AfterLive 下一個現場

當網絡成為日常,則可成為一種現場。

互網聯在我們的當代經驗裡,不再單純是既成內容和資訊的載體,而是早已成為了在人與人的連繫與互動裡,能夠於當下創造內容的一種媒介與維度。網上體驗至今發展出的獨特性與表演性,足以成為一種無可取代的體驗本位,而不是只作為線下體驗的替代或延伸。

《下一個現場》從音樂出發,由張靜瑜、劉曉江、Giovanni Santini、孫禮賢及蘇浩慈五位不同背景的作曲家,在各自的委約作品中,分別闡釋以網上體驗為本位的創作可能性。這一系列的作品,不是單純地製作予觀眾在網上聆聽的音樂聲軌,而是每位藝術家以其各自的自身經驗與創作手法作切入點,透過音樂與及音樂在展現過程中與其他感官資訊的結合,對我們在網絡上的當代經驗作再想像與再定義。箇中探索,涉及不可觸的虛擬與可觸的真實之間的界線、在編排好的互動裡的擺佈與被擺佈、以至聲音文字與影像在瀏覽體驗之中的互釋性與互文性。

一系列作品作品的獨特性,都建立於網上體驗之上。觀眾從網絡上觀賞作品的體驗,都將成為作品呈現的第一手體驗,而這體驗的處境,也是作品的唯一現場。裡頭各樣界限及制約,並非如線下的現實般來自一個客觀的物理定率或自然法則,而是由我們集體經驗裡的慣性與期待所構成。當中各式看似不言而喻的邏輯、規律、矛盾與盲點,其實衍生自我們在這特殊的處境裡的體驗方法。

當網絡成為體驗的現場,當中作品創造與被賦予的表達、論述、語言以至存在方式,則將會成為這個由虛擬建構的現實中,所能呈現的本質與真實。

– 鄺展維 / 策展人

When the Internet becomes our daily reality, it becomes a scene of our experience.

The Internet in our contemporary experience is no longer merely a carrier for existing content and information, but has long become a medium and dimension where content could be spontaneously created by people during contact and interaction. The specificity and performativity developed in online experience have rendered it a kind of unique experiential orientation, something more than an alternative or extension to our real life experience.

AfterLive takes music as the starting point. Five composers of different backgrounds, Annisa Cheung, Lawrence Lau, Giovanni Santini, Larry Shuen and So Ho Chi, have been commissioned to interpret the creative possibilities in orienting towards an online experience in their individual pieces. The works are not merely music tracks to be streamed online; they are, based on each artist’s personal experience and practice, reimagination and redefinition of our contemporary experience on the Internet in the form of music, combining music, as it is presented online, and other sensory information. The pieces explore the boundaries between the intangible virtuality and tangible reality, the state of manipulating and being manipulated in programmed interactions, and the intertranslatability and intercontextuality of sounds, text and images.

The specificity of each piece in the series is built upon online experiences. A spectator’s experience of viewing the work online becomes a first-hand experience of the presentation of the works; meanwhile, the context of the experience becomes the only scene where the presentation takes place. Unlike the offline reality, the boundaries and conditions in such a scene do not come from an objective set of physical laws or orders of nature, but are instead shaped by our habits and expectations from our collective experience. All the seemingly self-evident logic, patterns, contradictions and blind spots from within are derived from our ways of experiencing this specific situation.When the internet becomes the scene for experience, works in such a scene would create, and be granted, expressions, narratives, languages and ways of being that would in turn become the essence and truth exemplified in such a reality constructed by virtuality.

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委約作曲家 commissioned composers:
張靜瑜 Annisa Cheung / 劉曉江 Lawrence Lau / Giovanni Santini / 孫禮賢 Larry Shuen / 蘇浩慈 So Ho Chi 

參與藝術家 participating artists:
包珺櫻 Bou Kwan-ying / 陳駿軒 Bernard Chan / 陳耀榮 Chan Yiu-wing / 鄭迦南 Cheng Ka-nam / 簡戍凝 / 郭爾君 / 羅曉晴 Jasmine Law / 李一葦 Angus Lee / Calvin Leung Chin-lun / 廖家明 Liao Jiaming / 羅小林 Lo Siu-lam / MAZE ensemble / 吳漢紳 Charles Ng / 吳宇晴 Shelley Ng / 何怡安 Ho Yi On / 潘振濠 Poon Chun-ho / 譚安婷 Tam On-ting / 鄧耀基 Tang Yiu Kei / Francesco Teopini / 董⾔ / 胡皓嵐 Wu Hou Lam / 余林橞 Karen Yu 

策展人 curator:
鄺展維 Charles Kwong

網站設計 website design:
MAJO









蘇浩慈
So Ho Chi
Technology always enables new formal possibilities in art. Photography brought to the fine art world a paradigm shift that art is not just a representation of the reality; so as the invention of phonograph, without such technology, disc jockey, electronic dance music and musique concrète would not be able to establish; the invention of double escapement system in piano enables the pianist to play fast repetitive notes that opens a new possibility for how piano music would sound like. Every technological device has its own systematic way of usage which is dedicated to certain kinds of art forms, styles or genres. It is a convention of the form contributed by different creators regarding that form in history. A popularized technology will lead to the development of a new art form and its language, because there are more contributors who can make experiments on the technology.

With the technical advancement on video playing platforms, 360º video, 360º audio and ambisonic recording are now easier to be accessed by the general public, in the spectating mode of traditional 2D screen with headphones. What is specific to this medium is that the freedom of point of view in the panoramic scene creates a sense of presence in the scene that they can, to a certain degree, interact with the objects in that scene. The immersiveness of this medium provides a spatial aspect on the viewers' interpretation. As 360º audiovisual is still a newly established medium, most of the existing works are so far with interactive games, sensorial experience and in documentations, but what can be said that less fictional stories are made for the medium. If we consider 360º audiovisual as an extension of traditional 2D movie for fictional narrative, there are few problems regarding the film narratology. Firstly, in film, the use of camera to focus on the narrated objects or characters, and the montage are the essential parts for narratives. However, in 360º video, the panorama of the scene is being captured, so that the spectator is free to choose where and what to look as he or she will. In other words, the fictional world could not be established since no focus (or focalization in narratological terms) can be done during narration, that the viewer could not perceive who is the narrator and what is being narrated, rather, a documentation of an event is objectively captured. Secondly, as opposed to theatrical drama, the specific strategy for narrative in film is montage which creates temporality and causality to the images by juxtaposing them. However, in 360º video, frequent cuts and jump between spaces lower the immersive feeling to the viewer. Therefore, less change in space, and smooth fade in or out between spaces are more suitable in this regard. The two questions proposed are evident that the narrative strategies in traditional 2D movies are not applicable to 360º video, and it needs to seek for new strategies for storytelling.

“Five Players' in Play of God's”is a 360º audiovisual piece that documents a performance by MAZE ensemble (flute, bass clarinet, a trombone, piano and electric guitar) of an improvisational game piece written by me. The piece consists of two parts and an introduction. The introduction is given by an invisible voice, an external narrator, briefly explaining the name and rules of the game; the first part is a game piece where the players have to react and improvise on instructions that appear on the screen; the second part is a quasi-dramatic section about a judgment made by the game system. In this piece, with the narrative happened in the performativity of the players within the game system and dramatic elements designed, I try to respond to the questions above, and to provide possible narrative strategies to this newly established medium by creating different narrative levels, intervening the mediation process, i.e. implying and embodying an invisible fictional character, God, onto the viewer.

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蘇浩慈的作品由小型室樂、人聲合唱、管弦樂團至電子音樂及多媒體劇場均有涉獵。曾於香港演藝學院取得學士學位及碩士學位,主修作曲,現於海牙皇家音樂學院繼續進修作曲及跨媒體創作。

So Ho Chi’s creative output ranges from instrumental chamber works, vocal and choral works to orchestral work, multimedia productions and electroacoustic works. After finishing the bachelor of music (Honours) degree and Master Degree in the Hong Kong Academy for Performing Arts, majoring in composition and electronic music, So Ho Chi is currently pursuing the Master of Composition in The Royal Conservatoire The Hague. 



Five Players in Play of God's
God asked five players to perform a game, 
but they cannot stand God, 
so they just turn it off.