬆自在的生活。城鎮將他們驅逐出去，他們准許在空曠的農村流浪，在德國尤為常見。水域與航行指引了最未知的命運，千支百叉的江河與茫茫無際的大海成了最自由、最開放的地方。台北車站，對大多數人來說是一個不曾久留的交通樞紐，一個移動的節點。但在另一個我們看不見的面向 ( 或選擇不看見 )，這裡聚集了兩百多名自願亦非自願被社會制度流放的流浪者，含括無工作的人、身心障礙的人、或我們稱之有精神疾病的人，台北車站像一艘愚人船一樣承載了這些被社會排除在外的人們，幾十年的時間下來已經成為了具有結構的群體，他們有分工，有位階，有社群，甚至有歷史，在不同時代以各種形式與文明共存。我從 2014 年底開始接觸那些在社會藩籬之外的族群 : 我們稱之為流浪漢的人們。從 2014 年底開始我開始著手許多與之有關的計畫，但誠實的說零零落落的沒有一個能夠完成，因為現實條件總是溢出我所想像之外太多。從一開始跟蹤住家附近的一位流浪漢，並每日進行一些書寫。透過觀察北市的流浪漢來繪製台北市流浪地圖與分佈關係，也曾參與過民間團體芒草心的志工活動，以理解民間採取何種援助姿態介入遊民社會。一邊進行流浪漢人像速寫繪製一邊採集更多人物故事的資訊，最後一連串的過程將我引領到台北車站這個巨大且複雜的公共空間。隨著我進入這個領域的時間越久，車站的空間的屬性開始轉變成另一個樣子，我也在這個小社會建立了人脈。慢慢的我也發現，愚人船乘載的並不是各種被社會制度流放的重病患者，它乘載的只不過是某種被二元價值判斷所劃分的意識形態。或者更誠實的說，你我都坐上了一艘巨大的愚人船。

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

Ship of Fools is a literature term derived from Sebastian Brant's work "Ship of Fool" published in 1949, which depicts a wandering vessel with 111 fools. Each fool represents a kind of secular character or social problem. The allegory soon became popular at the time. However, the ship of fools did exist. In 15th century, the deranged passenger on the ship of fools wandered from one city to another, leading a carefree life style. The cities expelled them, so they were allowed to wander in sparsely populated villages, especially in Germany. The water and sailing indicated the most unknown destiny, thousand-branched rivers and endless oceans became the most liberal and open-minded place. Taipei Main Station, to many people, is never a place to linger, it's a node during moving. However, in an aspect that we can't see (or we don't want to see), it has become a gathering spot for more than two hundred wandering people who has been expelled by social system voluntarily or reluctantly. Including of unemployed workers, the disabled, or those who have been considered mentally ill. Taipei Main Station has become the ship of fools, bringing those who are expelled by the society. Decades passed, they've become a structured group, with division of works, with hierarchy, with communities, even with their own history. They co-exist with civilization of different eras in a variety of form.

選片人— 余政達創作者以研究者的身份深入去了解在台北車站的遊民社群，透過重新編輯的遊民故事，擴張了原本我們熟悉的公共空間。穿梭在車站空間與遊民個人史的迴圈之間，影像自身表現了極強烈的表演性。

第七章 CHAPTER 7

Since 2014, I started to get in touch with the group that has been expelled from society, the group we called homeless people. I initiated many related projects in 2014, however, no one in the end really finished. The reality was out of my imagination. At the beginning I followed a homeless people who lived around my neighborhood, and wrote down my observation every day, trying to map out the distribution of homeless people in the city. I participated in NGO "Homeless Taipei", in order to understand the supportive actions taken by those NGOs. I sketched the portraits of homeless people and collecting their personal stories. In the end of this process, I was led to the massive and complicated public space of Taipei Main Station. With the time I stayed in this territory, the feature of this space gradually changed. I grew my own network in this micro society. Little by little, I realized that it was not the serious patient expelled by society who was to take this ship of fools. It was the division of ideology through some kind of binary value judge. Or to be frank, both you and me are the passenger of the ship of fools.

墜落 The Fall

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

（預播版 Advance Copy）

陳呈毓 Chen Yu CHEN ｜ 2015 ∣ 彩色 Color ∣ 25'35" ∣ Taiwan 墜落（預播版）是一部類紀錄片體裁的錄像作品，以「下墜」及「不穩定表面」意象的隱喻為開端，描述當代社會的重大信仰之一－消費資本主義，如何消除空間障礙，並在其中不斷重新建構勞動時間與動能的新秩序。墜毀的飛機、部件材料被回收成為電子產品的零組件；電子廠因嚴格管控的勞動條件而頻傳員工跳樓自殺事件；從飛機、電子產品、到電子加工廠工人，垂直下墜的動力不間斷的被轉化為國際貿易的橫向趨力。陳呈毓以田調的方式收集全球最大電子代工廠『富士康』種種工人跳樓的可能原因的員工證詞，透過綠幕重演的策略，以及編整這些全球科技工業肆虐後的數位殘骸（現成影像），挑戰紀錄片的合理性與作者的權威性，影片使事件各自脈絡中的敘事彼此相互對應、確認甚或提出悖反的論述。不論是勞工、運輸控管、消費者的影像、或是作為一個地方的深圳富士康，都不是作為單獨封閉的個體存在，它們透過影像的動態，不斷重演或預播著。不論是當代消費物品的流動、毀損，材料的回收利用或是對於勞動者剝削的罔顧，影像作為這些事件的再現，在無數次的被剪輯、挪用，經過了高度的壓縮而劣化，並脫離原有脈絡，在不同的時空狀態下被重複播放。影像的身體似乎承受著與他們再現的物理性身體同樣持續地移轉及毀壞的狀態：像素化、降低辨識度、不同步、去脈絡化等等；《墜落（預播版）》作品中的影像也體現著與自身內容中－金屬部件及勞工們相同的命運。

The Fall (advance copy) is an experimental documentary that investigates the global manufacturing industry through the act of falling. Materials from crashed and abandoned airplanes get recycled and made into electronic commodities while some workers in Foxconn, iPhone factory in China, attempt to commit suicide by jumping off of buildings. The kinetic energy of falling seems to be constantly transformed into a horizontal force of global trading and shipping. In the film, the death of the proletariat in the class society is analogous to the violent dislocation of crashed airplanes' materials. Within a ceaseless cycle of distribution and deterioration, recycled materials, workers, and their representations, all become the debris of the audiovisual industry. Through strategies of re-enactments, the video not only challenges the authenticity of documentary making but also undermine the filmmaker's authority. Partial of the footage are captured by iPhone, it even places the filmmaker at a more interesting position in this producing-consuming-representing complex. iPhone footage accompanied and edited along with an extensive online video archives, The Fall (advance copy) embraces the conditions of image economy within which both the workers and images become copies in motion, in a ceaseless cycle of distribution and deterioration.

第七章 CHAPTER 7

選片人— 許家維影像以一種垂直的運動關係，離奇地將一場墜機意外與富士康員工自殺事件串連起來，完全在觀眾的意料之外。

2019

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

1.27 Sun 19:30

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

「Back to the Cave Ⅱ」未來寓言【放映＋表演】「Back to the Cave Ⅱ」—An Allegory of the Future 〔Screening + Performance〕活動地點：臺灣當代文化實驗場 Venue: Taiwan Contemporary Culture Lab (C-lab)

放映單元二：「時代—當下」的精神事件—精準的光學展演「觀眾看我的表演，表示他可能屬於某一個文化群體，而所有的文化都是累積出來的，因此我們可以說它是當下嗎？或者不只是當下？其背後的確也蘊含著時代的足跡。所有語言都是有排他性的，必須了解並進入這個場域的語言，才會有情感上的觸動。我自己在看表演或創作的感受，比較關注在這種介於人跟人之間，因為連回群體而產生的感情張力。」（—吳梓安，摘自論壇二內容）

Offset 施政 SHI Zheng ∣ 2014 ∣ 彩色 Color ∣ 07'53" ∣ 中國 China

「如果當你能夠理解投入，期待的情緒就會高漲，你一定會跟群體共同去參與創造現場。每個人一定會知道自己適合什麼樣的環境，如果是適合到現場投入情緒產生共鳴，當然就要去現場。反過來說，對表演者而言，是不是真的有去感受到群眾的情緒？這一定是有。但我是不太理會，就照著自己的意思做，導致作品侵略性越來越強。因為我想要直接把我想要講的事情，直接灌他一拳讓大家知道。」（—鄭先喻，摘自論壇二內容）杜象（Marcel Duchamp）的「精密光學實驗」（Precision Optics），強調作用於視網膜上的視覺成像，在此產生一連串動態組合事件的效應。我們由此衍生「精準的光學展演」，作為即時性的關鍵。Live Cinema 現場電影，強調電影場域全面的即時感官。在聲、光、影、群眾、場域等現場要素的當下混製（Mixing），拼接出一連串事件的幻象團塊（Illusion-clouds），以決定性瞬間回應時代與當下的所有精神事件，即是現場性（Liveness）。

Screening Program Two: The Spirit of Era-Present—Precision Optics "The act of coming to see my performance indicates that he/she belongs to a certain cultural group and all cultures are cumulative processes so can we really say "present"? Or does it extend beyond the present? I'm skeptical about this. All languages are mutually exclusive, you have to understand and enter into the language of this field to be emotionally affected. The emotions arising within me when I'm watching a performance or creation is a kind of tension that exists between people." (—WU Tzu-An, content from Forum Two)

施政最早從 2012 年開始虛擬地景的創作，這次呈現的動態影像作品《Offset》，同樣也是通過程式生成數位圖像所創作的 audio—visual 形式作品。當他在使用電腦程序進行創作時，從軟體乃至整個操作系統對他來說是一個充滿意趣的世界，介乎於虛實之間，他既是這個虛擬環境的創造者，又好似一個獨步暢遊其中的攝影師與漫遊者。於是他不斷記錄下所看到的虛擬景象，為這個本不存在的虛擬空間創作顆粒化的聲音，展示給觀者其所獨自漫遊其中產生的冷寂感受，也將蓄聚於非物質空間里的幻像顆粒化，以滋生在媒介交替過程中被過濾出的不可言說之像。

Offset 2014 – Virtual Terrain is in composition since 2012, it is created successively after ‘Flâneur in a Virtual Land’ which is a series of digital prints. Like Flâneur, Offset is also an audio-visual work generated by digital images generating program. When SHI Zheng uses computer as my environment of artistic creation, software and the operating system is an interesting world full of symbols to me. It is both of actual and virtual realities, and he, both as the creator and a loner in this parallel planet, takes position as a photographer and rover. SHI Zheng keeps filming these virtual scenes, making and adding granularized noises to the space of creation, through which SHI Zheng would like to share with the viewers’ feelings of illusions in the nonphysical space, and the unspeakable phenomenon filtered out in a medium alternating.

本放映單元回應「回聲像」計畫 2018.12.01 論壇（二）主題選片人：吳梓安、邱智群、鄭先喻、Jamie Wyld This screening program is co-selected by the speakers at Forum Two taking place on 1st of December, 2018 in response to the research topic. Contributors：Tzu-An WU, Chih-Chun CHIU, Hsien-Yu CHENG and Jamie Wyld

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

"If you can understand and invest yourself into it, excitement will surge. Everyone knows which environment suits them best, if they're more suited for live events where emotions can run high and they can resonate then they should go to live events. But on the other hand, as a performer, is it really necessary to feel what the audience is feeling? Absolutely yes. But, out of bad habits, I don't ever really do that and I just do what I want, making my work more and more invasive because I want to say what I want to say. Punching them in the face will let them know." (—CHENG Hsien-Yu, content from Forum Two) 第七章 CHAPTER 7

The concept of "The Display of Precision Optics" derives from Marcel Duchamp's Precision Optics, where it stresses the fact that images formed on our retina are the effects of a dynamic combination of events. Movies screened at this event all bear such characteristic: the mixing of everything experienced and felt on the scene— sound, lighting, crowd, space, and so on. With these captured on the scene factors, illusion-clouds comprised of a series of events are thus strung. These critical responds to the era and real time mental events are indeed the embodiment of liveness.

選片人—Jamie WYLD 這件音像形式創作的動態影像作品，是精準確光學展演的一個實例。

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

黑與白—熊貓 Black and White – Giant Panda 許家維 Chia We HSU ｜ 2018 ∣ 彩色 Color ∣ 52'48" ∣ 臺灣 Taiwan 《黑與白－熊貓》以熊貓做為切入點，貫穿政治、歷史、動物等人與非人之間的連接，講述一段熊貓外交的歷史。熊貓只生活在中國四川一帶山區，換而言之，目前全世界動物園裡的熊貓都來自中國，特別是在二十世紀，熊貓成為重要的外交工具。中國的「熊貓外交」已有上千年歷史。早在公元 685 年，武則天就曾送給日本天皇兩隻「白熊」和 70 張「白熊」毛皮，此處的「白熊」就是大熊貓。二十世紀開始，貓熊曾經被偷渡或買賣交易離開中國，當他們現身美國或歐洲時，曾經席捲一股熊貓熱。他們分別在二戰、冷戰時期以及今日，扮演著重要的外交角色，也連結美國、歐洲、俄羅斯、日本、台灣與中國之間千絲萬縷的錯綜關係。 2018 年 3 月由東京藝術公社委託製作的 Lecture Performance 於台北駐日經濟文化代表處台灣文化中心演出。透過與日本「漫才師」合作，以熊貓可愛的形象為喜劇演出的材料，用詼諧的言語描述熊貓外交的歷史與政治問題。《黑與白－熊貓》結合當時的表演影像、歷史材料與螢幕視窗的觀看經驗相互映照與補充，透過漫才師的敘事重新在熊貓的移動與交換拓展出歷史、國際政治的樣貌。 In Black and White—Giant Panda , a panda is used as the entry point and acts as a connection between politics, history, animals, people and non-humans to tell the history of panda diplomacy. Pandas can only be found in the mountains of Sichuan in China. In other words, all pandas in the zoos in other countries are from China. Pandas even became an essential diplomatic tool in the 20th century. China's panda diplomacy goes back thousands of years to as early as 685 AD when Empress WU Ze-Tian sent a pair of white bears and seventy furs of white bear (white bear here refers to giant pandas) to the Japanese emperor. Pandas were smuggled or traded from China at the beginning of the 20th century. The panda fever started when they appeared in the United States and Europe. They played an important diplomatic role in World War II, the Cold War, and still does to this day. Pandas also linked the complicated relationship between the United States, Europe, Russia, Japan, Taiwan, and China. The lecture performance, commissioned by the Arts Commons Tokyo in March 2018, was performed at the Taiwan Culture Center of the Taipei Economic and Cultural Representative Office in Japan. As a result of cooperation with the Manzaishis, panda's lovely image is used as a material for comedy performance; meanwhile, the historical and political issues of panda diplomacy are described amusingly. In Black and White— Giant Panda , performance, historical materials, and the screen window viewing experience reflect and complement each other.

第七章 CHAPTER 7

選片人— 鄭先喻許家維和日本漫才演員以諷刺詼諧手法的共同創作，一場結合講座的表演，呼應著表演性與現場性，這件影像作品本身也相當有趣。 75

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

花山牆 Hua-Shan-Qiang

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

蘇育賢 Yu Hsien SU ｜ 2013 ∣ 彩色 Color ∣ 21'08" ∣ 臺灣 Taiwan

《花山牆》為一件涉獵宗教、死亡、虛實等不同層面的錄像作品，使用了紙紮文化的元素與象徵，影片以一位自焚男子為主軸，帶領觀眾一探進入冥界後的旅程，這趟旅程建築於人們對生後世界的想像與補強，生者視為空缺遺憾之處，以火為傳導，皆希望透過紙張完滿在另一個世界，這陰陽兩界的一來往，連同了認同的混淆也一起帶了進去。「花山牆」一名源自於台灣建築的山牆，是側屋身連結屋頂的山形牆面，其功能為承重、通風以及防火，而在歷經日據時期引進了西式的立面山牆結構，逐而轉變為僅剩裝飾性的用途。 A man who has died from burning himself comes to a paper house, where Golden Boy and Jade Lady await to take him to the Western Paradise. He climbs up to the Hua-Shan-Qiang, and his soul goes through a fable of national identity.

選片人—邱智群融合陳界仁《軍法局》和張徐展的紙紮相關作品，《花山強》透過紙紮穿越陰陽兩界，展現台灣傳統民俗文化元素，同時傳達面對解嚴時代與白色恐怖共同記憶的意識型態，色彩飽和又絢爛地與歷史空間與歷史空間裡那尚未明確的身份與共同意識產生對比。

瞬。光 The Captured Light of an Instant 曾莉珺 Yu Hsien SU ｜ 2017 ∣ 彩色、黑白 Color & BW 20'52" ∣ 臺灣、荷蘭、葡萄牙 Taiwan, Netherlands, Portugal

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

來自於費爾南多・佩索亞的不安之書（《惶然錄》）賦予的靈感，他獨特的個人式書寫觀察，以及他從未出版過的一本百年里斯本城市指南為出發點。探索對時間不同的定義與闡釋，藉由不同時間的觀點，時間的痕跡與流逝，時間與空間的錯置重疊，在過去與現在的對話中，創作一場影像詩歌。 Inspired by the personal observations of Fernando Pessoa's The Book of Disquiet , and his hundred-year-old city guide of Lisbon. This film is an audio-visual investigation of time, a visual poetry researching different perspective of time, passage of time, time rift in experience, mind and space. A flow of the passage of time is created by a conversation and connection between the present and the past.

選片人—吳梓安第七章 CHAPTER 7

以 35 釐米底片拍攝葡萄牙的街景，非常精巧的底片處理，是另一部聲音跟影像上完美結合的作品。

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

第七章階段性成果：映演單元 CHAPTER 7 Initial Achievement of the Research: Screening and Performance

第七章 CHAPTER 7

音像演出《Operation: 虛菩提 \ Subhuti》 Audiovisual Performance "Operation: 虛菩提 \ Subhuti"

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

音像演出《Operation: 虛菩提 \ Subhuti》 Audiovisual Performance "Operation: 虛菩提 \ Subhuti"

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

在過去的幾個月中，回聲像計畫在 C-lab 成立了新團隊 Vedic Formula，以現場電影為創作出發，共同參與了計畫期間所有過程，總結三場論壇的研究內容以創作做為回應，呈現階段性的實驗成果，為動態影像的未來留下伏筆。 In the past few months, we have set up a new team, Vedic Formula, starting from the live cinema, team members participating in all the forums during the project and summarizing the contents of the research. The experimental results leave a potential foreshadowing for the future of moving images.

化渡 VEDIC FORMULA 運算 #include <stdio.h> int main()

第七章

{

CHAPTER 7

printf( 不

); 动

return 0; } 化渡 VEDIC FORMULA 運算

吠陀 (Veda) 是古印度作為承載真理的智慧詩句，Vedic Formula( 化渡運算 ) 則是緣起偏離運算的技術團塊。《Operation: 虛菩提 \Subhuti》透過聲光影的運算，召喚人群進入穿越時代記憶、經驗、淺意識與業的洞穴，從進入真理的入洞口、朝向台灣總督府工業研究院、朝向中華民國國防部空軍司令部、朝向 C-Lab，為了啟動感官而集結的資訊團塊，都在今晚為了經驗而生成再現。 Originated in Ancient India, Veda is a collection of ancient poems about the Truth. Vedic Formula is a group of tech-clouds that drives for divergence. Through the algorithm of sound, light and shadow, Operation: 虛菩提 \Subhuti invites people back to the cave that transcends beyond time, memories, experiences, subconsciousness and karma. Starting at the entrance to the Truth, the journey leads towards the Industrial Research Institute of Taiwan GovernorGeneral's Office, Air Force Command Headquarters of the Ministry of National Defense, and C-Lab (Taiwan Contemporary Culture Lab).

VISUAL ｜黃偉軒 HUANG Wei-Hsuan, 韋宗晟 Ardent WEI SOUND ｜程杰 Jay CHENG, 林偉中 Weichung LIN PRODUCER ｜柯泓宇 KO.Image 81

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

音像演出《Operation: 虛菩提 \ Subhuti》 Audiovisual Performance "Operation: 虛菩提 \ Subhuti"

技術說明 Technical Description

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

影像設計 Image design

文字

柯泓宇 Content by KO Hung Yu

柯泓宇 Ko. Image 黃偉軒 HUANG Wei Hsuan 韋宗晟 Ardent WEI

如果我們活在名為資訊的整體之中，資訊（影像）的組成便成唯一的問題，並且關乎於什麼該被顯露。這一次我們不再是創作者，而變得像是服務者，服務著讓該顯露者被顯現。而到底什麼該被顯露？這個世界（作為整體的資訊）會有他自己的意志，同時也會是整體的意志。我將如實地跟隨我身邊所出現的各種機緣，作為《Operation: 虛菩提 \ Subhuti》的中心方法論。黃偉軒是這個表演第一個契機，他剛好也是 C-Lab Creators 的進駐夥伴，與 ASC 比肩為鄰。那一次他是說：「……將隱藏的資訊帶出來。」

都是出於機緣，我邀請了偉軒與我們一起發展這次的表演，也跟他一起再次申請進入大樓採集更多資訊。為了食物進入森林去採集，採集它是一個原始的動作，但這個動作其實包含了更多的面相，在穿越森林過程中，我們也在使各種生物進行遷移或傳播，重組與交換應該是比較完整的描述。在採集的過程中，所有的一切都是難以言喻的。藝術家無疑地在處理各式各樣的轉換，不同之處在於思考的設計，也就是運算的設計本身，呈現的是我們的理解與更多的疑問，這之中從來就沒有真正的生產出什麼，我們都是如實的媒介，即使不透過創作，人類依然是天地顯露的一處，我們都是整體意志的展示，沒有例外。基於這樣的想法，思考一位生產創作的藝術家，不如思考一位作為媒介的藝術家。程杰、林偉中是在一次合作之下認識，兩位都是深藏不露的音樂家，尤其在即興演奏方面格外傑出。韋宗晟是前一檔計畫 PSYCHO LAB 的原班成員，是目前活躍於各界的 VJ。這四位藝術家都擁有卓越的活性來面對製作，因為出於讓資訊的整體意志顯現，到頭來唯一的主體不是任何的想法或觀念，而是我與偉軒進入大樓的影像採集資料，對於每個成員來說都是挑戰。團隊就像成組的技術團塊（tech-clouds），默默地對資料進行了一連串的運算。我們各自使用各自的技術對這些資料進行處理（input-process-output），再將處理過後的東西傳給下一個人去解讀。這個溝通過程絕大多是斷裂的，起先並沒有一定連貫的主題，但透過處理資料的動作，過程中的確有一股流動產生，漸漸地我們的視野也都有投向了同一處。最終的演出，是試圖呈現資料自身的意志，現場的聲音與影像在實際訊號的收發下，可能已經沒有主控權的問題，聲音在控制影像，影像也在同時影響聲音，而這個知覺的意圖總體，不再只是侷限於單一意識。當這層意識自然流竄於整個場域時，「現場性」便由此誕生，其中包含著所有團隊成員顯露與未顯露的運算過程，更包含表演時空的當下一切總和。最終我們都是資料的轉譯站，發送著所有可能的慾望，構成指向整體資訊的契機。柏拉圖的洞穴沒有提到火光的來源，到是誰在撿拾古老的記憶，又是誰將他們帶回洞內並且付之一炬，最後化為一切的想像可能，投射在每一個人的心中，成為所有一切十方世界。

HUANG Wei Hsuan is the first dot that later connects this project. He is also one of C-Lab Creators next to The Art Shelter and Cinema (ASC). I remembered he said, "......to bring out the hidden information." The currently closed main building of C-Lab is also the Industrial Research Institute of Taiwan Governor-General's Office. Wei Hsuan's plan is to showcase the building elsewhere in the form of a recreated virtual space model through 3D scanning and data processing. As he explained his plan to me, I was constantly thinking about the following three steps: collection, algorithm and display. In light of the opportunity, I invited Wei Hsuan to work on this performance with me. I also joined him to go back into the building for collecting more data, like entering the woods to collect food. Collection is a primitive behavior. However, there is more aspects to it. While wandering in the woods, we induce the migration or communication of various creatures. I suppose recombination and exchange is a better way to describe it. In fact, the entire collecting process is impossible to describe. Undoubtedly, artists deal with all sorts of conversion. The difference lies in the design of the mind. That is, the design of the algorithm itself, which reflects our understanding along with more questions. Amidst it all, nothing is never really created. All of us are plain media. Even if we cease to create, mankind is the manifestation. We are all but one display of the collective will. There is no exception.

Based on this notion, instead of dwelling on the idea of an artist who creates, let's consider artists as media. Jay CHENG and Weichung LIN are two musicians I made acquaintance in pervious collaborations. Both of them are particularly remarkable in impromptu musical performance. Ardent WEI was a member of the last project PSYCHO LAB. He is currently an active VJ established in various fields. During the production, these four artists show extraordinary flexibility and potential. Because we intend to present the collective will of information, the main subject is not one single thought or concept but the information. Wei Hsuan and I collected inside the building. This idea turned out to be quite challenging to the team. We are like a group of tech-clouds that operate the data subtly. Respectively, we process data (input-processoutput) using separate techniques, and pass on the processed data to the next person for interpretation. The communication is mostly segmented. At first there was no coherence, but with the flow of data processing, we gradually synced.

第七章 CHAPTER 7

偉軒的計畫是將 C-Lab 未開放的主要大樓，也是日據時期的台灣總督府工業研究院，透過 3D 掃描技術採集大樓資訊，並且由這些數據再創虛擬的空間模型，於大樓之外的他方展示。聽他跟我解釋時，腦中不斷的迴響這三個過程：採集、運算、展示。

Suppose we live in a collective space named information. The only thing that matters is the composition of information (image) which concerns what to be manifested. In this case, instead of being the creator, our role becomes more of a server. It is the server's duty to manifest the things ought to be manifested. Exactly what is ought to be manifested? This world (i.e. the entirety of information) has its own will which is also collective. I will take whatever opportunity that emerges and follow whatever path that leads. This is the main methodology to Operation: 虛菩提 /Subhuti .

The performance as an end product is an attempt to reveal the will of the information itself. It is probably hard to distinguish whether the audio controls the visual or vice versa due to signal transmission on-site. It appears that the sound controls the image; the image also affects the sound. Hence the entirety of percipience is no longer confined to a singular consciousness. When this expanded form of consciousness begins to flow throughout the entire venue, it becomes "liveness" on the spot. It contains the team's operation processes both manifested and unmanifested. It also comprises the sum of everything that exists in the time and space the performance takes place. After all, we are all data translation ports that transmit all possible desires, leading to the entirety of information. The Platonian cave has no reference of the origin of flames. Who is the collector of ancient memories, and who burns them down back in the cave? In order to project the light that reflects the minds of each and every beings, the all and everything of the universe.

第七章階段性成果：映演單元

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

聲音設計 Sound design

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

文字

程杰 Content by Jay Cheng

CHAPTER 7 Initial Achievement of the Research: Screening and Performance

程杰 Jay CHENG 林偉中 LIN Weichung

連結

技術發想

連結某一聲音屬性（例如：音高）和空間屬性（例如：遠近、聲音物件大小等等）。

本次聲音設計的發想起始點為四聲道音響，以下簡稱四聲道 (quadraphonic sound）。會以此為出發點的契機主要有兩個：

實作

在進入實作階段之後，我們很快發現部分設定的目標至少此次無法達成。例如最根本的「定位」，即便聲音物件單獨在四個喇叭之一被發聲時定位明確，但當我們將它往圓心移動時，它的定位便會極速趨近模糊。因此，類似「分裂」的效果我們暫時不知道該如何達到。

2. 在觀看了黃偉軒的作品，並粗略了解創作方式之後，我們得到的一個重要關鍵字是「空間」。而我們希望能藉由研究四聲道得以窺探的剛好也是聲音和空間之間的關係。

實驗結果也發現，若我們希望至少達到在 2D 平面的四邊上平移時能有明確定位的話，那四個喇叭的擺設必須要趨近正方形。

基於以上兩點，我們很快地決定此次計畫在聲音上的主旨是四聲道。

更關鍵的是，由於四聲道和二聲道（甚至是其他較為普及的環繞格式，如 5.1 等）最大差異在於它可以沒有一個預設的聽眾聆聽的方向。再加上我們覺得讓聽眾在演出的時候能夠在這個 2D 平面中自由移動會是一個有趣的體驗，所以我們沒有任何預設的聆聽方位。這個看似單純的條件其實已經排除了許多我們列出來的目標。例如：在沒有預設聆聽方位的情況下，聲音物件的遠近其實已經失去了意義。假如我們藉由音量、頻率、殘響等變因讓演出空間內某一點上的聽眾覺得聲音極近，同一時間，站在另一點的另一位聽眾可能會有完全不同的感受。

研究過程背景

目標

四聲道初次被使用是在 1954 年，約莫在 1970-76 年，這短短六年間曾存在於家用音響界。之後除了少數電子音樂家（Suzanne Ciani, LIVE Quadraphonic, 2018) 仍堅持使用這個規格外，它幾乎可說是消聲匿跡。首先，我們希望藉由四個聲道達到怎樣跟傳統二聲道 (stereo) 不同的空間效果。二聲道音響可達到的空間效果大致如下：・物件在 1D 線條上的明確移動 (stereo panning) 和定位 (stereo image)。・藉由相位和時間差造成超出喇叭實際距離的寬度感受。・藉由音量、頻率、相位、殘響等效果造成的深度感受。・若不考慮戴耳機的選項，這大概就是二聲道能做到的一切。我們在計劃階段期望能藉由四聲道達到的效果如下：定位聲音物件在以四個喇叭為四角所畫出的 2D 平面上，能夠明確地被定位。如同我們能夠在投影屏幕上看見物件形狀，聲音物件的「形體」能夠被感受到。我們甚至能夠純粹藉由聽覺感受到物件形體的變化，例如：分裂。移動聲音物件在 2D 平面上的移動能夠明確地被聽眾感知。移動方式包括：・橫向、縱向移動

・繞圈

・跳躍

・反彈

同理，虛擬發聲物在真實空間中移動時的效果也無法成立。在沒有預設的聆聽方位的情況之下，用四個喇叭發聲來模擬真實發聲物件在真實空間移動的效果可以說是無法成立。

第七章 CHAPTER 7

1. 出於對環繞音響本身的好奇。且四聲道是讓聲音在一個開放空間內做平均的 2D「移動」最簡單有效的設置方式。

但移動的效果很快地就被確定是令我們滿意的。即便定位不清且我們必須放棄用各種技術來模擬距離感，但純粹因音量變化造成的 2D 移動效果已經和二聲道有頗大的差異。我們覺得最後的效果是相當奇妙且引人入勝的。

Technical Inspiration The sound design of this project is inspired by quadraphonic sound. There are two main reasons for the adoption of quadraphonic sound. 1. The curiosity towards the essence of surround sound. Also, quadraphonic sound is the easiest and most effective model to enable well distributed 2D sound movements in an open space. 2. Having seen and understood Wei Hsuan's work, we've come to find "space" as the key. We hope to explore the dynamic relations in sound and space through the study of quadraphonic sound. Based on the two reasons mentioned above, we soon came to the conclusion that the sound featured in this project is will be quadrophonic sound.

盡可能地虛擬發聲物在真實空間中移動時所造成的效果。例如：・同樣的發聲物在遠處時會比在近處時聽起來更小聲、有更多殘響、且高低頻皆較少。・發聲物在真實空間中移動時會因為趨近或遠離聆聽者而有音高的差別 (Doppler effect)。營造超現實空間藉由不同的殘響效果讓演出場地聽起來有不同的空間屬性（更大、更小、更高等等）。同一時間混合不同的殘響效果，讓 2D 平面上的部分區域聽起來跟另外一塊區域有截然不同的空間感。

Research Process Background Quadraphonic sound was first used in 1954. It could be found in home audio systems for a short period of six years between 1970 and 1976. After that, it is almost unheard of other than among few electronic musicians (Suzanne Ciani, LIVE Quadraphonic, 2018) who are committed to quadrophonic specification. 85

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

第七章階段性成果：映演單元 CHAPTER 7 Initial Achievement of the Research: Screening and Performance

Objective Our first decision was to determine how to create a space effect different from the traditionally used stereo with quadrophonic sound. A stereo can create the following space effects: ・An object's definite 1D linear movement (stereo panning) and position (stereo image) ・Sense of width that exceeds the actual distance to the speaker created by phase and time difference ・Sense of depth created by volume, frequency, phase and reverberation ・Without the consideration of headphones, these are what a stereo can achieve. At the planning phase, we anticipated to achieve the following effects using quadrophonic sound: Positioning ・ The definite position of a sound object can be obtained on a 2D surface defined by linking the four speakers placed in a quadrangle. ・ The shape of sound objects can be perceived in the way we see the shape of objects projected on a screen. ・ Furthermore, we can perceive the physical change of objects with hearing, e.g. a split

More importantly, the most noticeable difference between quadrophonic sound and stereo (or other common surround sound formats like 5.1) is that the listener's observing direction is not predetermined. Additionally, we reckon that it will be an interesting experience for listeners to be able to move freely on a 2D surface while the performance is ongoing, so we didn't suggest any listening position. This seemingly simple condition has in fact ridiculed a number of objectives we set out to achieve. For instance, without a predetermined listening position, the distance of a sound object to the listener observer has no significance. Suppose we make a sound appear very close to a listener at a certain spot in the performance venue using the change of volume, frequency and reverberation. Meanwhile, another listener standing at another spot can be observing the same sound very differently. Accordingly, the simulation of sound sources in a real space is unfeasible. Without a predetermined listening position, using four speakers to simulate a real sound source moving in a real space is also inapplicable. Nonetheless, we soon confirmed that we are satisfied with the moving effect. Albeit the unclear positioning and that we had to quit using all sorts of techniques to simulate distance, a significant difference from stereo is already observed in the 2D moving effect caused by sheer volume change. We find the effect very intriguing.

第七章 CHAPTER 7

Movement The movement of sound objects on a 2D surface can be definitely perceived by the listener. Types of movement include: ・ Horizontal and vertical movement ・Circular motion ・Leap ・Rebound

We also found out from the experiment that if we hope to at least get a definite position of linear movements on the four edges of the 2D surface, the four speakers must be arranged in almost a square formation.

Simulate the effects of a sound object's movement in a real space. For instance: ・ The same sound source will sound quieter with more reverberation and less high and low frequency in the distance. ・ The sound source will change in frequency as it moves closer to or farther from the observer in a real space (Doppler Effect) The creation of a surreal space Create a variety of space attributes using varied reverberation effects (bigger, smaller, higher, etc.) Mix different reverberation effects at the same time to create completely different sense of space in certain areas of the 2D surface. Connection Connect a certain sound attribute (e.g. pitch) with a space attribute (e.g. distance, size of sound object, etc.)

Implementation Once we started implementing, we soon found out that some of the objectives we had set can't be achieved in this particular trial. Take "positioning" for instance, even if the sound object is clearly positioned when the sound is made from one of the four speakers, its position becomes unidentifiable as soon as we move it towards the center of the circle. Hence, we don't know how to achieve effects like a "split" at the moment.

「回聲像」— 動態影像論壇與音像創作實驗計劃 Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation Project

感謝名單 With thanks to： Asian Artist Moving Image Platform Forum (AAMP) （Jangwook LEE, Inhan CHO & Sung-Kwon JEON） Apichatpong WEERASETHAKUL Jamie WYLD 吳其育 Chi-Yu WU 吳梓安 Tzu-An WU 余政達 Cheng-Ta YU 周郁齡 Yu-Ling CHOU 邱智群 Chih-Chun CHIU 許家維 Chia-Wei HSU 許哲瑜 Che-Yu HSU 黃建宏 Chien-Hung HUANG 鄭先喻 Hsien-Yu CHENG

團隊名單 Team： ASC Team| 何尉民、洪韵婷 Wei-Ming HO, Yun-Ting HUNG 計劃主持人 Project Director | 王文琪 Wen-Chi WANG 計畫觀察人 Project Advisor | 蔡家榛 Jia Zhen TSAI 編輯 Editors：王文琪 Wen-Chi WANG 柯泓宇 Hung-Yu KO 張雅淳 Ya-Chun CHANG 詹宏凱 Elliott CHAN 林怡君 I-chun LIN 翻譯 Translators：浩瀚兄弟文創社 Howard and Hanson's Creative Studio 攝影 Photographer：何宇倫 Yu-Lun HO 設計 Designer：吠搭拉 Faye Design 指導單位 | 文化部 The Ministry of Culture of Taiwan (Republic of China) 策劃單位 | 臺灣當代文化實驗場 Taiwan Contemporary Culture Lab (C-lab) 執行單位 | Art Shelter (The Art Shelter and Cinema)