What Death Tells Me ; Cinema as Computation, Aurality, Vision ; by Hugo YEUNG Ming-him 《死亡如是說》—— 計算;聲音;動像 楊鳴謙個人展覽

[FP members’ solo series 據點成員作品發表系列]

What Death Tells Me ; Cinema as Computation, Aurality, Vision ; by Hugo YEUNG Ming-him
《死亡如是說》—— 計算;聲音;動像 楊鳴謙個人展覽

[artist’s review…]
[review by ArtAsiaPacific…]

Exhibition Period: 22.07.2016 (Fri) – 07.08.2016 (Sun)
Opening hours: 2pm – 8pm (Closed on Mon.)
Outside-schedule visits by appointment via email: contact@floatingprojectscollective.net

展覽日期:七月二十二日 (星期五) 至 八月七日 (星期日)
開放時間:星期二至日 下午二時正 至 晚上八時正 (逢一休)

Download Immediate Press Release | 按此下載新聞稿

Perspectives 1 | 23.07.2016 (Sat) 4.30pm

Ways to Mahler through Leonard Bernstein – Mahler’s prophecy of death in his Symphony No. 9
Artist Hugo Yeung traces his research passage to the making of his algorithmic work What Death Tells Me.

Source material:
Leonard Bernstein, ‘The 20th Century Crisis’, a selection from a Harvard lecture series The Unanswered Question (1972-73)
Leonard Bernstein: “Mahler: His Time Has Come” – http://www.leonardbernstein.com/cond_mahler.htm

Perspectives 2 | 23.07.2016 (Sat) 7.00pm

Where analytical decomposition begins: what is in Luchino Visconti’s Death in Venice (1971)?
Artist Hugo Yeung will show the raw material of his work in its entirety, the complete work of Visconti’s Death in Venice, with a short introduction. (appx. 130 minutes, with Eng. subtitle)

Highlights | 06.08.2016 (Sat) 6.30pm

Artist’s discourse and Q&A preceded by the viewing of the full work of What Death Tells Me
(appx. 130 minutes)

創作緣由1|23.07.2016 (六) 下午四時半

《尋索馬勒:伯恩斯坦導引》—— 第九交響曲的死亡預言

參考閲讀:Leonard Bernstein: “Mahler: His Time Has Come” – http://www.leonardbernstein.com/cond_mahler.htm

創作緣由2|23.07.2016 (六) 晚上七時正

藝術家介紹和放映作品《死亡如是說》解構分析的素材 - 意大利導演維斯孔蒂的《魂斷威尼斯》(1971) (片長約130分鐘,英文字幕)

焦點|06.08.2016 (六) 晚上六時半

藝術家論述:《死亡如是說》放映及分享會 (片長約130分鐘)


What Death Tells Me explores the intersection of cinema and mathematics. A custom computer program analyses and decomposes every frame of the 1971 film Death in Venice, directed by Luchino Visconti. Scored with selected segments of Gustav Mahler’s music, the film is reconstructed in response to the spectrum of Mahler’s symphonic acoustics.

Spectrum analysis of both sound and moving images is done via discrete Fourier transform (DFT), a mathematical process which transforms a waveform into components of its frequency spectrum. The sound specturm is then used as an envelope to interfere with the image spectrum, and hence establishes a fundamental connection and interaction between the audio and the visual. Cinema is no longer perceived in the representational space-time domain, but transformed to the frequency-time domain.

In constrast with cinema’s production of audio-visual elements at the service of storytelling, What Death Tells Me interferes with such a hierarchy by using mathematics to isolate audio and visual from the narrative, and in turn re-connect and interact with the narrative based on the physical properties of the audio and visual spectra.

Death of Faustian Culture – the final collapse of classicism at the turn of the 20th century leading to the Great War;
Death of (Eurocentric) Tonality –  the end of Austro-Germanic music tradition;
Death of Analogue Cinema – as digital information technology transforms cinema into operable data in the 21st century;
Death of Narrative – as computation seeks to dissociate form from the functional context of storytelling;

In Memorial.




作品網站 | Project Website: http://whatdeathtellsme.wordpress.com/


About the Artist | 藝術家簡介

born (1993) and raised in Hong Kong
holds a Bachelor of Arts and Science (BAS) degree in New Media from the School of Creative Media, City University of Hong Kong
currently (2015- ) a member of the Floating Projects Collective
loves cinema, loves music, loves science


個人網頁 | Personal Website:   http://hugoymh.wordpress.com/