Cinema After Cinema《電 影 後 電 影》新書發佈
Please join to discover – an open door event for all interested…
BOOK LAUNCH: 15:00, 20 June 2024 (Saturday) @ Floating Projects (venue sponsor)
Cinema After Cinema 《電影後電影》新書發佈
295 pages Bi-lingual 中英雙語
Project Director & Editor: Ip Yuk Yiu, Kattie Fan 計劃總監及編輯：葉旭耀、范可琪
Deputy Editor: Emilie Choi 執行編輯：蔡倩怡 | Copy Editor: Siu Heng 編輯：蕭恒
Publisher: art.ware (Artware Curatorial Initiative Company Limited)
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電影除了在屏幕上的再現外，還有甚麼可能性？在數碼年代，電影與人工智能的關係是甚麼？本書回顧橫跨十三年的媒體藝術展覽CINEMA 2.0，展示電影作為思考與策展的方法。此展覽項目由媒體藝術家葉旭耀及策展人范可琪共同策劃，多年來嘗試探索當代科技與媒體文化，包括監控、演算法、後人類及遊戲等各種議題。
此書不單是展覽的紀錄，更試圖重溯電影，告別固有的概念，以跨學科及媒體考古學等方式重新探索電影與科技文化的關係。書中除了珍貴的展覽文獻，亦有重要的媒體藝術家邵志飛及羅海德等撰寫專文，擴展我們對當代文化的思考，同時引領我們走進新媒體藝術的世界。
Contemplating cinema beyond its traditional screen-based form, what other possibilities are there for cinema? In the digital age, what is the relationship between cinema, artificial intelligence, and algorithms? This book reviews the 13-year media art exhibition CINEMA 2.0, which showcases cinema as a method of thinking and curating. The exhibition, co-curated by media artist Ip Yuk Yiu and media art curator Kattie Fan, has covered key issues in contemporary technology and media culture, such as surveillance, algorithms, posthumanism and games.
This book serves as more than a mere documentation of the exhibitions. It attempts to retrace cinema, bidding farewell to fixed concepts and exploring the relationships between cinema and technology culture through interdisciplinary and media archaeological approaches. In addition to key exhibition documents, the book also features enlightening essays written by influential media artists such as Jeffrey Shaw and Héctor Rodríguez, expanding our thinking on contemporary visual culture, sparking new avenues of thought, and paving the way for us to enter the realm of new media art.
目錄
【導讀】
電影作為方法 從策展實踐友誼 | 葉旭耀
一個連結和協作的空間 | 范可琪
【策展人語】
2010: art.ware 現場表演 | 2011: 伊藤隆介的電影機器 | 2012: 異．形 | 2013: !Nippon | 2014: New Playable Art | 2015: 硬電影 | 2016: 玻璃之城 | 2017: 念念不忘 | 2018: 幽鏡 | 2019: 雅各歷書 | 2021: 超眼球 | 2023: 光域
【對談】
| Frederik Duerinck：超越視覺的眼界
| David OReilly：給遊戲賦予生命
| 伊藤隆介：空間電影的媒介考古
【專題文章】
| 未來電影 < > 未來電影2.0 | 邵志飛
| 基建詩學:從實踐者角度思考電影及技術 | 羅海德
CONTENT
Introduction
Cinema as Method, Curation as Friendship | Ip Yuk Yiu
A Space for Connection and Collaboration | Kattie Fan
Curatorial Statements: 2010: art.ware Performance | 2011: Ryusuke Ito’s Cinema Machine | 2012: Altered States | 2013: !Nippon | 2014: New Playable Art | 2015: Hard Cinema | 2016: Surviving the Glass System | 2017: The Phantom Machine | 2018: Dark Mirrors | 2019: Acrylic Dreams | 2021: Counter Visions | 2023: Illuminating Vacuum
Dialogues
| Frederik Duerinck: Vision Beyond the Optical
| David OReilly: Animating Play
| Ryusuke Ito: The Media Archaeology of Spatial Cinema
Features
FUTURE CINEMA < > Future Cinema 2.0 | Jeffery Shaw
The Poetics of Infrastructure: Tentative Reflections on Cinema and Technics from a Practitioner’s Standpoint | Héctor Rodríguez
