VOP Issue 34：光學玩具 Optical Toys
Voices of Photography 攝影之聲
Issue 34：光學玩具 Optical Toys
「Artist’s Showcase」單元中，珍妮特．梅伊（Jeanette May）的鏡頭審視漸遭淘汰的現代工業製品，在如靜物畫般的布局裡折射出人類技術的欲望遺跡；楊祐丞則運用機械零件與玩具拼裝出各式聲音互動裝置，反思身體與媒介的運作關係。同時，張世倫以書寫紀念甫逝世的加拿大實驗電影導演麥可．史諾（Michael Snow），重溫其著名作品《波長》（Wavelength）的詩性時間流動，以及對電影本質的反身探求。本期也揭載攝影家南．戈丁（Nan Goldin）的系列代表作品，並評介她近期在斯德哥爾摩當代美術館的回顧展，從她幽微的幻燈展示中，感受滿佈情感記憶的私密凝視。
From cranks, picture discs and peepholes, to lenses, film, and light bulbs... Images appear through various materials, the hands and body, the retina and consciousness. Before photography and films became prevalent, visual devices had already taken the lead in creating new perceptual experiences and pleasures that combined different technical media and audio-visual cultures since the 17th century. This issue opens with a variety of optical toys and visual devices – thaumatrope, zoetrope, phenakistiscope, praxinoscope, mutoscope – that will bring you through the operation, production, and perception of image association since the beginning of the sudden emergence of technology of vision in motion.
This issue of Voices of Photography resembles a writing device that connects the dots, projecting different historical aspects of the image machine. Hsu Chun-Yi explores the connection between early optical toys and philosophical concepts and sheds light on the thoughts triggered by visual stimuli. Lin Chiao-Fang dissects the state of perception affected by the illusion of continuous movement in the intervals between animated frames. Tang Hong-Feng uncovers how the “panorama” imported from the West during the late Qing Dynasty had potentially influenced the modernization of Chinese visual culture and the enlightenment of thinking. Arakaki Yumeno looks at how “Kamishibai'' or paper play, which originated from Japan in the 1930s as a medium for storytelling with a series of pictures, found its way into the imperial audiovisual theater. Chen Han-Yu highlights the historical development of the politics of perception by showcasing the National Policy Kamishibai, published in colonial Taiwan by the Kominhokokai (Public Service Association of Imperial Subjects) in 1941. In addition, this issue also features an interview with Hsu Tsen-Chu, an experimental filmmaker, whose visual devices try to create a local imagery experience through assembling a variety of daily household items. We also interviewed Yoneo Ota, director of the Omochaeiga Museum (Toy Film Museum) in Kyoto, who shared with us his experience establishing a museum and his prized collection.
In “Artist’s Showcase”, Jeanette May examines obsolete modern industrial products in a still life layout through her lens, as they reflect the last vestiges of technology shaped by human desire. Randy Yang puts together various interactive audio installations using mechanical parts and toys, and reflects on the relationship between the body and media. At the same time, Chang Shih-Lun commemorates the late Canadian experimental filmmaker Michael Snow by revisiting the latter’s famous work Wavelength and reflecting on the poetic flow of time and the essence of the cinema. This issue also features works by photographer Nan Goldin and reviews her recent retrospective at the Moderna Museet in Stockholm, Sweden. The faint light from her slideshows resembles an intimate gaze into emotional memories of the past.
Following the publication of the translation of art historian John Tagg’s famous essay collection, The Burden of Representation, we include an interview between Professor Tagg and image culture scholar Kuo Li-Hsin. We invite readers to have a rethink about the meaning of “the burden of representation” in today’s context and form a diverse and plural view of photography histories. Also, we present Kao Chung-Li’s working drafts for the on-going exhibition "Re-Present: Kao Chung-Li" at the Taipei Fine Arts Museum. As a thought-provoking artist who pays attention to the condition and history of image production, here we move forward with his constant questioning of the image machinery—"how to see objects, reflect oneself, and invent the future".
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