卡薩琳雷恩

Open Mind

Kathleen Ryan
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「開朗」探討一個視覺空間，像倉儲之類的，此探討在於表現人的思想與感情。這個大約5分的影片以蘿拉為中心一位年輕的法律系學生，適應大學獨立生活的新壓力。她「外在」（在咖啡館與大學地點其行為與表情）與「內在」（空洞的倉庫，表現她的思維）間的多層剪輯，快速地顯示表現在臉上與真實想法、感覺與自我欺瞞的態度間強烈的對比。透過象徵性行為來表現這些意思，諸如：拉一條毯子覆蓋在個人的東西上，代表她逃避與人對話。「內」「外」的對比利用顏色與聲音來區隔。咖啡館內的顏色很明亮和諧，代表蘿拉故事「真實的世界」內，一個活潑生動的地方。不過倉庫內的亮度低調且呈現孤寂憂鬱的藍色調，一個常用來表示「潛意識」的顏色。外在世界的聲音在倉庫內具有「水中」的迴音效果，就如在此心靈空間內，蘿拉隱瞞自己想法與感覺的情形。
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倉庫內物件具有濃厚的意義。當她搬到大學時稚氣私人物件消失了，而極度渴望鋪張文件與書籍在空洞的空間上表現她企圖利用工作來隱藏她的寂寞。一個主要的物件，門，用來象徵誠實敞開心胸面對他人。再出現的中心主題是蘿拉實際關閉了會話的門。不過，最後倉庫拍攝的鏡頭描繪蘿拉窺視著門外，整個結束的鏡頭，蘿拉在咖啡館與老朋友談話，蓄意地並未剪輯回到「內在」，因為當她最後吐露她的思維與感情給他人時—內在便緩慢地顯露出來。
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Open Mind’ is an exploration on how a visual space, like a warehouse, can be used to represent the mind and emotionsof a person. This approximately five-minute film is of Laura, a young law student, accommodating to the new pressuresof independent university life. Multiple cuts between her ‘exterior’ (her actions and expressions at a café and university)and her ‘interior’ (an empty warehouse setting, representing her mind) soon reveal the sharp contrast between what isperformed for external appearances, and what her real thoughts, feelings, and self-deceptions are. This is done throughsymbolic actions, such as pulling a rug over personal items as in the ‘exterior’ world she avoids a conversation. Thecontrast between the ‘outside’ and ‘inside’ is accented with the use of colour and sound. The colours in the café are verybright and balanced, as it is an active, lively place and in the ‘real world’ of Laura’s story. Lighting in the warehouse,however, is very low-key, with limited tones and an overall desolate blue tinge, as blue is often used as a ‘subconscious’colour. Sounds of the outside world have a more ‘underwater’ echoing effect in the warehouse, as in this mental space,Laura has insulated her thoughts and feelings.
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Objects take on heavy significance in this warehouse. Childish, personal objects disappear as she moves to uni, and herdesperate spreading of papers and books over the empty space expresses her attempts to use work to hide her loneliness.Akey object, a door, is used to symbolise openness and honesty to other people. A reoccurring motif is Laura literallyslamming the door on conversations. However, the final warehouse shot depicts Laura peeking out the door, and theoverall closing shot, of Laura and her old friend talking at a café table, deliberately doesn’t cut back to the ‘inside’, as sheis finally revealing her mind and emotions to another person – the inside slowly coming out.

林育聖

Trace

Lin, Yu-Sheng
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我使用拼格的方式來製造「動態」影像。《軌跡》裡，我擷取了許多不同時刻所拍攝下的籃球飛行路徑，拼合成為一條球的飛行路徑。某一種「暈眩感」是這件作品最想傳達出來的部分。它不是一個純粹觀念性、思辯性的作品；它希望激起觀者強烈的身體感，一種從現實世界脫逸，但卻沒有方向、沒有目的，甚至在來不急思考的當下再度被拋擲回現實世界的種種先於意識的感官活動。我想透過這樣建立在理性科學思維上的方式來挑戰感性活動，而這也正是我一直所追求的，藝術令我著迷的部分。
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I used montages to create “dynamic” images. In the work “Trace” I captured the flight of a basketball using photographstaken at many different moments in time and assembling them to show the ball’s trace.The work is really trying to conveya sense of dizziness. It isn’t purely conceptual or mental work. I wanted stir up an intensely physical feeling in viewerkind of escaping the real world and having no direction or goal, and then, without even having to think, being hurledagain into real world sensory activities that come before consciousness.I wanted to use this kind of method establishedon rational, scientific thinking to challenge people’s sensory activities. This is something I have always chased after, andis why art fascinates me.

王仲堃

Thus Have I "Ah~"

Wang, Chung-Kun
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我以「啊～」作為一種被影響的狀態、一種測量地面起伏的反射。作品安排三個並置且不同步的影像，反覆隨機重組合唱出不和諧的頻率。此想法來自我的生活必備代步工具–機車。從A 地點至B 地點的行駛路程，往往是種無聊的消耗。有一次，偶然發現當我騎車隨意吟唱時，聲音會因為路面的顛簸而被扭曲。
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作品中，我使用了「啊～」這個聲音，它漫無目的，並不代表什麼，但卻是我認為最接近直接反應的測量工具。對於當今身處都會繁華、但卻壓力十足的人們而言，我試圖透過這樣的測量方式，尋找疲憊狀態下被遺忘了的感知。
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I am in a status of being influenced with the exclamation “A-h!” It is a reflection to measure the bumps and troughs on theground. There are three juxtaposed but not-in-sync images in this work. Unharmonious frequencies are song repeatedlyand randomly. This idea was originated from my daily-life vehicle: a motorbike. The process of riding from A to B isoftentimes a boring exhaustion. On one occasion, I noticed that when I was hymning to the motorcycle, my voice wastwisted due to the bumpiness of the road surfaces.
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I used the sound of “A-h!” in this work. It serves no purpose and means nothing. However, I think it is the measurementtool that is closest to direct responses. For the pressurized people in today’s metropolitan cities, this measurement isintended to seek the senses forgotten in the state of fatigue.

崔貝克

Out of this place

Ché Baker

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沉溺於這首歌的構思，因為它們所說的事與我們的感受十分貼切對想要卻無力實現的夢。感覺我們有很多可以給的，但這個世界並不允許我們隨心所欲。讓第二人物分享畫面的構想，出自一種信念，認為如果你的夢夠強烈，那麼其他人也會存在其中，一起掃過並得到力量解放他們自己。這首歌激勵我製作此作品，這個事實就是坦言真相的信仰聲明。

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I was drawn to the ideas of this song because they speak of things which we can all relate to the sense of unfulfillment andwanting something more. Feeling that we have so much to give but the world is not allowing us to break free.The idea ofsharing the vision with a secondary character came from the belief that if your dreams are powerful enough, others toowill be caught up in them, swept along and given the strength to set themselves free. The fact that this song inspired meto create this work is testament to the truth of the statement.

陳萬仁

Good Morning Bill

Chen, Wan-Jen
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在這裡我挪用了微軟視窗的桌布畫面，利用數位軟體的運算技術稍微改變了一些原有的風貌，這裏產生出來的是藍的徹底的天空，不斷重複動作的人物角色(打高爾夫球)，這些元素有個更主要的目的，希望給觀眾的感受是既熟悉且愉悅的，而畫面裡頭所出現的元素指涉的是他們自己本身，不帶有假設性，重返事物本身的意義，崩解了所謂的說明性以及敘事性。影像內容藉由重複，反覆不斷的動作，架空了意義的生產，藉由這樣的狀態，我想單純的去思考所謂影像自身可被閱讀的條件，而這也是我試圖回應媒體的方式之一。
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As usual, Mr. Bill practice goal in the grassland that we knows very well. The weather is always sunshiny, and the sky isabsolutely blue. He seems doesn’t want to miss this moment, let him enjoy it!

王惠瑩

Avenue

Wang, Hui-Ying

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以數位攝影和影像重組、並置，建構似真實又如夢境的場景，使觀看體驗不同的時間、空間感。

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Rreconstruction and juxtaposition of digital photos and recorded video to construct sceneries between dreams and realities,so as to provide viewers varying sense of time and space.

陳永賢

Worms Would

Chen, Yung-Hsien

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從老子哲學得到啟發，如他所說：「生死有命，其繼起之物如日夜，都是上天的安排，人類無以為業。這一切都是事物不可避免的天性。」此後莊子亦將死亡視為一生探索的課題。因而，此作品是從一個害怕死亡的人，嘗試以佛思觀念來看待，以及如何接受死亡並調和自我恐懼（由蛆侵略身體來代表）。《蛆•體》在視覺上並不是一種反對前人的論述，而是嘗試去瞭解他們所言的「生與死」，以及當下的數息體驗。
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The work is based on the saying of the Chinese philosopher Lao-Tsu, ‘Life and death are a part of destiny. The sequenceof day and night, is of God and beyond the interference of men. These all lie in the inevitable nature of things’. Lao-Tsu’s philosophy was taken even further by the later sage Chuang Tzu, who saw death as a worthwhile result of a lifeof work. The work set out these two schools of thought from the point of view of someone who is afraid of death andtries to reconcile those fears (represented by maggots encroaching on the body) with the acceptance through Buddhistthoughts. "Worms Would “ is not a visual argument against the ideas of Lao-Tsu and Chuang Tzu. Rather it is an attemptto understand what they are saying.

方彥翔

Time-architecture III

Fang, Yen-Hsaing
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「時間-建築」系列作品一直朝向對「智識影像」的探索，形式概念與意識需要以影像的方式被敞開，並透過「視像建築」的方式被思考、處理。就藝術家的關注而言，時間性的「視像建築」可以被視為一個熵化的過程，物象、文字、語言、建築、結構、思維在這裡都是一個影像式的延展。系列《Ⅲ》關心的是物象結構與文字、訊息之間的轉換，是建基在「閱讀式」影像的經驗，關於藝術家主體閱讀的經驗，關於這個閱讀的經驗向建築概念的轉移。
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The ' Time-architecture ' series move toward works on ' the intelligent image ' exploration, form concept and consciousnessneed unfolding by way of image, and is dealt with through the way of ' vision-architecture '. As regards the artist's concern,' vision-architecture ' of the timeliness can be considered as a entropy course, object, characters, language, architecture,structure, thinking are the extension of a image way here. What serial are cared about is the conversion among objectstructure and characters, information, base on the experience of the image of ‘ the reading type ‘, the experience of readingabout artist’s subject, about this transformation from experience of reading to concept of the architecture.

石昌杰

enTAIPEItrance
C.Jay Shih

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【進出台北】以車輛穿梭進出台北縣市橋樑的主觀鏡頭，或慢速，或單格，或快速地移動在城市街道之間，彷彿一場搜尋之旅；作者嘗試透過快速流動的鏡頭，與單格搜尋之間，捕捉一些台北城市豐富的生命力，與遭受到時代速度，與城市節奏，或者牽引或者拋棄的台北市民。本片影像與聲音，將共構編織成一齣速度與時代的台北城市交響曲。另一方面也將從「聯結」這個命題，思考類比影片與數位影片的對照與過渡。本片既是進出台北的記錄，也是進出影片與影帶的探索之旅。
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“enTAIPEItrance” adopts the point of view of vehicles traveling over various bridges in and out of Taipei. Using singleframe,slow-motion, and fast-motion effects, the image moves freely around the city streets in a journey of exploration.The filmmaker maneuvers between rapid, fluid camera work and detailed single-frame stills to capture the lusciousdynamism of Taipei city and its habitants who are subject to flowing time and urban pacing. It is a contemporary symphonycomposed with the imagery and sound of Taipei city. The ‘entrance’ motif also contemplates the contrast and transitionbetween analogue filmmaking and digital filmmaking. This piece is a documentation of arriving and departing Taipei, andalso a voyage between video and film.

瑞秋珮琪與保羅摩斯哥

Lake Hart

Rachel Peachey and Paul Mosig

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雄鹿湖是個大鹽湖，在南澳大利亞沙漠的中間。它也是烏梅拉禁區的部份一個澳大利亞人使用以及美國軍隊測試武力的空間。作品「雄鹿湖」尋求實體移動，探討半成形的故事與想像物，調查密切追蹤非原著民族與古代風景間過去緊張狀態的情景。

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Lake Hart is a large salt pan in the middle of the South Australian desert. It is also a part of the Woomera Prohibited Area- a space used by the Australian and the United States military to test weapons capability. The Contextual Villains videoloop “ Lake Hart” seeks to document an improvised physical movement performance that explores half formed stories andimaginings investigating the ghostly traces of past tensions between non-aboriginal peoples and an ancient landscape.