Tag / pictograms
Ventriloquists 2021 / 00-Narrative as processes, systems and organized randomness opening 17 August with 36 works 《腹語系。微敘思考。2021》繼續開發陳述的藝術
Why is narrativity a relevant artistic concept in a data-driven milieu? An exhibition with 35 works speak -- as videos, photomontage, installation, pictograms, creative writing and game plans, by BA students at the School of Creative Media. The Ventriloquists 2021.《腹語系。微敘思考。2021》繼續開發陳述的藝術:層層推理。逐步走,慢慢說,用豐盈的小節。
The Ventriloquists 20. A narrative pictogram for Red Balloon 《紅氣球》解放路線圖
The pictograms for this 101 moving image classic show more than just the exemplary precision of continuity editing and a classical 3-act structure in plotting. These pictograms function as analytical tools to show how the intensifying bond between the boy and the balloon evolves; to superimpose the 1955-56 location of the film Red Balloon onto the contemporary map of Paris, ... and to single out the swerving energies and roughening emotions of the story world in mood-board like representation.《紅氣球》是學過活動影像拍攝的入門經典,或許是這樣,我們可能錯過了敘事藝術上的微細質感。氣球於小孩的動人關係不用質疑了,可是甚麼叫我們感動?這裡四個圖形分析,從唯物的層面揭示創作者的藝術心思,著我們不再輕易走漏眼。
The Ventriloquists 17. Narrative pictograms for 2 animation pictures: Use Instructions, The Streets 動畫敘事掩眼法。兩個例子。
Caroline Leaf's The Street shows montage at work by abolishing the shot-to-shot editing system of continuity. Guido Manuli's Use Instructions is a series of synecdoche through which we are dragged down to hell to the final destruction of Earth. Both animation pictures play with the 3-act structure dramatic conventions. Two narrative pictograms augment what is just beneath the surface of pleasing imaging. 動畫的敘事法花枝招展,起承轉合是借用觀眾熟識的架構安置觀眾,看真是掩眼法。《街道》以水彩的流動取締了傳統分鏡的敘事法,鏡頭接合的文法銷毀,蒙太奇的效果卻豐盈漲滿,記憶的行動成了一場戲。《用家指南》的舉寓令人捧腹大笑,狂笑後往未來看,是希望的滅絕,地球成了渣滓糞便,是誰開始的超級玩笑?
The Ventriloquists 16. Narrative pictograms: Inception, Flowers of Shanghai… 時空囊的兩個形態:《潛行凶間》、《海上花》
Narrative pictograms' view on two kinds of time and space -- the brothel as chronotope, timeless space (Flowers of Shanghai), and nested realities in the virtual worlds of the mind as dreamwork (Inception) -- presented at Ventriloquists...Thinking Narratively, 4-19 July 2020. 如果敘事法的性質是時空的呈現以至再組織,進而擴展我們對存在的認知,那麼敘述圖形是另一種實驗性的創作,就是動用跨媒的資源去尋找語言或純影音未能盡興的展陳。《潛行凶間》和《海上花》是兩個截然不同的時空構圖;前者踏進夢的潛意識的禁地,化之為慾望的戲劇舞台,後者則專注現象學的濃密經營,時間一點一滴,一舉手一投足,吃喝閒話家常,紛陳世事,時間停留在這裡、此刻,摺疊勾連,並不向前。
The Ventriloquists 14. Rybczynski: stretched vocabulary of narrativity, augmented attention to the material world 更多的圖形敘事解構,伸展了的敘事語彙,張開物理世界的奧秘。
More pictograms representing two experimental films by Zbigniew Rybczynski, New Book (1975) and Tango (1981), by 3 artists at the show Ventriloquists...Thinking Narratively (4-19 July 2020). A stretched vocabulary of narrativity. Multi-linearity, simultaneity, superimposition, convergence of trajectories, generative loops. 更多的圖形敘事解構,伸展了的敘事語彙。多向多線發展。共時性。重疊。弧度的結點、匯合。衍生式的循環。張開現實的奧秘。
The Ventriloquists 13. More generative literature trans-mediated: five episodes from Queneau’s “Exercises in Style” 衍生性文學圖像轉化:「烏利波」實驗文學搞手雷蒙卡奴的《風格的練習》
Like Calvino's The Invisible Cities, Oulipo founder Raymond Queneau's Exercices de style (Exercises in Style) is another example of generative literature transmediated as pictograms. Artist Madeleine Chan takes up 5 episodes of the work. After a generative principle, she produces 5 iterative views of the same event as pictograms, stretching Queneau's textual play in written words.
The Ventriloquists 11. Intermedia dialogues with experimental literature: World Like Mist by YU Hua 跨媒轉化,還覺世事如煙
Two artists read YU Hua's novella World List Mists (1988) and translate it analytically and structurally into a pictogram form to augment textures of sentiments and narrative integrity, maximizing a fatal body of cybernetics through methods of scoring, cartography, chronology and storyboarding. 兩個圖像作品,兩個創作者對余華的《世事如煙》的轉化閱讀,呈現敘事性如何把哀愁、絕望化為結構,點對點的連線,網絡的展現,把個人的「命運」背後的人為操控層層展露。
The Ventriloquists 10. Meshes of the Afternoon: 3 pictograms of warped time & space 夢的秩序:午間的網陣,翹曲的時空
Three works interpret American avant-garde filmmaker Maya Deren's Meshes of the Afternoon, each visualizing a unique aspect of the film. 三個圖像,結構細節形骸有別,都是對準美國前衛名作《午間的網陣》,剖開不同層面的內部物質真相。
The Ventriloquists 05. The Hand that moves the artist, 2 pictograms on forced conformity 《腹語系》之隻手遮天。兩個解構操控與失去自主的數據圖像
The Hand comes in from everywhere. It interrupts, commands, dominates...; it is omnipresent, irresistible, almighty, dressed and decorated nonetheless mercilessly brutal.. Such is the condition of an artist who wakes up one morning to find his normal routine totally ruled invalid. 木偶藝術小子一覺醒來,伸伸懶腰又期待著新一天的開始。怎知道一夜間世界變透了。一隻無名的手,由溫柔禮待到強權粗暴,無處不在,無孔不入。
The Ventriloquists 02. We open. We speak. Do you hear? first 5 works 門半開啟。有話想說。五個作品門外恭候。
Technically, spatially and conceptually, "The Ventriloquists...Thinking Narratively" looks like this... Here's the introduction of the first FIVE works in the corridor outside Floating Projects. 《腹語系》先介紹據點門前長廊的5件作品。往後續一介紹。
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