Michel Foucault’s concept of “heterotopia” denotes the centrality of space, which can also be re-imagined through Deleuze and Guattari’s rhizome whereby point-to-point connectivity within an existential domain needs not follow the orderly layering of time and geographic distribution of space. Heterotopias are spatial entities within which the past, the present and potential future meet to breed new relations, and whereby what is cultural, historical, personal, economic and political are part of one another through endless enactment. On the importance of space, Foucault wrote, “We are at a moment, I believe, when our experience of the world is less that of a long life developing through time than that of a network that connects points and intersects with its own skein.” (Foucault, “Of Other Spaces: Utopias and Heterotopias”) But space and heterotopias (literally pluralistic geographies) are not referring to set places. Heterotopias are there when we recognize them interpretively and narrate them as such.
cyber love, Machinima, shell body, computer animation, Virtual Body
網路愛情, 機造影片, 殼層身體, 電腦動畫, 虛擬身體
The story of love that takes place in the online game World of Warcraft is turned into the raw material to explain how players of online games construct their own virtual bodies in the digital world and how their bodies are extended in digital form, thus turning a game into a medium to touch, embrace, and kiss each other through different fantasy races of doubles. By crossing to the other side of the screen, visuality enables the character one plays to entail the illusion of bodily and physical connection with other characters, whether as affect or constraints, thus overcoming the limitation of our real body. It is a new sense of body constructed digitally, and much of it through machine-made movies and computer-realistic animation. The game world as such purports to link digital haptic perception with actual bodily movement, allowing free traverse across the real world and the what is on the other side of the screen. Being in the gameworld, many new questions emerge: are there other possible ways whereby our body exists? How far is media expandability really overcoming the physical limitation of our body? Would a new spirit emerge from these new digital bodies? Are we anticipating new affective connections and new romance?
將發生在線上遊戲魔獸世界（World of Warcraft) 中的愛情故事作為主題 ，闡述線上遊戲的玩家如何在數位世界建構自身的虛擬身體或身體如何以數位形式延伸，以遊戲作為媒介，透過不同奇幻種族的替身彼此接觸、擁抱、親吻。穿越螢幕，角色以視覺產生身體觸覺與精神連結，建構感情與羈絆，超越原生身體的物理限制與缺陷，導向數位媒體中的身體感。透過遊戲世界的機造電影與電腦實境動畫，嫁接出數位化的身體感知與實際肉身之間的直接接觸，穿越多重身體知覺，思考身體如何以其他形式、媒介延伸，超越原生肉體，產生全新的精神、情感連結與愛情。
Juan Poyuan 阮柏遠
JUAN Poyuan, an artist, gamer and Internet addict, takes digital archaeology as the core concept of his creative process, and has been focusing on digital games and online spaces for a long time. With the works of Ruan Baiyuan as an important source of creation, Juan combines online games, online communities, machine-made videos, game engines, 3D software, history, memory, aesthetics and technical characteristics to create a new, contemporary visual experience, technical thinking, sculpture, video and other ways of viewing, presenting new perspectives and ways of thinking to reflect on and question the meta-set-up behind this post-Internet era.
I would not say that it was just a virtual kiss.
It is a kiss between reality and another reality.
The description in the work is like a beautiful poem, small and moving.
The internet world and things that happen there are just another reality to me. The camera migrates into that world, moving slowly, through the body and the spirit.
Whether the story is possible is not important to me at all; on the contrary, the work is empowering in terms of making body and spirit connected, which is something I care about more than the actual world.
The images take me into that night, an unforgettable night.
I also have the experience of being a gamer in that game (World of Warcraft). (WONG Chun-hoi)
Does this work or the recreated experience require a certain level of hacking into the original game engine? (Linda Lai)
Baobei is a journey through matrilineal memory and oral storytelling, the passing on and inter-generational reinterpretation of Chang'e, the legendary Chinese moon goddess.
The work's title, "Baobei," meaning "treasure" in Mandarin, is an endearment that describes the intimate matrilineal relationships woven across generations of Chinese women.
The Chinese legend of the moon goddess, Chang'e, is a well known tale that endures even amongst the diaspora. As Chinese and Taiwanese Americans, we realize that we have remembered different versions of the story from our parents. Through the lens of our experiences as third-culture kids, we pieced together sonic and visual landscapes that attempt to relate to the unspoken messages passed from one generation to the next.
The video examines everyday moments and reinterprets them through retellings, creating layers of association through the inevitable decay of memory. The piece is just as much about what is left out as what has been passed on or remembered. The footage, other than the NASA images, was "found" from past years of documented everyday moments. The video essay therefore is also presented as a reel viewer of personal memories and associations.
Original music and narration: Lucy Yao
Found footage shot and edited by Dyan Jong
Poem: “Lore” by Nancy Huang
NASA footage used:
Apollo 11 Introduction
NASA Moon Rover Books Ride to the Moon
LRO's Diviner Takes the Moon's Temperature During Eclipse: Librating Moon
Active Region on the Sun Emits Another Flare
The Moon's Permanently Shadowed Regions
The Best Observed X-class Flare
A First for NASA's IRIS: Observing a Gigantic Eruption of Solar Material
Baseball Hits an Eclipse
Meet ICON: NASA’s Airglow Explorer
Time Lapse of 2017 Solar Eclipse
The Moon As Seen By Humans In Space
New Soyuz Crew Launches to the International Space Station
Super Blue Moon Lunar Eclipse
Earth Glow & Stars
Sunset Over China
Cinematography, Editing: Dyan Jong Music Composer, Narration: Lucy Yao Poet: Nancy Huang
Dyan Jong is a Los Angeles based creative director, director and light installation artist. Her large-scale, immersive pieces use repurposed film lights as a nod to her origins as an image-maker in music + entertainment. Commercially, her clients include Netflix, TikTok, Amazon Music Japan, Sony Pictures, Sony Music, Columbia Records, GQ, and Entertainment Weekly. Lucy Yao is trained as a pianist, teacher, and composer. By redefining grief as a source for uncovering and discovery, her work is created with an urgency to preserve memory and to illuminate joys hidden in everyday sounds. Lucy has held positions at New York University, Interlochen Center for the Arts, the University of Michigan, and the Manhattan School of Music. Nancy Huang grew up in America and China. She is a VONA, Tin House, Watering Hole, and Pink Door fellow. Her writing revolves around pain, memory, and trustworthiness. Her debut poetry collection, Favorite Daughter, is out of print. She has an MFA from NYU.
I like this work because I like fairy tales, a rich domain of cultural politics. This work has a clear structure; it is procedural in unfolding the oral power of passing on folk legends without being nostalgic. The “re-telling” of the same legend, to me, is not so much above evolutionary progress through the generations, but more about the embeddedness of the act of story-telling in its milieu. The work makes me wonder, too, what is the obsession to (re-)tell folk legends about, and why are we obsessed with story-telling in general? What would be a feminist understanding of this? My only discontent is that the VO is too fast, and could have been better considered as a voice performance. (Even a casual VO should be casual because it is intended and the best strategy.) My Special Mention goes to this work also because it is the collaborative effort of a group of women.
I like the work and also give it extra points because the creators made their own music, and the somewhat messy collage is impactful. Yet, I am hesitant about the narrative approach. (WONG Fei-pang )
Deploying the raw material from a prosperous city, Smart Cities: DYSTECHTOPIAis part of her on-going attempts to scrutinize power, observe our fragile and vulnerable states and to address a plurality of inquiries -- love, creativity, freedom, mortality and corporeality. As she documents and locates these social shifts, moods and transitory surges, one senses tension, ineffability and the constant state of flux. Editing to Tan is where artistic intervention lies. The crucial process editing allows her to examine closely and repetitively the micro and macro nuances of appealing sight-and-sound surfaces and what lies underneath -- the complexity of human relations, the cultural dimension of personal histories, embedded irrationalities in a rationally managed city, chao, inequalities, and subdued resistance. Sound is placed to distinguish spatial consonance as an attempt for a phenomenological engagement with the work.
Gina practices through ways of responding, retelling, recording and readdressing to locate our individual, collective relations and connections in the world. Materializing out of what she may be confronted circumstantially within its contextual locus, or drawing insights from within literary sources, philosophy, and our everyday existence, she now focuses on video while working across varied mediums, relating forms to critical discourses to which she commits herself.
Gina Peyran Tan
Disenchanted after seventeen years in the selling of desires in the commercial world, Gina left Singapore to live in France, immersing in abstract formal painting for several years. She then moved to London and subsequently pursued her interest in contextual practice at the Royal College of Art graduating with a MA in Contemporary Art/Critical Practice.
Working across different mediums, Tan's practice draws insights from literary and philosophical sources and the everyday environment to explore the existential, cultural and political response of individuals, including her own, to our heterogeneous society. Her diverse subjects addressed a plurality of inquiries; love, creativity, freedom, mortality and corporeality. Working mostly with video format at present, she documents and locates these social shifts of our everyday existence, moods and transitory states. Her work captures a sense of impermanence and traces emotions, translating a human experience grounded in tension, ineffability and the constant state of flux.
This work takes advantage of found footage with polished images from advertisements and public services announcements. There are points when certain elements are explicitly repeated to call our attention. This approach is very visible, whether when applied to well formed imaginary or to very sketchy visuals… I am not entirely sure if the interviews, for example those with the elderly or about them, are well integrated into the piece. I feel the work attracts us with lots of eye-candy images and here and there it feels obliged to insert a criticism. But what is the analysis? I also could not help wondering whether the essayist is a Singaporean or not. (Linda Lai)
The repetition used here is quite important to this work. (WONG Chun-hoi)
I think at one point, the creator reached a point where she is left with no choice… Those are the images one finds in the everyday landscape of Singapore. (WONG Fei-pang)
07' 03" | 16:9 | 2021 | mp4 Location : Worldwide Worldwide Selected category:  DETAILED EXPLANATION OF A SINGLE ART WORK 「我的作品由零說起」  DETAILED EXPLANATION OF A SHOW 「創作事件簿」  ON-SITE DOCUMENTATION 「留住一瞬即逝的」  THEMATIC EXPOSÉ / EXPRESSIVE JOURNALING 「有板有眼，有話要說，有感而發」
In the midst of..., pandemic opera, virtual opera, multimedia
《在...之中》, 疫症歌劇, 〈你已收到邀請...〉, 多媒體
In the Midst of...《在...之中》
Episode 1 - Calling...〈你已收到邀請...〉
The work features Joshua Ip's "Your Message is Taking Longer than Usual to Send" after two poems of Tang dynasty poet Du Fu (杜甫：《送遠》,《月夜憶舍弟》) [literally farewell for a long journey and thinking of my brother on a moonlit night]
Explored by Hippocrates Cheng since 2020, “pandemic opera” is a new format of opera invoked by the pandemic since 2019, which will be presented online without geographical and time constraints. "In the midst of…" is a multi-media work that takes inspiration from different poems written by outstanding poets from Hong Kong and various places worldwide. The opera's theme and artistic presentation are related to pandemic, masks, and future possibilities.
The opera works like a TV series with short episodes published per month. The music is written for voices (opera, Cantonese opera, poets' voices), instruments (Western instruments, Chinese instruments, and more), and electronics. The opera will be sung in mainly Cantonese, English, and Mandarin.
Artistic Director, Composer and Producer: Hippocrates Cheng 鄭靖楠 Multimedia Artist: James Cheung 張子謙 Visual Artist: Eilly Li 李鎧而 Video and Project Coordinator: Steffi Leung 梁芷菁 Cast: Terminator (Soprano) : Amanda Ng 吳詩琪 Receiver (Tenor) : Samson Chow 周殷豪 Sender (Alto): Susanna Leung 梁頴思 Sender (Tenor): East Butt 畢曉東 Sender (Baritone) : Ximple Shum 沈博文 Orchestra: Flute: Phoebe Kam 金寧兒 Recorder: David Tong 唐書堯 Chromatic Harmonica: Steffi Leung 梁芷菁 Suona: Willis Tsoi 蔡暐彥 Horn: Katy Webb Tuba: Jacob Kopis Zhongruan: Eddie Kung 宮嘉豪 Pipa: Jenny Pang 彭泳汶 Violin: Joey Ho 何沛彥 Viola: Joshua Wat 屈正熙 Cello: Erica Wong 王爾琪 Percussion-: Ip Cheng Xin 葉承欣 Fake faces credits to thispersondoesnotexist.com
Hippocrates Cheng graduated from the Hong Kong Baptist University with a Bachelor of Arts in Music. With support from the Hong Kong Jockey Club Music and Dance Fund's full scholarship, he pursued his Master’s degree in Music Composition at The Hong Kong Academy for Performing Arts with excellent performance under the guidance of Prof. Clarence Mak and Dr. Cheung Pui-shan. Cheng is currently a doctoral music student at Indiana University’s Jacobs School of Music, majoring in composition, and minoring in ethnomusicology and music theory.
His compositions cover a broad spectrum, ranging from instrumental to scores for large-scale multimedia productions. His works have been performed around the world such as Vienna, Mexico, Macau and Shenzhen. In 2016, his Fragment was selected by Ablaze Records for the inclusion of the SINFONIA Series CD album. Later in 2016 and 2017, his Gather and Scatter and The Walled City for Chinese orchestra was premiered and performed by the Hong Kong Chinese Orchestra in their “Music from the Heart” concerts. His Clamor for saxophone octet won third prize in the New Generation 2016 contest organized by the Hong Kong Composers’ Guild and RTHK. Cheng’s Fission for flute, clarinet and piano was premiered at the Hong Kong Vienna Music Festival in Vienna. His electronic music, Time and Earth, was selected and broadcast by MUSLAB. He was also appointed as the commissioned composer by Musicus Society in 2016.
Cheng is also a pianist and overtone singer. He was awarded a FTCL diploma in piano recital in 2016 and one of the winners of RTHK Young Music Makers 2017 with his overtone singing. He was the artistic director and composer of the first Academy Festival: School of Music multimedia production, “The Cityscape,” which was also awarded the Academy School of Music prize for “The best interdisciplinary project 2016-2017.” In 2018, he became the artistic director and composer of “The Cityscape II.”
My reception is related to my personal experience of being in a band and playing music together. It has been a long time since I last went to a concert and therefore I feel truly happy watching this video. I think what makes music good is the concept of “sharing” and being part of a strong bonding community, which is what I have truly missed. And yet it is also very sad that such an activity had to happen on Zoom video conferencing. (Winnie Yan)
It reminds me of my experience of once being involved in a karaoke party … I like the playfulness of the video which is beyond normal documentation. It’s good to make fun. (WONG Fei-pang)
I am more keen on the slight absurdity in this video, it’s the effort and drive to cope with COVID-19 that makes the video delightful. (John Chow)
In this particular Zoom-video event, I can feel the sense of togetherness much stronger than some similar submissions in previous issues. (WONG Chun-hoi)
I want this video to stay in the zine. Still, I wish this kind of event wouldn’t have to continue on Zoom any more or else one should re-invent it into a a artistic method, which this video essayist is well aware of. The video event is well organized and structured methodically. There is a strong sense of togetherness, artistically. (Linda Lai)