SM2202 Micro Narratives
Artist’s Statements (Final Projects): 2015.12
Vimeo Album: https://vimeo.com/album/3688592 (password applied, same as Project 02)
(1)
MEI Xiao
《四圣》
For experimental film can pass an idea that normal media can't shoot, I choose it to make "四圣“. In Chinese legend story these are four treasures of God. A tree hasn't got older but perish already; water hasn't got colder but freezes already; a body hasn't been born but dies already;a soul hasn't been fired but melts already. This four things we can not find on the earth, however, I want to transfer the ideology to audience. The technical I used is generally the overlapping. I know people's eyes will mix all layers into one automatically, but I hope audience can see through the layers separately. They all have specific meaning. Besides, I hope they can relate the title to the video and imagine a hypostatic treasure in their mind from my abstract describing video.
(2)
YANG Hsin-Yi
Digital Reading
Digital Reading is a project that further explored the concept of digitalization. This time I try to use L-System, which I learned recently, to generate images, and then use those images to produce a concept video. I choose one of my favorite excerpt from A Room of One’s Own, an extended essay by Virginia Woolf and separate the sentences into different part. Then I translate them intro morse code, a way of communication which I think is closest to programming language. Then I translate the morse code into programming code for the L-System. After that I used different code of different sentences to generate a series of images, and stacked all the images together to make a video. I am aiming for a different approach of understanding prose, a more sensational approach. The video of changing images are shown on the screen along with the prose, the audio, and the beeping of morse code.Instead of just reading and analyzing the prose, there are different expressions of the prose presented at one time.
(3)
YIP Hei
Phone Horizon
Artist Statement:
Phone Horizon is an experimental video. I use the form and game of changing frame size to symbolize the side effect which technology brings to us. Phone is a technology tool we use everyday in daily life, while if we too focuses on it, it worsen our life that making us miss something better in the real life.
(4)
QIAO Qing
LAST 3 MINUTES <临终三分钟
This 3 minutes video is video a expand experiment of my former project <Finger>. The whole work is like a puzzle of a certain concept: let’s named it first. I would like to make a that is reasonable in a real sense, including a complete narrative logic and realistic images; meanwhile, it is not supposed to include an reasonable theme or y (another undefined concept), just meaninglessly consisted of visual and audio information. Therefore, I decide that this should be about a dying concept of forcing itself to make a y for in the last 3 minutes before it vanishes. It is in the format of a four chapters y flashback and it’s kind of like a made in order to search for ’s y. Although this is common, there’s no feeling expressing or proper use of language, so the combined is really absurd and is originally very closed to y in the first place.
Well, to be honest, everything above is not true, but it shows I made this video, which I consider is really a y for a . I’m serious.
这段三分钟的视频是对之前的作业的拓展实验。我想试着做一个（在 现实意义上）切实合理的故事，包含完整的叙事、逻辑和现实的图像；与此同 时彻底不含任何合理主题或情节，只是视觉和听觉的无意义组合。因此，我决 定，这是一个关于“连自己的死法都不清楚的男人在脑压升高过程中强作人生 总结，用最后三分钟分四章回忆过去达成救赎”的俗套故事。不过，主角似乎 在语言能力和感情区受到脑损伤，采取的表达形式也是浮夸荒诞之至，再加之 时间紧缺、未有准备，现状在现实意义上否定了合理叙事的可能性。渴望合理 终结人生的男性，只能用短期记忆里的有限素材，循尚且完好的逻辑思维为自 己编造最后的三分钟小剧场。男子在临终三分钟塑造的人生毫无意义，不可理 解，即便有人确实知晓男子的本意，也绝无法将它与这三分钟的画面／声音联 系起来；但这段故事的本意并非是“让人理解”，反而只是成为故事，让人通 过想象、期待、联想、共情而觉得有趣（因为这也是“主角”唯一可以尝试着 完成的事件），我想试着以此为方向完成这三分钟的内容。 虽然这三分钟没有肯定的主题，但“hilarious”和“pattern”却是始终存在的。 前者在第二、三部分尤其明显，不断有唐突且引人发笑的变化发生，近似喜剧 中的反转情节。而后者主要表现为特定的复现、平行情节和各种章节结构，使 得视频本身并不仅仅是随机材料的随机拼合。虽然完成度不高，但我尝试了非 常有趣的形式和方向，希望以后能以类似的方式做出更有趣的实验电影。
(5)
Anna CHIM
T~~_T~~
I am in school’s acting course this semester and it is painful. To the tutor I always lack of energy and the improvisations I did show no conflict and drama to him. While other classmates’ performance bring laughter, I make the scene go down and down.
This video is my feelings toward dramatic drama. I’m not hating it. But I’m distanced. Or to me it is horrible to expect anything from other’s fake emotional eruption. It is just like gif to me. It impress me and entertain me but I never communicate with it.
I asked my friends to imitate few drama scenes and I used other materials like 3d scans and gifs to build on the acting. Some are used to exude the emotions in a corny way and some are used to demolish the emotions. While plots and serious actings are packed in this video, I turn them into something else that force audiences to look at them cynically.
(6)
Gloria SHUM
Light Waves
Light itself can be an image. It no longer reveals objects in darkness only, but creates images directly. By setting one light source behind a magnifying glass meanwhile, spinning the convex lens, the shape and form of light keep changing and growing dynamically, creating organic shapes and movement.
(7)
Karmen LUK
Passing
Transformation of frames is my intention at the very beginning. This video is regarding to
reactivate viewers’ attentiveness and also the perception of film maker. I would like the audience to experience a view like kaleidoscope. I follow a rule which set by myself to edit this video, adding one more small frame into the screen and transform it according to the appearance and disappearance of people and cars. It forces me to concerned on the moment of the object existing. I discover the edges and lines that I can make use of and put the small frames to match it. After overlapping the frames, one object can appear servals time in one moment. The space is being multiplied and overlapped. In some parts in the video, audience can match the frame and object easily. I also would like the audience try an attempt to match every frames and objects in a more overlapping parts like the film maker did.
(8)
Ryan CHAN
Time: The Murderer /Color / 9’45’’/No Sound /Hong Kong 2015
Artist statement: This is an experiment exploring the moments of waiting in our daily life. The relativistic effect of time, the time dilation is caused due to the long process of waiting. The sense of time becomes obscure especially the temporal duration. We are waiting for something but the long time for waiting actually separates us far away from the goals. The conflict is created but it dose not help us to fight against our boredom and impatience and even enhance them. Our vision and mind are eroded by such a long period of time for waiting. We see things both conscioussly and unconsciously. Time is no longer being killed. We are killed by time.
(9)
Winnie YAN
und
Is the German word for "and". It is originated from "unda", which means waves, or a flow. It is, to me, a state. This state might be fluctuating, it might be unstable, yet, as long as it keeps floating, there is something.
- - -
記 微敍事課
還未站穩，課堂就這樣結束了。今個學期是這幾年最吃力的一季，全部都是不熟識的課題：3D動畫、攝影理論、電影理論、紀錄片和微敘事課，整個學期基本上都在不停趕功課，思緒極凌亂又煩躁，一天到晚都在皺眉頭，整個人就像一直被壓在深海裏，用僅餘的氧氣呼吸。
決定上微敘事課是源於舊學制裏此課是上裝置藝術課的必修科，剛過的學期上完裝置課，渾身不自在，總是覺得自己欠缺了什麼。難得今個學期有這個學科，即使一直對錄像都帶著異常的抗拒感，還是註冊了。
上Linda的課總是有一點疲憊，有一點痛苦，過程像扭一顆扭計骰，沒有終結，但每每發現另一種處理方法總令人特別起勁。何況，在這班遇上了一班非常「不得了」的同學，他們各自都有自己一種對錄像獨有的態度。每一次看他們報告的作品除了想一把火燒掉自己的作品外，都是想把他們的影片翻看再翻看。
久不久就會想起Karmen的蚊香，一開始覺得那段短片有很強烈的視覺對比，白色的牆，黑色的蚊香。雖然畫面中燃燒的煙霧不太明顯，但她一直慢慢地轉動著那個蚊香，蚊香一小段一小段由黑色變成灰色，燒掉的邊界與畫面的下邊霎時重疊，霎時分離，伴隨背景的電車聲和城巿雜音，彌漫著一種恬靜的氣息。
就如丁在金鐘站的一處徘徊，畫面看見丁口裏唸著飲江的詩，聲音卻是用了在學校後樓梯朗讀的錄音，少了地鐵人來人往的喧鬧聲，多了源源不絕的回音。即使我不理解飲江的詩詞，丁仿佛把文字都化成一種形象，透過語調、停頓，把辛澀的句子拆解，為舊詞添上耳目一新的詮釋。
Wendy所拍的漩渦也是，起初眼睛還會在影片上遊來又遊去，看看欄杆，看看石磗上閒著幾位先生，看看遠方的山景，直到看到那兩個小漩渦，看不見風，卻看見風與框內各種事物的互動，就算在框外的聲音，也透過打向收音的器材告訴我，當天風很大。對比起過往上錄象課所追求的各種邏輯順序和思考深層訊息的表達，這裏好像一個歇腳亭。
不過這個歇腳亭並不輕鬆，以為把整個鏡頭停在一個位置會比把鏡頭pan&tilt容易嗎？還記得第二堂下課後，我的感想寫了一段：相比起同學們都勇於把鏡頭拉遠拉近，向左向右的周圍拍下來，我拍的鏡頭老是定在一個位置，即使我拍的東西也是不動的物件，這令我很焦躁。直到後來看到Roy Anderson的作品，突然覺得其實我也不是什麼怪痂，只是要更加觀察入微而已。到現在，每次空閒的時間翻看他的作品，依然在懷疑自己過去的眼睛是否過度懶散。
正當我開始慢慢聽，細細看的時候，Qiaoqing和 Hsinyi的影片卻跳出來，另闢蹊徑，「我沒有看到這個藝術家為什麼要做這條片，就是憑看完的感覺做你剛才看到的作品。」她說。她倆的短片都是既快又慢，噼里啪啦，根本容不下消化的時間，更談不上要「理解」，當時我就坐在觀眾席的中間位置，徹底地體驗到什麼是感官享受，我就只能坐在那一個位置，那一刻就只屬於該一刻，整件事情就要待到最後才能整理。什麼是實驗？Qiaoqing直率的性情讓我覺得：「你未做，又點會知呢？」雖然還未有找到機會與她們聊天，但透過錄像了解她倆，好像比起刻意噓寒問暖打開話匣子，既不必打擾既有的距離，卻又能認識一種種不同的思緒。
大概是因為本身無論對錄像，或是這班同學的認識都不多，每個星期本來一直覺得過長的三小時，在這裏顯得額外不夠用。聽著Gloria每次精簡的論述，Tony額外仔細的分析，Don用程式去製作，作品既是一個App，又是一個錄象，Jose,Meret和Crosby分享自己對拍攝作品的一點疑慮和堅持，MeiXiao每次為我們帶來新的聲音實驗，Anna的性格和作品實在是讓我匪夷所思，卻又帶著揮之不去的魅力，還有詩詩，小龍和Green，帶著過往很強的認知方式，創作出一份份別出心裁的作品。
Words cannot describe how grateful I am to have met all these wonderful people in this occasion. 總是覺得自己是個幸運的人，能在畢業前和這一群既熱情又謙厚的同學一起學習是一種緣份，這個群組像變形蟲，不能安定地停留在一個狀態，總在嘗試運用不同的方式表達。感謝你們讓我在短短的十數個星期體驗了這麼多的可能性，一動一靜，時快時慢，漸遠漸近。。。
還有感謝hoi9分享自己對聲音的認知和理解，帶著耳機和收音咪在學校逛逛，的確感受到很多日常經常忽略的聲音，聲音的距離感，空間感，和方向性。也要感謝他接收了我很多的負能量，用過來人的角色令我明白到，其實我這個混沌的狀態，也是一種角度呀。
大概十天後，我們又會再在另一個地方聚在一起，再做一次合作性的錄像實驗，上次因為時間較短，沒有太多時間溝通協調，不知這次為期兩天的set up大製作，又會有甚樣的火花呢？
(10)
Green LAU
"Water comes out from tap", children nowadays forgot the origin of water, nature, so do adults. We always forget about the planet and the nature. So I added an ambience of rain which keep reminds the existence of nature.
Water comes from the same place, and be separated into different positions, at last they back to the same place, "Be Water, My Friend", life is cycling.
(11)
Don TSANG
Why? Why Not? ____ Tsang Yuk-hei Don
Hong Kong / 2015 / colour / 30’19” / sounds
It was a choice to make this video or not. It was a choice to put the frogs into the blender or not. It was a choice to press the button or not. Do you have a single moment that you are too bored and desire for something different, let’s say, a desire for me to press the button? Is that your choice to have such desire?
We eat frogs, and many beings. You in many senses know we kill a lot. Why do you care for some small lives by just a few seconds of seeing?
Lives are not equal, especially inside and outside of the frame.
(12)
IP Sze-sze
Weaving / video 3’16’’
Video, produced on the flat surface of celluloid film in the early ages, are treated like
magic that inspires lots of imagination of a three-dimensional space. What if we take
a step back, and look at it as just like a piece of wall, paper or cloth. Its boundary,
gives it the unique ambiguity between movement through space and time and fixed
phisicality.
Moreover, since we take it as pure two dimensional surface, how to construct two
videos together? The main purpose of the project is to weave two videos together,
which creates the third layer of the narrative of the movements between the action of
underlying, combining, dissoving and reconstructing.
Lastly, in the project I also want to raise up the questions not yet to be answered,
what is behind the video? Even though I used “trasparent” background in the
project, I believe there is more to be experimented. Does video have metabolic rate?
If it has, it is based on our objective viewing experience or it has its own unique way?
(13)
Jose URBAN O
Soundscapes is an experimentation on the viewing expectations of human form in response to sound through the potentials of improvisation and the still frame. The performer acts as a narrative instrument designed for pure looking and frame exploration from the physical results of the reaction between man and sound. Thus, Soundscapesactsan investigation of how the audience associates the soundscape with the movements of the performer intended to break the conventions of the moving image and its resonance.
(14)
Wendy LIANG
The Art of Space (1m26s) https://youtu.be/ekLc42MsbHU
Space, usually beexperiencedwith aspatial dimension and arrangement of objects in general,sense of wholeness andcontinuity of spaceare usuallyemphasized inthe mainstream film. Considering the space as the experiment in my assignment, painting arouses my interestandbecomes my inspiration. Lines, shapes, textures and colors are the basic elements of one painting, theyform the base of image andour visual experience, motivating the generation of emotion and motion. Therefore, Iintegrate the ideato the shooting of space, exploring the perception and experienceof spacein the basis of vision. Most of the objects in "The Art of Space"are unrecognizable, just leaving with its pure and primary visual form, the lines,shapes, textures and colors,auniquesense ofrhythmand energy is created when they link together.
(15)
Tony HUI
An expository video: How did I experiment, micro-narratively? A discussion of certain creation produced and critical issues arouse within the class
The expository video tries to contribute to a theorization area in class and construct a critical discursive realm of discussion of significantly theoretical issues which have been mainly emphasized and processed during sessions of in-class critique and lecture. Main sessions in the essay will include a primary discussion with regard to phenomenological spectatorship, and political and ethical experimentation as reexamination of paradigm within moving images production, etc. Certain experimental videos, cinematic works and in-class creations produced in the class, will mainly become textual resources for clearing illustrating interpretative judgement generated in the essay.
(16)
DING Cheuk-laam
(17)
Meret BHEND
A picture travels from Guilin to Hong Kong.
How do i think Honk Kong looks?
How do i think China looks?
How does Honk Kong look?
How does China look?
at each other
looking away