VIDEO ZINE #2 錄像雜誌第二期 /
The Ultra-realist, the Extra-ordinary 非凡超（極）真實 - p.5
One, Two, Buckle My Shoe 點蟲蟲，蟲蟲飛
Alluding to counting games common in nursery rhymes east and west, “One, Two, Buckle My Shoe” is also remembered as the title of Agatha Christie’s detective novel (1940). In this session, we have included several works that shed light on what a quotidian routine could be. Were we to trace the evidence of the passage of life we had lived through, what would we be counting or stock-taking? The Chinese title -- literally, counting the bugs and the bugs all fly away – is also a nursery rhyme, in Cantonese, suggesting that to learn to fly, one has to keep doing it, undaunted by hardship. I don’t know if the four works in this session are more about the future than what have been. Keep it up. Keep going.
08' 52" | 16:9 | 2021 | HD digital Original Language : Mandarin 國語 Subtitle : English 英文 Location : Taiwan 臺灣 Selected category:  ON-SITE DOCUMENTATION 「留住一瞬即逝的」
In this work, Tsai looks back on her daily work as a science teacher in an elementary school. Disparate background ambiences, shots from nature, her daily environments and school settings intertwine. She highlights the disparity between children’s happiness, their individuality and organized uniformity that adults expect them to accomplish. She questions the essence of education.
Vanessa Tsai (b. 1976, Taiwan), an elementary school teacher in Taiwan teaching natural science subjects, uses words, photographs and videos to capture glimpses of everyday life. Led by the passion of trying new things, she works across disciplines. She is willing to use her energy to bring warmth to society.
***Juror’s Special Mention I was really curious how the creator makes the decision on when to start recording in class while she was teaching. It is so interesting to look at school classes from a teacher's own perspective through a camera. As a teacher, her intention of taking video and photographs in class can be very functional, But I feel the urge of making this video, which was made in an expressive way.
For me, the video’s structure is clear and dynamic. It goes back and forth between those kids' attention and scenes of rainy days. The piece is full of tension, especially those moments that the camera and I (as viewer of the video) are steered naturally by what draws the children’s attention. Those close-up shots are moments of relief.
Somehow I imagine the video-making process to be an 'experiment' set up for the teacher herself -- to sit down and observe with the students what's inside the flasks in complete silence for four minutes. Although the result of the experiments is obvious, the evidence and review process are not really explained. (Wong Chun-hoi)
Tamas: I remember this work well and have watched it several times … Amateur editing and shooting, but the work’s POV and atmosphere are strongly created.
John: This video stays in my mind for a long while… How the author juxtaposes sequences of daily routine, moments of kid’s innocence and curiosity, and images of the microscopic world. The visual narrative shows the contrasting sentiments of a science teacher for children and it must have been hard. The title “keep going” says it all.
Winnie: It is a ‘low-tech’ video with interesting composition. The shots aren’t logically sequenced but somehow I got into her pace. The video shows her daily life but also how the students are learning and their curiosity...
Linda: Even though the author is not a professional video maker, I can still see the deliberate craftsmanship behind it, such as how the ambience of the train was thoughtfully placed to link up the school corridor and the moments of grading on a train ride. I am always fascinated by how “untrained” videographers “invent” their own audio-visual language to articulate their thought paths, and it is Dn/Ve’s commitment to encourage purposeful articulation with the ubiquitous imaging tools. Some shots are just grabbing, such as the mass morning assembly and gymnastics exercises. There’s always the shadow of discipline and control hanging over the joy and cheers of the children.
Tamas: I really enjoy this piece. It’s funny, crazy, surreal and interesting.
John: The work feels distant from me. I do not necessarily like how it’s staged.
Hoi: I like the game rules she set up, building up from normal to crazy things. I keep imagining what objects I would choose if I were to play the same game.
Linda: I like this work a lot. It is a time-marker. I also like the basic repetition-variation narrative grammar, which gives a fresh feel to the familiar cinematic convention of suspense and audience expectation. A competent performance -- her body language has its own rise and fall and climatic moments. With not a lot of resources and a simple set-up, she has achieved a lot.
15‘ 45” | 16:9 | 2020 | HD digital Location : Hong Kong, Taiwan 香港、臺灣 Selected category:  ON-SITE DOCUMENTATION 「留住一瞬即逝的」
Eternal, Reverse process
Can we have the illustrations for the lyrics book before we do the music?
a camera is being replaced by a projector
the most concealed, the most disclosed in the open
you can find a voice coil in both microphones and speaker cones
words repeat themselves until they make no sense
oh sing “wine is our road”
Guanyin in full fluidity knows all sounds.
The ritual of the Exquisite Corpse: we squeezed and stretched our thoughts every other week until they filled up the 15 minutes. None of the above happened.
YUNG Tsz-hong graduated from the School of Creative Media, the City University of Hong Kong, likes bizarre creative methods and ideas. Short film works include Nooning, Victoria and Wilhelm and Phantom Muyu.
Peace Wong creates and performs with her voice, breathing, words, toys, guitar, sampling and sound looper. A current MFA student in Creative Writing at National Dong Hwa University in Hualien, Taiwan, she released her debut concept album, About a Stalker, in late 2018. A collection of intimate bedroom monologues, murmurs and whispers from an avid onlooker humming to her microphone as a tribute to her online crushes. She also doodles sometimes under a pseudonym, 17ping.
WONG Chun-hoi’s works mainly involve sound and electronics. His sound performance and temporary broadcast station work has been exhibited in various places in Asia. He was also the co-curator of “Around Sound Art Festival (2013/2014)” (organized by soundpocket). Hoi’s sideline as a sound designer and engineer allows him to work with independent filmmakers and animators. Floating Projects, which he manages, also strives to provide discussion and display space for different types of sound creation locally.
***Juror’s Special Mention: I give this work my “Special Mention” because it is the only one from this round that could be considered an account of virtual-romance: it is funky, rebellious, repressed and repetitive, very intimate but yet distant. Like how the artists describe it, the work is a ”virtual exile.”...... Sound is carefully crafted against equally crafted spatial design, which gives the visuals their character. All this calls for slow and thoughtful viewing, which fits the piece’s playful poetry, also suggested in the title. Viewers are given lots of room to actively inspect the lyrics book with hidden layers slowly revealing. All three elements -- the poem, the sound and the visuals are all individually expressive but nothing excessive. I celebrate this work as the co-creation by the three artists, highly elaborate, It is amazing how casual sketches by each of them could gradually blend into a work that reveals the process of collaboration to us. (John Chow)
Tamas: Strange, long, slow, touching, clever, provocative. I didn’t think the two parts were connected. * *Editor’s note. The artists submitted both part 1 and 2 of this title as two separate works. Only part 1 is included in this edition.
Winnie: Much of the work’s tension is built up by sound. I enjoy the process of being transported between video segments whereby I seem to have become a persona in the work myself, as a spectator or reader. But I do not see how this aspect is linking up the monologues or dialogues, which is the main component...
Linda: I think this work is more perceptual than conceptual. I enjoy the process of watching it, and watching and waiting for the layers constantly performing their changing internal relations. The answer to the question “what is it (I’m looking at)?” keeps changing from moment to moment. It is a “seeing” game, challenging and invoking our attentiveness whereas the multi-layered soundscape, which we don’t see, sustains the work’s integrity and holds everything together. Really love the visceral experience of moving between aural and visual layers.