游泳克-關渡光藝術節

High Swimming–Kuan Du Light Art Festival
[Group Exhibition]

2018.11.24(六)、25(日)晚上7:00
國立臺北藝術大學游泳館
主辦單位:國立臺北藝術大學新媒體藝術學系


藝術總監:王俊傑 節目統籌:周曼農 新媒體技術統籌:黃裕雄
劇場技術統籌:林隆圭 行政統籌:林佑任 執行製作:黃品媛、謝竺勳 平面設計:詹明芳
策劃小組:王福瑞、林俊吉、袁廣鳴、孫士韋、黃裕雄、戴嘉明、魏德樂 (依姓氏筆畫排列)
創作團隊: 王福瑞、王新仁、林俊吉、姚仲涵、張暉明、葉廷皓、謝佑承、戴嘉明(依姓氏筆畫排列)



《游泳克》為創新型式的新媒體藝術跨界展演。《游泳克》的「克」是「課」的諧音,它有克服、戰勝的意思,也是咀嚼、說話的口腔運動。它代表對於當下生活既沈迷又超越的狀態:我們都是「克」訊息的人,握有無限碎片卻難窺全局,沈浸在無方向性的迷茫與快感之中。而這種迷茫、快感、曖昧,卻又是超越既定現實與規範的可能。將游泳作為生命的隱喻,透過裝置、雷射、聲響、音像、肢體表演等不同形式的表現,將游泳池轉換成巨大的超現實夢境,折射出生活真實的處境與狀態。







校準:Mapping 
Calibrate: Mapping
 


依場地而定,螢光膠帶、戶外螢光投射燈
Site-specific installation, Fluorescent tape, Fluorescent lamp
2018








當前3D立體光雕(3D Projection Mapping)或簡稱實景投影技術,是一種能夠將高流明的投影機影像投射至夜晚戶外建築牆面的展示科技,透過光雕的視錯覺改造了舊有街區外貌、並賦予天馬行空的敘事想像。而數位投影相對傳統彩繪牆面更為輕巧、易於移動與設置特性,也拓展更多虛擬與實體空間現場的敘事可能。隨著Projection Mapping的技術應用已越來越顯見於各大城市中的節慶活動之中,作為演繹舊有空間的新興奇觀,有如未來電影般的城市圖像,已不遠於此刻生活當中。


在這些嘉年華式影像的設置過程裡,常有一段Preset的校準時刻,目的是為了在正式演出前所做的定位準備,Projection Mapping也不例外,透過錨定建築物上的三維空間與格線,再進行到電腦上執行影像的演算,這個過程可以說是一個影像被誕生於被投射物的基礎,在數位軟體中像是造物主所造物的骨架。不同於Projection Mapping以往正式演出常見的動態敘事,我希望透過螢光漆於黑暗中的發光效果和物理痕跡,模擬再現這個常見的基礎介面,討論機器的在場幻覺,數位與類比、自然與人工之間的關係,從兩者極端的視覺效果與身體感知中,思考視覺的技術史與數位幻象的日常。

我的計畫是以螢光膠帶諧擬Projection Mapping過程的設置畫面,放大至整個戶外的景觀改造中,在丈量的前置作業裡,呼應著建物原先設計的結構,並再現影像介面與實體空間之間具現化的丈量程序。它既揉合了城市中臨時與永久性的街景改造,同時引領觀者的眼睛橫渡意識“有什麼即將發生”到“此刻”的訊號過渡時間,相較數位技術的便捷與快速,希望能透過人工、勞動所銘刻的身體感覺與轉換,回應場域中的歷史文化與生活景觀,並思考數位時代中另一種感覺重置與想像。

3D Projection Mapping is a kind of exhibiting technique that projects images to the walls of architecture at night through high lumen projectors. The visual illusion of projection mapping transforms the original cityscape and enables more imaginative storytellings. The digital projection is more portable, movable and easy to set compared to traditional wall painting, giving us more possibilities to create new spatial narratives of the physical and virtual space. As projection mapping becomes more and more prominent in major city events and turns common street view into spectacles, movie-like futuristic cityscape might not be too far from our life.

During the process of setting these carnivalistic image, there is a preset period of calibrating in order to finetune before the actual performance. Projection mapping is no exception. The lines and spots of the building are first marked so images can be calculated in the computer. This process is the foundation of how an image is born on the object it projects, similar to how god creates the structure of life but in digital software. Unlike the common projection mapping that creates moving images, I wish to use the lighting effect and physical traces of fluorescent paint in the dark to imitate this basic interface. Using the illusion of having machine at present, I show the relations between digital and analogy, nature and artificial. Departing from these two diverse visual effect and bodily experience, I wish to  further explore the history of technology and our daily life filled with digital spectacle.

This residency is a chance for me to enter a local place to “measure” its buildings and living space visually. I plan to mimic the preset image of projection mapping with fluorescent tape, and enlarge it to transform the entire landscape. The preset measurement will echo the original design of buildings as well as re-presenting the process of visualization. It combines temporary and permanent reshaping of cityscape. At the same time, it leads the audience to pass through the in-between time of signal transmission from “something is going to happen” to “something is happening”. Compared to the convenience and rapidity of digital technique, I wish to respond to the history and living traces of the area and rethink the possibilities of sensory relocation and imagination in the digital age through the bodily experience etched by hand making and laboring.




















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