#Congratulations! Director Hsin-Chien Huang's latest VR works, Samsara and The Starry Sand Beach, were nominated for the 78th Venice International Film Festival!
The 78th Venice International Film Festival (VIFF) announced the shortlisted nominees for the category of VR Film. Taiwanese new media artist, Distinguished Professor of NTNU, Hsin-Chien Huang, winner of the BEST VR Experience in 2017 with his work La Camera Insabbiata, will again contest for the Leone d’oro this year with two of his latest, sci-fi inspired works, Samsara and The Starry Sand Beach. While the Taiwanese athletes are striving for the Gold Medals at the Tokyo Olympics as we speak, director Hsin-Chien Huang dazzles the jury of VIFF with his visually-stunning and thought-provoking works — bringing cutting-edge Taiwanese VR films onto the international stage and letting world-wide audience sees Taiwan!
Before being selected for the 78th Venice International Film Festival, Samsara episode 1. has already grabbed the Jury Award at SXSW and Best VR Story at the Cannes XR Competition. This futuristic VR experience teleports the audience onto a journey that spans millions of years. Samsara is a Sanskrit word meaning “ the world ”. In Buddhism, it means what we perceive as the world is actually an endless cycle of karma (cause and effect), a cycle of life, death and rebirth in the six realms of existence. In this fascinating VR work, the audience is reincarnated into the bodies of different persons and creatures, experiencing the universe in their new bodies and in search for the ultimate spiritual transcendence.
Samsara depicts an apocalyptical story in the near future where human greed has depleted the earth’s resource. Catastrophic wars to fight for resource resulted in global destruction. Finally, the remaining humans had to leave the Earth and go on a search in space for a new place to live.
Nevertheless, their desperate, long quest for a new homeland… could it be just a loop in space and time? The cycle of greedy domination and total destruction that then necessitates the search for a new home…. may have hopelessly repeated itself over and over again? The constant evolutionary process and so-called progress, without transformation in consciousness and spiritual advancement, is nothing more than a Möbius strip that leads nowhere, perhaps…?
Samsara is an experiment based on the theory of Embodied Cognition. Through interactivity and VR, the audience gets to live inside the bodies of different persons and creatures, experiencing their feelings from within. Perhaps It is when we can perceive the world in different bodies that we may truly appreciate the thoughts of others and empathize with them. An experience that will also help us better comprehend our own existence and learn to live in harmony with all.
Samsara explores a complex of deeply interconnected issues of ecology, technology, natural resource and war, etc. It's a story about a journey humans are forced to take on, after having destroyed the earth with nuclear disasters. The survivors seek a new planet, in the boundless, interstellar space, to carry on their lives. Gradually they evolve into a new life form artificially. Yet, many years passed and they’ve come to realize that they would never make it to the new planet they’ve been dreaming of. In fact, they have simply been returning to the Earth, in different life forms, time after time.
Director Huang applies the concepts of embodied cognition, offering a unique way to contemplate about the nature of life. As the audience are transported into different bodies each time, they gain a brand new perspective to experience the world views presented in Samsara.
Samsara was produced under the guidance of Taiwan Creative Content Agency (TAICCA) and Kaohsiung Film Archive VR(VR FILM LAB), it’s a sate-of-the-art VR production made 100% in Taiwan. In the VR experience, viewers are transformed into various kinds of animals to interact with the scenes, including species unique and indigenous to Taiwan, such as Taiwan Blue Magpie and Formosan Black Bear.
Samsara Ep.1 features the latest somatosensory technology, including 4D views shooting techniques by the Industrial Technology Research Institute and TAICCA. A digital shooting system comprised of a high-sensitivity 4 million-pixel, full-color CCD sensor and 48 4DV-EX-Z cameras made it possible for Samsara Ep.1 to be taken from an omnidirectional view and shot without any blind spots, creating the ultimate immersive experience.
THE STARRY SAND BEACH, directed by Hsin-Chien Huang and produced in cooperation with Lucid Reality (France) and Oready 瑞意創科 Oready Innovation Lab (Taiwan), is a scientific fairy tale about a unique ecological wonder in Taiwan and Japan, the shiny starry sand beaches. Foraminifera, from the Latin word “foramen” meaning hole, is a single-celled organism that builds a shell with multiple chambers which intercommunicate with one another through holes. On the Qimei Island, Taiwan and the Yaeyama Islands, Japan, beaches have been formed by a specific species of foraminifera with star-shaped shells made of calcium carbonate. Like the real stars in the legends, grains of the starry sand have also been preserving the earth’s memories for millions of years.
THE STARRY SAND BEACH is a real-time 3D interactive VR adventure into the natural and mythological landscape of the starry sand beaches on Qimei Island in Penghu Archipelago, Xing Sha Wan in Kenting National Park and Taketomi Island in the far south of Japan. The experience is full of aesthetically-amazing elements and enriched with cultural and religious significance like Shintoism in Japan. A beautiful, haunting legend tells the story of the starry sand…
The final winners will be presented at the award ceremony held on Sep11. With great anticipation and hopes, Hsin-Chien Huang is expected to bring home again the grand prize for Taiwan!
https://www.labiennale.org/en/news/selection-complete-works-venice-vr-expanded-0
#黃心健 #HsinChienHuang
#samsara #chalkroom
#LaCameraInsabbiata
#VeniceInternationalFilmFestival #VIFF
#Thestarrysandbeach
#LucidReality
#OreadyInnovationLab
同時也有1部Youtube影片,追蹤數超過360的網紅留聲樂團Resonance,也在其Youtube影片中提到,#對歌曲的告白-【初】 「在相隔多良大溪與金崙9.6公里的排灣族部落裡,我總是覺得阿姨的歌聲很特別......」---------- 編曲者 Sakinu 🐼 觀看全文 ▶︎ https://bit.ly/39WS5go #對歌曲的告白-【凌】 「這次的作品,每一個樂段,都極具畫面感,它不僅僅是一...
indigenous meaning 在 Facebook 的精選貼文
Just a gentle reminder that each bead, each thread from their sacred woven cloth, the intricacy of their headgear, each bear MEANING and significance.
A reminder that the indigenous people are the ones who are born into a lineage of wealth carrying with them the teachings of their ancestors, and that wealth comes in the form of wisdom and connection to this beautiful planet of ours, the wisdom that you and I may have forgotten.
Here are a few strong warriors who bring with them that wealth of knowledge wherever they go. With their messages strong so you and I can listen and discover more about US. ALL OF US.
I am from Sarawak and have Sabahan familial ties and I too carry an immense pride with me during my travels around the world. In whatever way I can. Through my songs, through the accessories I wear that were given to me, through my bright eyes whenever I speak about where I was born.
These beautiful Bornean women make me prouder everyday. Seeing their journey into full force and bloom.
I will not speak unkindly here about the unkind words someone has placed on the peoples’ sacred garment (coz I expressed most of it on Twitter). But I do hope this has all been a learning journey for us all.
🌺
indigenous meaning 在 VOP Facebook 的最佳貼文
新刊預覽 👀⚡️⚡️⚡️
Voices of Photography 攝影之聲
Issue 29 : #被攝影史──成為影像的台灣
History of the Photographed:
Taiwan as an Image
延續我們對於攝影史的關注,本期審視屬於我們自身的攝影經驗──被攝影的歷史。從台灣的殖民史出發,自十九世紀中葉以降歷經的人類學調查採集、二十世紀初隘勇線推進下的暴力顯影,到帝國博覽會裡的「台灣」意象與人種展示──這是一段最為系統性地將台灣影像化的初始時期。我們如何成為被攝影的對象?如何化為一具科學標本和一幅想像圖騰?如何在視覺上被納編(或排除)於國族與文化的整頓編程,並糾結至今?此一影像的潛歷史──被攝影的歷史──是我們返視「攝影史」的一處起點。
藉此,本期試圖反詰「歷史」,思考致使我們「成為影像」、「進入攝影史」的支配與佈局,嘗試突破以往「攝影(者)的歷史」框架,開啟我們的「被攝影(者)的歷史」覺察,或許將能發現對我們而言更為重要的攝影的歷史遺產,生成屬於我們的另翼影像史觀。
專題中收錄的影像與文論,標記了我們在「被攝影」的歷史經驗裡的複雜和衝突──我們從已故人類學者胡家瑜對早年台灣人類學田野調查至戰後發展的介紹專論開始,探看影像採集的知識化歷程及當代意涵;黃翰荻追尋日本人類學者鳥居龍藏與森丑之助在殖民年代的台灣原住民族群踏查足印,細述二人巨大的歷史身影;高俊宏在總督府「理蕃時期」的諸多「討伐」寫真帖中,重新諦視「歸順者」肖像裡的幽微目光;瓦歷斯.諾幹以解/反殖民書寫,展現自身與族人生命經驗裡實切的影像歷史感知;松田京子則以東京拓殖博覽會中對殖民地的活人陳列展演,析解形塑「台灣」的視覺策略。
本期Artist’s Showcase單元,我們與藝術家葉偉立進行長篇訪談,呈現他這些年來以行動介入所構成的獨特影像場域,記錄其未曾間斷的勞作沉思。而在影像論述單元,本期新闢由影像研究者李立鈞執筆的科學攝影專欄,揭示平時隱沒在科學實踐中的「影像問題」,首篇從圖繪細菌與拍攝細菌在十九世紀引發的論爭談起,一探科學家對於攝影「客觀性」的認知辯證。謝佩君接續前期對於影像/視覺理論的引介,深入闡論歐美學界近年如何反駁過去以視覺機具作為現代性發展的線性觀點。黎健強探究香港攝影源流的連載系列,揭載「作為影像的香港」在1850年代末首次出現於可供西方觀眾賞玩的遠東立體照片。此外本期亦特邀黃建宏撰文紀念近期辭世的法國哲學家貝拿爾.斯蒂格勒,記述其影像哲理綿延的技術與時間之論。
在本期出版(焦頭爛額)之際,也正是《攝影之聲》邁入第十年的開端,回想起來真是一段不可思議的旅程。感謝所有的讀者共同撐起這份小刊,也要再次感謝參與《攝影之聲》、支持我們的朋友與工作伙伴,給予我們面對艱困的勇氣,繼續在蜿蜒的道路上行進。
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購書 Order | http://bit.ly/vop-29
台灣讀者免運費優惠中!
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As we continue on the topic of the history of photography, we turn to our own photography experiences in this issue – our history of being photographed. It takes root in Taiwan’s colonial history, from the collection of anthropological surveys in the 19th century, to the acts of violence at the defence lines as they pushed on during the Japanese colonial era in the early 20th century, as well as the exhibition of the “Taiwanese” imagery and ethnicity at various expositions held during the Japanese colonial rule. These form the beginnings of a systematic effort to visualize Taiwan. How did we become the photographed, a scientific specimen, a totemic image? How did we become visually part of (or excluded from) the rectification process of nationality and culture, that continues to trouble us till now? The veiled history of such an image – the history of being photographed – guides the beginning of our journey of looking back at the “history of photography”.
With this, we attempt to cross-examine “history” and think through the control and disposition that led us into “becoming an imagery” and “going into the history of photography”, hoping to break free from the existing framework of “the history of the photograph(er)” and enlighten our awareness of the “history of the photographed”. We reckon this could allow us to discover the historical heritage of photography that is even more important to us and generate our very own alternative view of the history of photography.
The collection of imagery and essays in this series marks the complexity and conflicts in our historical experience of “being photographed”. We begin with the late anthropologist Hu Chia-Yu’s field research of Taiwan’s anthropology from the early years to the post-war period as we explore the knowledge-based development and contemporary meaning of imagery collection. Huang Han-Di traces the footsteps of Japanese anthropologists Torii Ryuzo and Mori Ushinosuke in their study of the Taiwanese indigenous peoples in the colonial era, detailing the historical impact that they had. Kao Jun-Honn takes a second look at the faint gaze in the eyes of those who had pledged allegiance, as captured in the many portraits of the “submissives” kept at the Governor-General’s office during the Japanese rule. Walis Nokan expresses his and his fellow people’s real perception of the history of photography as they had experienced it in his de-/anti-colonization writings. Matsuda Kyoko analyses the visual strategy of shaping “Taiwan” through the living displays at the Tokyo Colonization Exposition of 1912.
In this issue’s “Artist’s Showcase”, we feature an in-depth interview with artist Yeh Wei-Li, showing our readers his unique field of imagery that extends from his art of intervention, a record of his neverending contemplation with regard to labor and art. Moving on to essays on visual imagery, we present a new scientific photography column by imagery researcher Lee Li-Chun, who unveils the “imagery problem” that underlies scientific practice, beginning with cognitive dialectics of “objectivity” of photography by scientists that stemmed from the debate sparked by illustrating and photographing bacteria in the 19th century. Hsieh Pei-Chun continues with her introduction to imagery/visual theory from an earlier issue, and explains in detail how Western academia has refuted the existing linear view of visual machinery as a modern development. Edwin K. Lai’s series on the origins and development of Hong Kong photography tells us about the first 3D photograph from the Far East that aimed to entertain a Western audience with “Hong Kong as an image” in the late 1850s. In addition, we specially invited Huang Chien-Hung to commemorate the French philosopher Bernard Stiegler, who had recently passed, and the continuous techniques and time that stems from his philosophy of imagery.
At the same time as we (run off our feet to) prepare for the publication of this issue, Voices of Photography is going into its 10th year, and what an incredible journey it has been. We sincerely thank all our readers for keeping us going, and express our heartfelt gratitude once again to all our friends and partners who have worked with us and given us the courage to overcome our difficulties to march on on this winding road.
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本期目錄 Contents
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文化調查、標本收藏與攝影
——十九世紀中葉起的台灣調查採集動力與歷史脈絡
Cultural Investigations, Material Collections and Photography:
Agencies and Historical Contexts in Taiwan Since the Mid 19th Century
#胡家瑜 Hu Chia-Yu
「空中鳥跡」與「依風彩畫」——寄鳥居龍藏與森丑之助
“The Trail of Birds in Flight” and “Paintings in the Wind”: A Letter to Torii Ryuzo and Mori Ushinosuke
#黃翰荻 Huang Han-Di
「不看」的能指——關於理蕃攝影中的「歸順者」之眼
The Significance of “Not Seeing”: On the Eyes of the “Submissives” in the Photography of the Aboriginal Taiwanese
#高俊宏 Kao Jun-Honn
關於日據時期老照片的解/反殖民書寫練習
Interpreting Old Photographs from the Japanese Occupation Period De-/Anti-Colonization Practice Writings
#瓦歷斯諾幹 Walis Nokan
人類的「展示」與殖民地再現——以1912年拓殖博覽會為中心
The “Exhibition” of Mankind and the Resurgence of Colonization: A Look at the Tokyo Colonial Exposition of 1912
#松田京子 Matsuda Kyoko
如何「做」視覺民族誌?——讀《學做視覺民族誌》
How to “do” a visual ethnography?: Understanding Doing Visual Ethnography
#顧錚 Gu Zheng
我們可以祛除帝國主義嗎?——《潛在的歷史》的指引
Can We Unlearn Imperialism?
Methods and Lessons from Potential History by Ariella Azoulay
史蒂芬.席海 #StephenSheehi
Artist’s Showcase: #葉偉立 Yeh Wei-Li
故事之野——訪葉偉立
A Field of Stories: Interview with Yeh Wei-Li
#李威儀 Lee Wei-I
「可怖的客觀性」——十九世紀的顯微攝影
“Dreadful Objectivity”: Photomicrography in the 19th Century
#李立鈞 Lee Li-Chun
偉大的否定——負影像史
The Great Disavowal: A Counter History of Image
#謝佩君 Hsieh Pei-Chun
追夢人的藥控——離散的「貝拿爾.斯蒂格勒」影像
Pharmakon by Dreamer: Discrete Image of Bernard Stiegler
#黃建宏 Huang Chien-Hung
浴火重生的香港攝影(上)——最早為香港留下照片的攝影師
Hong Kong Photography: Rising from the Ashes (I) – The Photographer Who Left Behind the First Images of Hong Kong
#黎健強 Edwin K. Lai
攝影書製作現場⑤ : 便利堂
Photobook Making Case Study #5: Benrido
#羅苓寧 Lo Ling-Ning
七等生 : 重回沙河
Qi Deng Sheng(1939-2020): A Return to Sand River
李威儀 Lee Wei-I
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更多訊息 More info :
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indigenous meaning 在 留聲樂團Resonance Youtube 的最佳貼文
#對歌曲的告白-【初】
「在相隔多良大溪與金崙9.6公里的排灣族部落裡,我總是覺得阿姨的歌聲很特別......」---------- 編曲者 Sakinu 🐼 觀看全文 ▶︎ https://bit.ly/39WS5go
#對歌曲的告白-【凌】
「這次的作品,每一個樂段,都極具畫面感,它不僅僅是一首歌,更是一篇值得細細品嚐的故事...」---------- 樂樂 🐰 觀看全文 ▶︎ https://bit.ly/2EXh5sN
#對歌曲的告白-【觸】
「極富故事創意的歌,用一首歌的時間,讓我們一起聽見如十首歌的溫暖感動!一開始,還記得是在遙遠的汐止...」---------- 東恩 🐶 觀看全文 ▶︎ https://bit.ly/2Xy4JgS
#對歌曲的告白-【望】
第一次練這首歌之前,恩恩和我們分享這首歌的故事...
🐼:「這是一首紀念族人的歌,在以前,平常時候是不能隨便唱的,只有在特殊日子才會唱的,也藏著過去許多人的故事,是一首很美又很有故事的歌」
🐶🐰🐵🦊:「喔~~」(當時只是認真的聽聽🙈)...」---------- 貝卡 🐵 觀看全文 ▶︎ https://bit.ly/3kh58yf
#對歌曲的告白-【歸】
「曾是一首完全沒有伴奏樂器的古調,如何把鼓與Beatbox放進去又不失這首歌曲的精彩?」是這次最具挑戰,也是最令人開心、好玩的地方!這次的歌曲對我來說...」---------- 和和 🦊 觀看全文 ▶︎ https://bit.ly/33qEexP
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「Miyome是台灣原住民鄒族mayasvi祭典儀式歌舞祭其中之一。其歌名含義有兩種說法:亡魂曲,悼念部落族人亡魂,安慰喪家及祈求天神安慰死者的靈魂;其二意指一名美麗且善良的女子,而族人作曲紀念她。在這個祭典中唱這首,認為有可以除穢作用,祈求平安及健康之用意。在編曲創作上,靈感來自國外許多阿卡貝拉在音樂劇風格上的創作模式,增加音樂與電影畫面感的相互輔搭,將我們想傳達的故事變成一段段旋律,在聽到每一個音時,眼前故事便紛紛上映。」---------- 編曲者 Sakinu
This melody is one of the songs at the Mayasvi ceremony(Triumph Festival) of the Tsou tribe. There are two versions of the song title: the song of the dead, the mourning of the dead, the comfort of the bereaved family and the praying for the gods to comfort the souls of the dead, and the other meaning of the song refers to commemorate a beautiful and kind woman. Singing this song at this festival is considered to have the effect of removing filth and praying for peace and good health. In the field of arrangement, the inspiration comes from the musical creation mode of lots of a cappella groups abroad, turning the stories we earn to express into the melodies, strengthening visual perception of the music.
#miyome #古調 #留聲樂團 #阿卡貝拉 #acappella #好似電影配樂般 #像極了電影
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🎵音樂製作 Music
曲/詞 Compose|台灣原住民鄒族古調 The traditional ritual song of The Tsou (one tribe of the Taiwanese indigenous people)
編曲 Arrangement|邱恩 Sakinu Tjakisuvun
人聲打擊編曲 Vocal Percussion Arrangement|張羽和 Eddy Chang
音樂製作人 Producer|邱恩 Sakinu Tjakisuvun
配唱製作人 Vocal Producer|邱恩 Sakinu Tjakisuvun
錄音師 Recording|李清揚 Ching-Yang Lee
混音師 Mixing Engineer|Bill Hare
前製編輯 Pre-recording editor|李清揚 Ching-Yang Lee
女高音 Soprano|施欣妤 Shin-yu Shi
女中音 Alto|黃語芊 Becca Huang
男高音 Tenor|邱恩 Sakinu Tjakisuvun
男低音 Bass|吳東恩 Christopher Wu(特別感謝「自然人」Bass 友情協力)
人聲打擊 Vocal Percussion|張羽和 Eddy Chang
錄音室提供 Recording Studio|感動音樂藝術空間 Touching Studio
🎵影像製作 Music Video
導演 Director|林姿君 Light
攝影師 Director of Photography|何帛儒 Boru
攝影助理 Assistant Camera |林易群 Yi-Chun Lin 、黃信淵 Xin-Yuan Huang
助理導演 Assistant Director|張語涵 Yu-Han Chang
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