Category / FEATURES
柔軟的齒輪 往 臺中國際動畫影展 2018 札記 Notes on TIAF 2018 (Taichung International Animation Festival)
FP Writer and Artist Winnie Yan's glimpses of the TIAF 2018 highlights how seeing differently in animation is rooted in the technology that evolves around and generates the art form. To some animation artists, the single frame, as opposed to the shot in live action film/video, is the basic unit of experimentation, or that all innovative animation works are intermedia in nature. Either way, the persistence of vision makes our eyes unique apparatus connecting to the world of the unknown imaginary.
through eyes, we wander / through hands, perhaps speak and sing 若然透過眼睛游離，以手說話唱歌
FP writer Winnie Yan's thoughts on the unique, interchangeable place of the artist's hands and eyes, and the pro-musicial quality of moving image streams, were provoked in her visit at the EXiS 2018 while contemplating the works of montage masters such as Stan Brakhage and Robert Breer, and recently fuelled by her direct encounter with 16mm filmmaking. 「據點」作者忻慧妍遊訪首爾的實驗電影與錄像節2018，眼前眾蒙太奇大師如Stan Brakhage 和 Robert Breer 的作品，加上個人近期親身「落手」的16釐米電影拍攝經驗，勾起了各種對活動影像的迷思：手與眼的結合，影像流的近音樂性等等。
From Melodrama to Near Drama 從粵語通俗劇到微情緒的潮漲潮落
黎肖嫻談粵語電影通俗劇的操作，以至吳子昆於「文字機器創作集」第6輯「象裡有象：通電作影」之《全情定位漂浮系統》（2018年9月1日開幕）的媒體分解遊戲 | notes by Linda Lai on melodrama's nature and Kwan's treatment in [G]Local Empathy System (opening 1 September 2018, curated by Lai), the first of a 3-exhibition series, "Cinema Expanding: Visualizing the Unseen," the Writing Machine Collective 6th edition.