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The Burning Edge: Making Space, Activating Form 13/1 The Burning Edge: Making space, activating form ጣጜᘄለƻ ෈ႪጓഛӂϸڐჍ௫ 13/1/2012 - 30/4/2012 Contents 目錄 2 Introduction by the Dean of School of Creative Media Bodies in Motion 身體挪移 創意媒體學院院長獻辭 40 Ulf Langheinrich 3 School of Creative Media 創意媒體學院 MOVEMENT Y WAVEFORM A 4 Introduction by the Exhibition Curator 展覽策劃引言 42 Koala Yip 葉彩鳳 Sonographer Phantoms of Cinema 電光魅影 44 Tobias Gremmler 圖途 8 Hector Rodriguez 羅海德 TIMECODE Gestus 46 Tamas Waliczky 10 Linda Chiu-han Lai 黎肖嫻 Sculptures Door Games Window Frames: Near Drama 景框戲門 Landscape 12 Patrick Tam 譚家明 48 Phoebe Man 文晶瑩 13: Flower Calamity 十三之花劫 _ _ ing@CMC 14 Hui Nga Shu, Rita and Yu Ka Ho 許雅舒 余家豪 50 S. Louisa Wei 魏時煜 Luo Feng Shan 羅酆山 Dream Under the Sun 陽光下的夢 15 Ip Yuk-Yiu 葉旭耀 52 Oscar Au 區建忠 Between the Threshold of Good & Evil (No. 2 The Handle-Aware Isolines for Scalable Shape Editing Big Sleep) 基於把手感知等值線的可擴展形狀編輯 18 Leino, Olli Tapio 連藹理 54 Exhibition Floorplan 展覽平面圖 killer.gif 56 Acknowledgements 鳴謝 20 Eddie Leung Hiu Ming 梁曉明 Cycle of Life 生命的週期 Structure, Space, Ecology 結構、空間、生態 24 Leung Chi Wo 梁志和 CC Bureau CC 辦公桌 26 Samson Young 楊嘉輝 Machines for Making Nothing 無為機器 28 Daniel C. Howe and Bill Seaman Engine of Engines 30 Julian Lee 李志超 Transporter 影移 32 Scott Hessels Sustainable Cinema 可持續電影 34 Robert Ellis-Geiger and Phil Shek Ming Fai 石明輝 The Voices of Guizhou 36 Fu Hongbo 傅紅波 Adaptive Partitioning of Urban Facades Introduction by the Dean of School of Creative Media School of Creative Media 創意媒體學院院長獻辭 創意媒體學院 In the Creative Arts, the best teaching is done by 實例是創意藝術教育的最佳方法。邵逸夫創意媒體中心開 The School of Creative Media (SCM) at the City 香港城市大學創意媒體學院( SCM) 融會藝術與科技，是 example. The Run Run Shaw Creative Media Centre 幕慶典暨藝術節給予我們機會，展示創意媒體學院教職員 University Hong Kong is an international hub for 亞洲首屈一指的國際性研究與創新樞紐。 (CMC) Grand Opening Festival gives us an opportunity 仝人的傑出作品。 discovery and innovation in Asia where art and to showcase the work of our outstanding School of technology meet. 在這裡，來自世界各地的學生接觸到各種各樣的數碼媒 Creative Media faculty. 我們的教職員團隊由藝術家、設計師和不同的創作人組 體科技，他們的藝術、知識和技術藉此得到充分發展。 成。他們是學生畢業時應有水準的參考典範，他們的創造 Here students from across the globe encounter 畢業後，他們將成為 21 世紀創意產業的領導者。 Our faculty is made up of artists, designers and 力在卓越的教學質素中反映，並且成為學生的靈感泉源。 the wealth of opportunity afforded by digital media producers of content who set benchmarks and points 我們的團隊體現出香港城市大學（城大）的發現與創新精 technologies. Their artistic, intellectual and technical 而國際知名的教職員團隊，每位均在自己的領域中獨當 of departure for our students. Their creativity profoundly skills are developed so that as graduates they will take 神，並進一步鞏固它的國際形象。作為國家以至國際級的 一面。他們的教導結合實踐性創作技能與理論框架，為 informs the quality of their teaching and offers models positions of creative leadership in the 21st century. 創意人才，我們的教職員團隊來自不同國家與地區，包 這個科技日新月異的社會，培育出獨立思考的創新者。 of inspiration. They embody that spirit of discovery 括歐洲、北美洲、大洋洲、非洲、亞太地區，以及香港。 and innovation that is the hallmark of City University of Mentored by an internationally renowned faculty 在著名建築師 Daniel Libeskind 設計的新大樓之中，更 Hong Kong (CityU) and also consolidate its international who are all at the forefront of their craft, hands-on 數碼科技是一個急速成長並且不斷變遷的領域，但源遠流 有最尖端的教學與研究設施，為我們卓越的教育提供 profile. As practitioners of national and international creativity is combined with a theoretical framework to 長的師生傳統關係仍是十分重要，尤其是，教師的開拓性 有力支援。 standing, our faculty members come from Europe, North give students the skills they need to become critical 工作為學生提供質量準則，為學生的實驗定下哲學思考 America, Australasia, Africa, and Asia Pacific, as well as innovators in our ever-changing technological society. 和生存責任的框架。這著重意義的關注，也呼應著 Robin Hong Kong. Peckham 可作典範的策展方向，嘗試把教職員各式各樣 This state-of-the-art education is backed by cutting- Digital technology constitutes a terrain of astonishingly 的研究與創作，集合成一次連貫展覽的挑戰。 edge teaching and research facilities, and housed in an fast transformation and invention. Even so, long- inspiring new building designed by the famed architect, standing traditions of the teacher-student relationship 在這次 CMC Gallery 的首場大型展覽中，有一點我們應當 Daniel Libeskind. continue to inform education in this arena, especially 留意：成就斐然的建築師 Daniel Libeskind 為我們創造了 where teachers’ pioneering work offers qualitative 一個非凡的工作空間，而一眾參與藝術家與展覽設計師王 criteria that grounds student experiment in frameworks 浩然則為這次展覽而努力以赴。此外，一個專為這次展覽 of philosophical reflection and existential responsibility. 而設的製作隊伍，在李筱怡的帶領下，盡力令展覽成為一 This attention to meaning also reverberates in the 次世界級盛事。 exemplary curatorial approach taken by Robin Peckham to the challenge of gathering the diverse activities of our 透過開幕慶典暨藝術節，這次展覽雲集創意媒體學院各 faculty into a coherent exhibition experience. 教職員的作品，標誌著創意媒體中心正成為香港以至亞 洲的領先文化活動樞紐。而它亦進一步實踐城大對香港 This is a fitting focus for the first major exhibition to be 社會的承諾，讓來賓可以欣賞到創意媒體學院為學生提 mounted in the CMC Gallery. The eminent architect of the 供的高質素和多方面的創造力。 CMC, Daniel Libeskind, has given us an extraordinary space to work with and the contributing artists and the exhibition designer Adrian Wong have all risen to the occasion. Furthermore, a dedicated production team, under the direction of Bobo Lee, has done a great job to make this exhibition a world-class event. With its Grand Opening Festival and this major exhibition of School of Creative Media faculty works, the CMC is establishing itself as a leading hub of cultural activity for Hong Kong and Asia. It also advances CityU’s commitment to the Hong Kong community, giving visitors an exciting insight into the qualitative and multifaceted creative energies that the School of Creative Media offers students. Professor Jeffrey Shaw 香港城市大學創意媒體學院院長 Dean, School of Creative Media 邵志飛教授 City University of Hong Kong 2 3 Introduction by the exhibition curator Introduction by the exhibition curator 展覽策劃引言 展覽策劃引言 One of the favorite anecdotal obsessions of the Hong 香港「批評階層」其中一個掛在嘴邊的說法，是文化發 Work in this exhibition is organized primarily around 正如所有建築物一樣，建築師的工作一旦完成，一切便 Kong chattering classes is the perceived dichotomy 展中存在著「硬件」和「軟件」的對立：中國內地的新 the tangyang modeling technique perfected by the 交到建築物的使用者手上。使用者在設計階段往往被理 between the ‘hardware’ and ‘software’ of cultural 建文化區常常選出令人驚歎的建築方案，但計劃本身卻 architectural draftsmen and engineers of the Qing 解為「人民質構」，並有望賴之以重塑這個生活空間。 development: noting the spectacular successes and 往往失敗收場。香港的藝術家與評論家因而抱怨：沒有 court: in order to prepare accurate scale models of 這通常是透過媒體技術，倒如投影和人物模型所表達， astronomical failures of the architectural choices of 合適的工作人員與專業培訓去管理和準備節目，空有一 new buildings for the approval of the imperial family, 但亦會使用一些更明確和與實際生活有關的策略，如設 creative districts across mainland China, Hong Kong 個令人讚歎的外殼仍是一無是處。問題的癥結在於，上 craftsmen used this technique to burn paper and wood 定好照明開關，或根據不同空間而限制使用者的說話聲 artists and commentators mutter to themselves that an 述建築項目的目的往往是要容納博物館、畫廊、劇團等 sheets into the requisite forms. Seizing upon the notion 浪。在此，我們可把「燃燒的邊緣」視為建築物使用者 impressive empty shell is useless without the proper 等，這些東西在不少地方政府眼中轉瞬即逝，他們隨便 of media architecture but largely disappointed by its 創意生產的總和，它們正是穿梭於時空的排序向量，標 staff and professional training to manage and prepare dominant manifestation as a question of the facade 拋出一些振興旅遊和加強世界知名度的承諾，卻沒有任 誌著詮釋線及不可測定的速度性質。向量是數碼概念， an ongoing program. Much of this anxiety stems from in the current moment, in this exhibition we attempt 何基礎設施，甚至沒有意圖去承擔真正的文化工作。由 但在這裡我們不必以本質主義的邏輯看待它。它毋寧更 the fact that these building projects are often intended to borrow such tangyang techniques in order to open 建築師 Daniel Libeskind 的標誌性棱角與相交平面所構 像知識及實踐的線軸，後者透過電影、電視、平面設 to house museums, galleries, and theater companies a new path for the media qualities of architecture. 成的創意媒體中心，它的情況卻正好相反。由教師、職 計、新媒體及當代藝術，界定了創意媒體學院的功能。 that exist only as a twinkle in the eye of some local The ‘burning edge’ of the exhibition title refers to this 員、學生，以及他們的研究工作和創意產物所組成的現 government bureau, dangling promises of tourist process: for a brief moment, when the hot iron is applied 成文化生態─創意媒體學院正要進駐到一系列基於用途 作為展覽，《燃燒邊緣》中的新舊作品大可被歸類為當 spending and enhanced global recognition without any to the paper, the edge is alive, active, and indeterminate; 而細緻劃分的空間。一方面，用者固然會把建築設施挪 代藝術，然而我們也可從這些作品中窺見學院的整體技 existing infrastructure—or even desire—to handle actual the burning edge could move in any direction and to 為己用，另一方面，他們的作品亦無可避免因新空間的 術、批判、創意和其他工作。借用紀錄片、音樂創作、 cultural work. In the case of the Creative Media Centre, any distance, emphasizing a sense of uncertainty and 影響而出現轉變。 產品設計、錄像製作，以及電腦繪圖的創意，以完成我 constituted by the spaces of aggressive angles and controlled violence that may prove productive. This is intersecting planes that characterized the architecture of the line of protocol at which hardware meets software, 們的一己私慾─探索挪用建築物的可能性中，以得出一 Daniel Libeskind, this situation is partially reversed. Here, 順著上述香港文化分析的一貫思路，我們或許要承認， as the art object or the media image scatters across 個較為人性化的藝術和文化角度。透過在視覺、技巧及 an existing cultural ecology consisting of the faculty, 創意媒體中心和創意媒體學院的硬件與軟件都分別達到 any multitude of vectors—lines of flight—that become 理論上的貢獻，創意媒體仝人既展示了個人所長，亦呈 staff, students, research, and creative production of an 一個相對成熟的狀況。當教職員和其他人士開始利用這 visible only as they are called into being through the 現出創意媒體中心整體新設施的功能；透過他們發放出 entire school is asked to enter a highly circumscribed if 個空間時，他們的活動亦同時被空間所影響，恍如一次 unpredictable requirements of the flame. Our building, 的向量，公眾有機會探索到建築物及這片網絡中的美學 purpose-designed series of spaces, expected to both 地質學的過程。是次展覽自視為一種協定，一系列談判 then, is given shape at a stage simultaneously far earlier 作品。這是一個以作品為本位的展覽，策展方向並非為 appropriate a new architectural infrastructure for its own 規則蘊含於空間與用者的空間化行為中，有如電腦中硬 and far later than its actual construction, as the iron 配合任何特定的主題，亦非歸結於某項研究。反之，它 use while also unavoidably altering its own
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