<Virtual Presence> 虛擬的存在
Keywords
關鍵字
- face ID, identity
Jung-Eun Lee recorded data on her face through the act of eating an apple. On the screen, she was reconstructed as a person that is not her, and she becomes an image or a voice that is not hers. No One Eating an Apple is her thought experiment:
“What I ultimately want is to get me out of the body, keep track of who I am and when and where I am.”
BIOGRAPHY
創作者簡介
Jungeun Lee is a visual artist, performer and media artist working in Germany and Korea. She majored in Fine Arts in Ewha Womans University in Korea, and now studies media art at Hochschule fuer Gestaltung Karlsruhe. Her works explore social and cultural identity, especially gender-related issues. Her interview photo book on Asian women-immigrants-lesbians will be out in March 2021.
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Keywords
關鍵字
- digitized intimacy
Genesis is narrated by two characters, human idol Yasmine and virtual idol Yasmine. Multiple storylines and audio-visual discourses, alluding to Italo Calvino’s narrative methods, converge on the physicality-virtuality dichotomy. How do we justify innocence and fragility in the social media milieu? Is it even possible to pursue unmediated and non-capitalized love? What could the two characters talk about?
BIOGRAPHY
創作者簡介
Born in Guangzhou, Yasmine Huang now works and lives as a digital nomad. She received her BA in Creative Media (City University of Hong Kong) and MA in Literary and Cultural Studies (HKU), currently pursuing an MFA degree in Photography at Parsons School of Design (New York). Her works draw inspiration from poetry, philosophy, pop culture, and under articulated life experiences. Her play with photography and found materials challenges the physical-virtual, factual-fictional dichotomies and to reveal contradictions in mainstream narratives. Recent projects were featured at Ars Electronica (Austria, 2020); SpeakAIR Online Residency (SpeakART, Canada, 2020); Paradise (Three Shadows Photography Art Centre, China, 2019); Money Exchange (Floating Projects, Hong Kong, 2019), and Monthly Photography (Korea, 2019).
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Juror’s SPECIAL MENTION 評審特别表揚
Keywords
關鍵字
- Instagram, Mona Lisa, Selfie
“How do people relate to objects today, to objects of significance and popularity?”
Summer 2010 Louvre museum, Paris. I stood in front of Mona Lisa. Between us a big crowd of tourists. Mona Lisa was smaller than I expected.
Summer 2014 Alexandria, Egypt. I downloaded Instagram because everyone around me was using it.
I wanted to fit in.
Fall 2016 Computer Lab, USA. I was scrolling through #monalisa on IG and found a great collection of similar looking selfies. There I decided to download everyone’s selfies and make what is now known as Tiny Lisa.
Tiny Lisa is a compilation of people’s desire to own a piece of Mona Lisa through the selfie. To me, Mona Lisa is the journey from flesh and blood to oil to pixel and more.
BIOGRAPHY
創作者簡介
香港本土移動影像藝術家，作品多探討後殖民時期香港身份和權力結構的轉移。最新作品是《香城幸存者》（2019）。
Louise Pau is a Hongkong-based moving image artist whose works grapple with the identity of a Hong Konger in the face of post-colonialism and shifting power structures. Her works seek to visualize intentions of the present and imagines the slow unravelling of its consequences. She currently works primarily on hand drawn animation on paper and incorporates found objects and documents. Her works have been screened in festivals including Animafest Zagreb, GLAS, Fantoche, VOID, and IFVA. She received her MFA from the California Institute of the Arts in Experimental Animation after her Bachelor’s degree in film from Hong Kong Baptist University. Her latest film is Survival HK (2019).
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Jurors’ notes:
The approach of gathering images to make a stop-motion video in the work Tiny Lisa is an interesting way to “summarize” the search results to articulate the creator’s concern.
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I supposed it was not a challenging job to use the hashtag API to recognize and retrieve the wanted parts of Mono Lisa images from social media, nor is the work of superimposing these images, given the help of a simple machine learning model. In this work, however, a camera is used to capture the frames of Mona Lisa displayed on screen with manual control of the images’ positions in the later part. The image sequence in the early part of the work comprises super close-up shots of high resolution digital images like the one shown on the website of the Louvre museum.
The manual effort involved in making this video effectively preserves the fidelity contrast among the images through layers of physical/digital zooming, repeated capturing and so on, making a strong statement about the physical and virtual world whose boundary is blurred.
I am curious what other subject matters may also benefit from this method: what other image database, for example, beyond one about a symbolic icon?
Lastly, I am a little puzzled by why Nat King Cole’s song “Mona Lisa” was chosen for the work’s background music (Wong Chun-hoi)
Keywords
關鍵字
- embodied gestures, fashion technology, virtual reality, dance performance, embodied reality
Our growing isolation and deprivation of physical presence in the Covid-19 era also lead to our further retreat to digital realities. On Zoom and various social media, we find ourselves shuttling between virtual and physical realities, comprehending new metaphors, gestures and idioms. We often see people playing in Virtual Reality (VR) and tell ourselves, “what a great time they’re having!” We are unaware of the world shielded from VR and what happens from moment to moment in the actual out there. In The Skin of Our Sheath,two very different observable stories take place at the same time, juxtaposed on the same screen -- a VR environment and the performance outside the VR that generates it – to show that understanding and playing with perceptions are different. Viewers now see every “stroke” in the creative process that makes the 3D VR.
Full statement: https://raylc.org/chairbots/SkinSheath_TEIArt2020_01.pdf
Full statement: https://raylc.org/chairbots/SkinSheath_TEIArt2020_01.pdf
CREDITS
Choreographer 編舞: RAY LC 羅銳
Dancer 舞者: MIZUHO KAPPA 瑞穂
BIOGRAPHY
創作者簡介
RAY LC’s practice incorporates cutting-edge neuroscience to build bonds between humans and machines. He studied artificial intelligence (Cal Berkeley) and neuroscience (UCLA), building interactive art in Tokyo while publishing on PTSD. He holds an MFA from Parsons School of Design. He was artist-in-residence at BankArt, 1_Wall_Tokyo, Brooklyn Fashion BFDA, Process Space LMCC, NYSCI, Saari Residence, Kyoto Tech DRIR, Elektron Just a Stage Residency. His works have been shown in significant digital art venues, such as Ars Electronica, NeON Digital Arts, New Museum, and NYC Short Documentary Festival. He was awarded by Japan Society for the Promotion of Science, National Science Foundation, National Institutes of Health, Microsoft Imagine Cup, A' Design Award, Adobe Design Achievement Award, Davis Peace Foundation.
出生於廣州的新媒體藝術家羅銳使用他的腦神經科和機器人研究來創作跨界的作品。當在東京做腦神經研究的時候，他發現藝術，不像科學，可以改變觀衆的倔强習慣。他和專家一起合作的作品考察人們與自己，與機器之間的關係。羅銳的展覽包括在斎藤清美術館，哥倫比亞大學梅西畫廊，伊萊克特拉蒙特利爾機器藝術節，紐約科學館，拉合尔艺术实验室，林茲電子藝術節，霓虹燈電子藝術節，新當代藝術博物館，金浦宗當代藝術博物館，紐約短紀錄電影節，線上燃燒人節慶。
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