Through the observation from cultural codes and eastern costumes, traditional paper-cut art and totem, in the Chinese society, reveal mainstream consciousness toward love, sex and felicities for “reproduction” and “normal pattern” in miniature. With the passage of time, expected role played by women should be loyal and humble.
"The shells of moral pattern" suppress female desire, bodies and soul so they don’t have self-oriented cogitation but serve others as anchor point to move. In hence, facing external changes, they are defenseless within empty shells in the patriarchal environment.
Nowadays, love and sexual connection cannot be limited by “moral pattern” or “legal framework”. Instead of ignoring the phenomenon and humanities under the surface of shell, we should face the gap between “moral surface” and “underlying reality” with open discussion.
Through the observation from cultural codes and eastern costumes, traditional paper-cut art and totem, in the Chinese society, reveal mainstream consciousness toward love, sex and felicities for “reproduction” and “normal pattern” in miniature. With the passage of time, expected role played by women should be loyal and humble.
"The shells of moral pattern" suppress female desire, bodies and soul so they don’t have self-oriented cogitation but serve others as anchor point to move. In hence, facing external changes, they are defenseless within empty shells in the patriarchal environment.
Nowadays, love and sexual connection cannot be limited by “moral pattern” or “legal framework”. Instead of ignoring the phenomenon and humanities under the surface of shell, we should face the gap between “moral surface” and “underlying reality” with open discussion.
Stop-motion VR installation project
偶動畫虛擬實境裝置
2018
Initially the audience witnesses evocative gestural performance animation of the main character, “Fish Bone Queen,” giving away precious gifts from her own body. Upon entering the virtual reality environment, the viewer is immersed in a living bodyscape. This idea mirrors the perceived natural world and fluctuations in human relationships. Ultimately the viewer will be left with a more intimate understanding of how worlds can be perceived differently depending on your vantage point. This project is originally designed to be displayed in an installation setting as a stop-motion film and 3 vr headsets which provide 3 different immersive experiences inside the main character.
project creator and director ZOEY LIN
vr visual effect creative director KUN XIA
composer and sound designer PING SHENG WU
作品故事線的開始是由主角Fish Bone Queen 揭開序幕，以不斷的給予他者來自於自身的珍貴”禮物” 而建立某種聯繫。而後進入虛擬實境時，觀者將會浸淫在主角的軀體裡感受因”過度給予” 而產生的波動。作品本身想闡述與探討人與人之間和感知世界中存在的脈動與連結。此件多媒體偶動畫虛擬實境裝置作品的設計，是由偶動畫與虛擬實境兩個元素構成的延展實境，最初展場設計動線規劃讓觀眾跟隨偶動畫三段式投影，依序由最外圍投影牆逐漸轉進到中心，梳妝台上陳列了三個虛擬實境頭盔，提供三段在主角體內(不同視角)的360度浸淫式體驗。
計畫原創與導演 林宛錚
虛擬實境特效導演 夏坤
作曲與聲音設計 吳秉聖
original exhibition walkthrough 原始展覽動線設計圖
“Relation • Ship” is a virtual reality experience first inspired by “Ghost Ship”, a chapter from Roland Barthes' “A lover's discourse: Fragments”:
" Though each love is experienced as unique and though the subject rejects the notion of repeating it elsewhere later on, he sometimes discovers in himself a kind of diffusion of amorous desire; he then realises he is doomed to wander until he dies, from love to love. "
「 Relation • Ship 」 是一件由偶動畫結合虛擬實境的多媒體裝置藝術作品。初始的靈感是來自於羅蘭巴特 《 戀人絮語 》 中「幽舟」的這個章節的摘錄，闡述「感情」與「情感」中的跌宕起伏與變動性。
「 儘管戀人認為他經歷的愛情是絕無僅有的，而且不相信以後在其他場合會重複這愛情，他仍然不時地忽然感覺自己身上會出現情慾的發散；他這才明白自己命中注定要在愛情中遊蕩，從這一個到那一個，直至生命的終結。 」
Using stop motion organic characters and set design inspired by marine biology, the story consists of two separate philosophical ideas; the concept of “Assemblage” by Deleuze & Guattari, and the concept of “Plissement” by Merleau-Ponty.
Merleau-Ponty states in “The Visible and the Invisible”:
" The world is like that band of foam on the ocean which appears immobile when seen from an airplane, but which suddenly, because it has extended itself by a line, is understood to be shimmering and living from close up. But one also understands that, seen from high enough, the amplitude of being will never exceed that of nothingness, nor the noise of the world its silence. " (p.64)
These ideas inform “Relation • Ship” in terms of content and imagery. Set in an ocean-like environment, complex intricate details shift out of focus to form abstract shapes, similar to Merleau-Ponty’s ideas of shifting perspective in relationship to the distance of the object.
作品中角色與場景設計除融入海洋生物學元素外，也受到德勒茲與瓜塔里在 《 千高原 》 提及的 「拼裝理論 」 和梅洛龐帝在 《 知覺現象學 》 所提出的「起皺狀態 」概念之啟發。視覺上以有機多變的仿生造型、與影格比例的變化 (從13:8 -> 8:8 -> 5:8 -> 360度環視)，乘載對於普世萬物間諸多關係的交互感知性與哲學概念性探討。
而梅洛龐帝在 《 可見與不可見 》 裡敘述到：
「 這個世界就好比海洋上的泡沫帶，從飛機上遠觀時一切似乎靜止不動，但足夠靠近聚焦時，這泡沫帶會如線條般延展開來，如此栩栩如生閃耀動人。從而人們也將明白，當從至高無比的角度來觀看這世界時，消長與變動將被虛無與靜止所涵蓋。 」
上述的意象與概念也再次呼應作品裡的視覺與內容呈現，場景定調在與海洋相似的環境。此外，利用鏡頭對焦與失焦所產生的對比，強化觀看的距離與方式將會影響觀者對於被觀看者的感知。像是精緻具像的形體在失焦遠距的狀態下觀看時會成為抽象虛無的狀態。
▍University of Southern California SCA Gallery 南加大SCA藝廊
▍Orange County Center for Contemporary Art (OCCCA) 橘縣當代藝術中心
▍Los Angeles Center for Digital Art (LACDA) 洛杉磯數位藝術中心
▍Westergas-Machinegebouw 西瓦斯廠文創園區-機械庫房