OPEN CALL
公開徵稿
Introduction
簡介
《平地數碼》定期發表網上錄像誌，每季更新內容。作為實驗的首三期於2020年12月31日、2021年3月31日與6月30日上載公開徵稿（錄像文章）的獲獎及優秀作品和評論，每季期間並將彈性展出「據點聲影媒體存庫」的珍寶。
What is a video essay to D-Normal/V-Essay?
「平地數碼」要的是怎樣的錄像文章？
The precise and concise use of sight-and-sound and text to…
用最經濟和精警的文字和聲影去…
- reason 推論
- persuade and argue 說理
- assert and describe 陳述、描述
- confess and to express 抒情剖白
- question and interrogate 發問審視偵查
- analyze and interpret 剖析、演繹
- present field-reporting 報告田野發現
The video essay is the intersection of many familiar genres:
「錄像文章」是多種我們耳熟能詳的表述體裁的交叉點：
- film/art review, film/art criticism 影評藝評
- prose 散文
- argumentative writing 議論文
- exposé 說明文
- expressive writing 抒情文
- reportage 報告文學
- sketches and portraits 素描寫生（人、物、地、事件）
- scientific description 科學說明
- found footage/found sound recreation 現成聲影二次創作
- documentary 紀錄片
- video poem 錄像詩
- lecture video/lesson plan video 教案錄像
- DIY video 自學錄像DIY
- documentation video (background, processes and outcome of an art event) 藝術展的背景、紀錄和解說
KEYWORDS
關鍵字
- Video essay as a long-term movement 長線的錄像文章運動
- Cross-genre videography 跨體裁、混媒互媒錄像書寫
- Videography as the performance of selves and consciousness in real space 錄像書寫作為自我和存在意識的演述
- Video as art/literary/moving image criticism 錄像作為評論
- Video as the integration platform for documentation, demonstration, argumentation, and reportage 錄像作為示範表演、辯說、議題闡述、技術流程的紀錄的綜合平台
- Opening the black box of media/machine art 打開數碼媒體藝術的「黑盒」
- Believe in art 相信藝術
APPLICATION TIMELINE
報名及提交作品時間表
Open Call Round 3 (2021 Summer)
第三季徵集（2021夏）
Submission Period
徵件日期
2021.02.23 - 2021.04.30
Deadline
截止
2021.04.30 / 23:59 HKT
via online submission system / form
透過網上系統自行上載遞交
Result Announcement /
Thanks you for your application. The result of the open call will be announced with the launch of video zone #3 on 2021.06.30
謝謝！ 結果公佈及第三期錄像雜誌發表 將於2021年3月31日
2021.06.30
Open Call CATEGORIES
徵集類別
*The on-line submissions of your videos should correspond to the following
categories below. The final zine presentation may not necessarily follow such division.
*網上投件，請按以下分類顯示所屬的界別。分類方便評審，錄像誌的展示按該期整體內容作設計。
**All video examples are from members and friends of the Floating Projects
Collective. They are existing examples, and are NOT meant to be exemplary. Submitters are welcome to
innovate to the fullest.
**以下所有錄像文章例子都是「據點。句點」成員或友好既往的作品，只供參考，並不代表比賽標準或理想要求。極力鼓勵參賽者創新，刷新語言和符號的應用，開拓新聲道。
1
OBJECT LIVES / OBJECT-LOGUES
「東西自白」
- everyday objects: from an anthropomorphic to a new materialist view
- the lifespan, histories and encounters of objects
- the social life of things
- objects and their associated personal stories
- “thing power” – a philosophical exploration (Jane Bennett)
- “visual ethnography” – a specific form of documentary in anthropology that explores material life
- 實驗性的徵件。物件的故事以「物」出發，涉及理念層面以至創造性，個人自傳以至社會文化的側記，哲理以至自由聯想。
- 放開物件一定以人為本才可被理解的局限，反過來看器物延伸了那些我們的才藝、訴求。
- 以物件、物質生活去探索文化歷史是人類學和新媒體藝術發展所強調的。
VIDEO EXAMPLES
實例參考:
(2012) Object-logue 《物物語》/ a short video by Linda Lai as part of an installation
(1) A video on objects in Linda Lai’s 9th Shanghai Biennale commission, 1906-1989-2012 / Guangzhou – Hong Kong – Shanghai – Anji (2012-13, Shanghai) 三個與黎肖嫻2012年第九屆上海雙年展委託裝置《1906-1989-2012 ／ 廣州-香港-上海-安吉》有關的錄像文章
(2013) Staging the load: setting up '1906-1989-2012' in Shanghai《大紅包袱高高掛：佈展「1906-1989-2012」》; edited by Lilian Fu
(2) A video on objects in Linda Lai’s 9th Shanghai Biennale commission, 1906-1989-2012 / Guangzhou – Hong Kong – Shanghai – Anji (2012-13, Shanghai) 三個與黎肖嫻2012年第九屆上海雙年展委託裝置《1906-1989-2012 ／ 廣州-香港-上海-安吉》有關的錄像文章
(2013) 57m kilograms: why did I make 1906-1989-2012? / 《57百万公斤：我为何创作「1906-1989-2012」》; edited by Lilian Fu
(3) A video on objects in Linda Lai’s 9th Shanghai Biennale commission, 1906-1989-2012 / Guangzhou – Hong Kong – Shanghai – Anji (2012-13, Shanghai) 三個與黎肖嫻2012年第九屆上海雙年展委託裝置《1906-1989-2012 ／ 廣州-香港-上海-安吉》有關的錄像文章
(2015) Untitled (Documentation of Two People Peeling Potatoes) by Winnie Yan 《未名（兩個人在削薯的記錄）》（忻慧妍）
(2019) Those Oranges You Cannot Eat by Wong Chun-hoi《冚街橙》，王鎮海 / a media play with found objects (oranges) at C3A, Cordoba, Spain
2
DETAILED EXPLANATION OF A SINGLE ART WORK
「我的作品由零說起」
- many artworks were made and forgotten: this category encouraged archivable documents/statements of a singular art work by an artist to facilitate understanding by future researchers and historians. Contemporary art, film/video, literature, comics… all welcome.
述說個人作品來由、意欲，使之成為必須的創作行動的一部分，方便日後寫藝術史的人。當代藝術、電影錄像、文學創作、動漫...皆可。
VIDEO EXAMPLES
實例參考:
(2020) A brief introduction to Door Games Window Frames: Near Drama (2014)
by Linda Lai (March 2020, for Denny Dimi Gallery, New York City)
黎肖嫻《景框戲門》錄像創作自述（2012，紐約Denny Dimi Gallery 網上講座）
(2018) Documentation for Errant by Hector Rodriguez, edited by Sam Chan
羅海德《遊子：動勢考》{2018) 創作記述，陳顯昌剪輯
3
DETAILED EXPLANATION OF A SHOW
「創作事件簿」
- the making of an exhibition or an event viewed from multiple angles with insights and personal stance.
藝術史常重視獨立作品，事件、群展也同等重要，往往是策展的心機，又或帶「運動」意識的創舉。
VIDEO EXAMPLES
實例參考:
(2019) Algorithmic Art: Shuffling Space & Time, on-site documentation (2018.12.27 – 2019.01.11, City Hall lower block gallery, curated by Linda Lai), edited by Winsome Wong)
《演算藝術：劃破時空》(2018-19) 展覽概要，黎肖嫻策展，黃慧心剪輯。
(2020) Pauline Oliveros. Retrospective (2020.06.25 - 2021.01.17, Exhibition @ Centro de Creación Contemporánea de Andalucía) ; produced by Alvaro Fominaya
4
ON-SITE DOCUMENTATION
「留住一瞬即逝的」
- installations, performances, happenings and situations are inherently impermanent art forms that only survive with thoughtful documentation: what kind of documents? What is a document? What is a sight-and-sound document? What is the place of the written words?
裝置、表演、即興處境與行動等藝術活動往往是過眼雲煙，往後就只有圖樣、硬照、錄像。為何不把各種零散的檔案紀錄，合成錄像文章，說理又言情表意，還可在網上分享？
VIDEO EXAMPLES
實例參考:
(2017) Mnemonic Archiving: a Dispersive Monument HK
/ stock-taking of sight-and-sound and objects in Linda Lai’s solo show on media objects, Pearl Lam-SoHo, on-site documentation, edited by Hugo Yeung
《記憶存庫記我城 ：流散的碑誌」》(2017)，黎肖嫻個展記述與空間聲影實錄，楊鳴謙拍攝、錄音和剪輯。
5
Thematic exposé /
Expressive journaling
「有板有眼，有話要說，有感而發」
- a video essay could be an adapted, lively exposition of a theory, an essay, found quotes with a theme, organized as sight-and-sound discourses for educational sharing purposes.
（仿效十九世紀的「講課片」）解說一篇文章、一種理論，化為可傳遞的、易消化、帶有個人洞見和引伸的教育性錄像文章。
VIDEO EXAMPLES
實例參考:
(2009) Linda CH Lai: Voices Seen, Images Heard 黎肖嫻：《看不見的聲音。聽不見的形象》
《越野中山》台中一群小學生剪輯的 A techno competition, reported and edited by a group of primary school students in Tai Chung, produced by Vanessa Tsai
(2004, Linda Lai) Urban Space of Hong Kong as the Imaginary: a Visual Story in 5 Episodes 《香港城市空間想象界：一個五段式的視覺故事》 / presented at Singapore, Para/Site and the Substations bilateral exchange, 2004)
6
Narration & Monstration
「講述與示範」
- to narrate + to show: alluding to “monstration” in Early Cinema days in the late 19thC… To lecture, to educate with audio-visual illustrations was an innovative practice for scientific subjects… so it has been through the last centuries up to the present digital milieu. 科學示範、藝術創作過程的技術紀錄、以至今天的DIY、網上教學，這是投影技術在19世紀末與電影同時誕生以來一直淪為次要、卻從未停止過發展的活動。請分享你的個人珍藏。
VIDEO EXAMPLES
實例參考:
A science demo video for primary school students by Vanessa Tsai: 蔡季妙：《發酵、發笑：酵母菌是活的》 (fermentation = laughing out: Yeast lives) (2011) with Chinese text only
(2019)《第七屆索尼科學大賞-一定要參加：搶救海洋大作戰 》/ 蔡季妙 / Vanessa Tsai preparing a group of students to join the 7th Sony Science Award, 2019, Tai Chung
The Telescope (2012, Wong Fuk-kuen)
a video demonstration of how Hector Rodriguez conceived his Theorem 8 (2013)
How to Train Your Robotic Arm (2014, Isaac Chan, Leoson Cheong, Hugo Yeung)
7
VIDEO ESSAYS THAT EXPLAIN HOW ALGORITHM WORKS
打開編碼演算的黑盒
- The more coding or art-science dialogue is a hurdle to contemporary viewers, the more we should make an effort to ease the fear. The minimum is to explain, provide facts, even if they do not entertain or provide visual pleasures. There’s got to be specific groups of audiences who are ready to make the leap.
打開編碼、藝術與科學對話的「黑盒子」，為不明白的人解說，鋪陳事實，解釋步驟，總有願意踏出多一步的好奇的觀眾。
VIDEO EXAMPLES
實例參考:
Theorem 8 (2013, Hector Rodriguez), exhibited at WMC_e5, edited by Philip Kretschmann
(2010-2012) Gestus by Hector Rodriguez, exhibited at the 2013 Hong Kong Contemporary Arts Award and SIGGRAPH Asia
Vaulting Space
Linda Lai (2014, Linda Lai), exhibited at WMC_e5, edited by Wong Chun-hoi
黎肖嫻數碼裝置《翻騰空》(2014)作品解說與現場實錄，王鎮海剪輯。
**For all categories, we encourage transmedia creativity: re-discover the multiple possibilities to juxtapose sounds, visuals and words. We pay special attention to new species of “third media” that stretch open the idea of animated pictures and the use of effects alongside the filmic tradition of video.
**鼓勵「第三媒體」在新媒體時代的再超越：無論那一個組別，歡迎新品種多媒動畫實驗、程式化的視覺效果與錄像的電影源流的實驗結合。
ENTRY REQUIREMENTS
提交作品之要求
-
Each video essay is limited to 30 minutes’ maximum duration
片長不多於30分鐘 -
A submitter can upload up to 2 videos entry per open call round
每位參賽者於每回徵集最多只可遞交兩個作品 -
All submitted video works must fit in at least one Open call categories
每個參賽作品必須符合最少一個徵集類別 -
Video must be subtitled in English if that is not the original language
若原作用的不是英語，必須附設英文字幕
ELIGIBILITIES
參賽資格
- All are welcome
沒有限制
ENTRY FEE
費用
- FREE
免費
AWARDS & PRIZES
獎項
FINALISTS
入圍優秀作品
-
Shortlisted video essays will be exhibited in D-Normal/V-Essay Video Zine
入選作品均於「平地數碼：錄像誌」網上展覽中展出
AWARDS & PRIZES
獎項
-
Best Video Essay: ＄2000 HKD
每期「最佳錄像文章」現金獎港幣2000元正 -
Special Mentions: number varies based on jury recommendation
「特別表揚」，數目由每期評審決定。(獎勵每期有神秘贊助）
JURY PANEL / CURATORIAL TEAM
評審及策展團隊
GUEST JURORS
客席評審
-
Hector Rodriguez
羅海德
-
Wong Fei-Pang
黃飛鵬
- Tamas Waliczky
FLOATING PROJECTS COLLECTIVE
句點藝術群體成員
-
3 Floating Projects Collective members will join the jury in each round.
每季由三位句點藝術群體成員出任評審
APPLICATION SUBMISSION
報名及提交作品方法
- All Entries must be submitted via our designated online system
所有參賽作品必須經由指定網上系統報名及提交
FAQ
常見問題
Please go back to INTRODUCTION Session on this page. 請參閱本頁的簡介段落
Related articles 相關文章 :
NO. There is ONLY ONE competition. All video entries are in the same competition.
七個徵稿組別將是混合參與一個錄像文章比賽
For further questions, please contact d-normal-v-essay@floatingprojectscollective.net