Happy Malaysia Day! So much emotions to unpack today while I reveal these pieces. These three new artworks were created from soil gathered from East and West Malaysia.
I've been working on this project since Nov 2020, when Alvin Teoh, son of Malaysian war veteran, Major Andrew, contacted me asking if I’d want to create artworks to be shown in a documentary about Malaysian war veterans. One of my missions as an artist is to tell stories, especially meaningful ones about history, culture and heritage, so of course I said yes.
From the start, we knew that soil would be the main material to symbolise land that was fought for. Admittedly, there was a lot I didn't know about that the war and the vets - about the pain and reality of war, how it affected their families and lives, and their deep love for the country. I got to meet two vets in person before lockdown, and the rest I met through Zoom. I was also deeply touched by how there were so many Malaysians of various backgrounds who fought for our country - of all races, beliefs, backgrounds, and of Malaysians from East and West Malaysia. Swipe to see a sneaky screenshot I took of them.
As a Sabahan (East Malaysian), I hope these artworks and this documentary will also present East Malaysians as an equal to the West. That is the symbolism of gathering soil from both East and West Malaysia. The documentary will be shown tonight on Astro at 9pm (GMT + 8 ) on Channel 100. Happy Malaysia Day. ❤
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Project credits:
Artist: Red Hong Yi
Fabricator: Huak Huak (Chuah Chong Yong, Foo Chee wee, Cheong Siew wei, Arman Simanjuntak)
Red’s art team: Chee Chung Leong (project lead), Waichun Yan, Esmond Sit, Kaiyi Wong, Kashinie Subramaniam, Shir Yee Sun, Shen Phang Lim, HuiQi Chan.
Videography: Chong Kern Wei
Photography: Aaron Wong, Annice Lyn
Production by Naga DDB and Mojo Films.
Apprentices supported under the @cendanamalaysia Apprenticeship Programme in Collaboration with Studio Red Hong Yi
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同時也有19部Youtube影片,追蹤數超過7萬的網紅The Michelle Chong Channel,也在其Youtube影片中提到,Ah Lian shares the three steps we should take to fight Covid - Test, Trace and Vaccinate. ------------------------------------------------------------...
war films 在 黃心健 Hsin-Chien Huang Facebook 的最讚貼文
#Congratulations! Director Hsin-Chien Huang's latest VR works, Samsara and The Starry Sand Beach, were nominated for the 78th Venice International Film Festival!
The 78th Venice International Film Festival (VIFF) announced the shortlisted nominees for the category of VR Film. Taiwanese new media artist, Distinguished Professor of NTNU, Hsin-Chien Huang, winner of the BEST VR Experience in 2017 with his work La Camera Insabbiata, will again contest for the Leone d’oro this year with two of his latest, sci-fi inspired works, Samsara and The Starry Sand Beach. While the Taiwanese athletes are striving for the Gold Medals at the Tokyo Olympics as we speak, director Hsin-Chien Huang dazzles the jury of VIFF with his visually-stunning and thought-provoking works — bringing cutting-edge Taiwanese VR films onto the international stage and letting world-wide audience sees Taiwan!
Before being selected for the 78th Venice International Film Festival, Samsara episode 1. has already grabbed the Jury Award at SXSW and Best VR Story at the Cannes XR Competition. This futuristic VR experience teleports the audience onto a journey that spans millions of years. Samsara is a Sanskrit word meaning “ the world ”. In Buddhism, it means what we perceive as the world is actually an endless cycle of karma (cause and effect), a cycle of life, death and rebirth in the six realms of existence. In this fascinating VR work, the audience is reincarnated into the bodies of different persons and creatures, experiencing the universe in their new bodies and in search for the ultimate spiritual transcendence.
Samsara depicts an apocalyptical story in the near future where human greed has depleted the earth’s resource. Catastrophic wars to fight for resource resulted in global destruction. Finally, the remaining humans had to leave the Earth and go on a search in space for a new place to live.
Nevertheless, their desperate, long quest for a new homeland… could it be just a loop in space and time? The cycle of greedy domination and total destruction that then necessitates the search for a new home…. may have hopelessly repeated itself over and over again? The constant evolutionary process and so-called progress, without transformation in consciousness and spiritual advancement, is nothing more than a Möbius strip that leads nowhere, perhaps…?
Samsara is an experiment based on the theory of Embodied Cognition. Through interactivity and VR, the audience gets to live inside the bodies of different persons and creatures, experiencing their feelings from within. Perhaps It is when we can perceive the world in different bodies that we may truly appreciate the thoughts of others and empathize with them. An experience that will also help us better comprehend our own existence and learn to live in harmony with all.
Samsara explores a complex of deeply interconnected issues of ecology, technology, natural resource and war, etc. It's a story about a journey humans are forced to take on, after having destroyed the earth with nuclear disasters. The survivors seek a new planet, in the boundless, interstellar space, to carry on their lives. Gradually they evolve into a new life form artificially. Yet, many years passed and they’ve come to realize that they would never make it to the new planet they’ve been dreaming of. In fact, they have simply been returning to the Earth, in different life forms, time after time.
Director Huang applies the concepts of embodied cognition, offering a unique way to contemplate about the nature of life. As the audience are transported into different bodies each time, they gain a brand new perspective to experience the world views presented in Samsara.
Samsara was produced under the guidance of Taiwan Creative Content Agency (TAICCA) and Kaohsiung Film Archive VR(VR FILM LAB), it’s a sate-of-the-art VR production made 100% in Taiwan. In the VR experience, viewers are transformed into various kinds of animals to interact with the scenes, including species unique and indigenous to Taiwan, such as Taiwan Blue Magpie and Formosan Black Bear.
Samsara Ep.1 features the latest somatosensory technology, including 4D views shooting techniques by the Industrial Technology Research Institute and TAICCA. A digital shooting system comprised of a high-sensitivity 4 million-pixel, full-color CCD sensor and 48 4DV-EX-Z cameras made it possible for Samsara Ep.1 to be taken from an omnidirectional view and shot without any blind spots, creating the ultimate immersive experience.
THE STARRY SAND BEACH, directed by Hsin-Chien Huang and produced in cooperation with Lucid Reality (France) and Oready 瑞意創科 Oready Innovation Lab (Taiwan), is a scientific fairy tale about a unique ecological wonder in Taiwan and Japan, the shiny starry sand beaches. Foraminifera, from the Latin word “foramen” meaning hole, is a single-celled organism that builds a shell with multiple chambers which intercommunicate with one another through holes. On the Qimei Island, Taiwan and the Yaeyama Islands, Japan, beaches have been formed by a specific species of foraminifera with star-shaped shells made of calcium carbonate. Like the real stars in the legends, grains of the starry sand have also been preserving the earth’s memories for millions of years.
THE STARRY SAND BEACH is a real-time 3D interactive VR adventure into the natural and mythological landscape of the starry sand beaches on Qimei Island in Penghu Archipelago, Xing Sha Wan in Kenting National Park and Taketomi Island in the far south of Japan. The experience is full of aesthetically-amazing elements and enriched with cultural and religious significance like Shintoism in Japan. A beautiful, haunting legend tells the story of the starry sand…
The final winners will be presented at the award ceremony held on Sep11. With great anticipation and hopes, Hsin-Chien Huang is expected to bring home again the grand prize for Taiwan!
https://www.labiennale.org/en/news/selection-complete-works-venice-vr-expanded-0
#黃心健 #HsinChienHuang
#samsara #chalkroom
#LaCameraInsabbiata
#VeniceInternationalFilmFestival #VIFF
#Thestarrysandbeach
#LucidReality
#OreadyInnovationLab
war films 在 VOP Facebook 的最佳解答
#新刊出版 New release!!!
Voices of Photography 攝影之聲
Issue 30:美援視覺性──農復會影像專題
U.S. Aid Visuality: The JCRR Issue
本期我們重返影響台灣戰後發展至關重要的美援年代,尋索過往在台灣影像歷史視野中遺落、但卻十分關鍵的美援時期台灣視覺歷程──「農復會」的影像檔案。
成立於1948年、以推行「三七五減租」和「耕者有其田」等土地改革與農業政策聞名的農復會(中國農村復興聯合委員會,JCRR),被認為是奠定二十世紀「台灣經驗」基礎的重要推手。然而很少人留意,這一農經專業的美援機構,在1950至60年代拍攝了大量的照片、幻燈、電影,並生產各種圖像、圖表、圖冊與海報,在冷戰年代與美援宣傳機制緊密連結,深深參與了戰後「台灣(視覺)經驗」的構成,影響著我們的視覺文化發展。
冷戰與美援如何形塑台灣的影像與視覺感知?本期專題透過採集考察眾多第一手的農復會早期攝影檔案、底片、圖像、影片與文獻資料,揭載鮮為人知的美援年代視覺工作,追尋這一段逐漸隱沒的戰後台灣攝影與美援視覺性的重要經歷。
其中,李威儀考掘農復會的歷史線索與視覺文本,探查美援的攝影檔案製程、「農復會攝影組」的成員蹤跡,以及文化冷戰期間從圖像、攝影到電影中的美援視覺路徑;蔡明諺分析1951年由農復會、美國經合分署與美國新聞處共同創辦的《豐年》半月刊,從語言、歌謠與漫畫等多元的視覺表現中,重新閱讀這份戰後最具代表性的台灣農村刊物潛在的意識形態構成與政治角力;楊子樵回看多部早期農教與政策宣傳影片,析論農復會在戰後台灣發展中的言說機制與感官部署,並從陳耀圻參與農復會出資拍攝的紀錄片計畫所採取的影音策略,一探冷戰時期「前衛」紀錄影像的可能形式;黃同弘訪查農復會在1950年代為進行土地與森林調查所展開的航空攝影,解析早期台灣航攝史的源起與美援關聯,揭開多張難得一見的戰後台灣地景航照檔案。
此外,我們也尋訪生於日治時期、曾任農復會與《豐年》攝影師的楊基炘(1923-2005)的攝影檔案,首度開啟他封存逾半世紀、收藏農復會攝影底片與文件的軍用彈藥箱和相紙盒,呈現楊基炘於農復會工作期間的重要文獻,並收錄他拍攝於美援年代、從未公開的攝影遺作與文字,重新探看他稱為「時代膠囊」的視覺檔案,展現楊基炘攝影生涯更為多樣的面向,同時反思「美援攝影」複雜的歷史情愁。
本期專欄中,李立鈞延續科學攝影的探討,從十九世紀末天文攝影的觀測技術,思考可見與不可見在認識論上的交互辨證;謝佩君關注影像的遠端傳輸技術史,檢視當代數位視覺政權中的權力、知識與美學機制。「攝影書製作現場」系列則由以珂羅版印刷著稱的日本「便利堂」印刷職人帶領,分享古典印刷傳承的工藝秘技。
在本期呈現的大量影像檔案中,讀者將會發現關於美援攝影的經歷與台灣歷史中的各種視覺經驗,還有許多故事值得我們深入訪查。感謝讀者這十年來與《攝影之聲》同行,希望下個十年裡,我們繼續一起探索影像的世界。
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● 本期揭載未曾曝光的美援攝影工作底片、檔案與文件!
購書 Order | https://vopbookshop.cashier.ecpay.com.tw/
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In this issue of VOP, we revisit the era of U.S. aid, a period that was of utmost importance to Taiwan’s post-war social and economic development, and explore Taiwan’s much forgotten but crucial visual journey during this era ── the visual archives of the JCRR.
Established in 1948, the Chinese-American Joint Commission on Rural Reconstruction, or the JCRR, is widely known for the implementation of various land reform and agricultural policies, such as the “375 rent reduction” and “Land-to-the-tiller” programs. Hence, the Commission is considered an important cornerstone to laying the foundations of the “Taiwan Experience” in the 20th century. That said, very few are aware that this U.S. aid organization specializing in agricultural economics was also closely associated with the American propaganda mechanism during the Cold War, and had in its possession countless photos, slides and movies, and produced various images, charts, pamphlets and posters. All these contributed to the formation of the post-war “Taiwan (Visual) Experience”, deeply influencing the development of our visual culture.
How exactly did the Cold War and U.S. aid shape Taiwan’s image and visual perception? This issue’s special feature uncovers the little-known visual activities from the U.S. aid era by investigating the collection of JCRR’s first-hand photo files, negatives, images, films and documents, and traces this important journey of post-war Taiwan photography and U.S. aid visuality that has gradually faded from people’s minds.
Among them, Lee Wei-I examines the historical clues and visual texts of the JCRR, and explores the production of the U.S. aid photographic archives, following the traces of the members of the “JCRR Photography Unit” and the trails of U.S. aid visuals during the Cold War from images and photography to films. Tsai Ming-Yen analyzes the diverse visual manifestations, such as languages, ballads and comics, contained in the semimonthly publication Harvest, which was co-founded by the JCRR, the U.S. Economic Cooperation Administration, and the U.S. Information Service in 1951, presenting a new take on the ideological and political struggles that were hidden beneath the pages of this agricultural publication that could also be said to be the most representative publication of the post-war era. Yang Zi-Qiao looks back at the early agricultural education and propaganda films, and analyzes the discourse and sensory deployment utilized by the JCRR in the development of a post-war Taiwan and the possibilities of the “avant garde” documentary films from the Cold War period through the audio-visual strategies gleaned from director Chen Yao-Chi’s documentary project that was funded by the JCRR. At the same time, Houng Tung-Hung checks out the aerial photography taken by the JCRR in the 1950s for land and forest surveys, and uncovers the origins of Taiwan’s aerial photography with U.S. aid, giving readers a rare glimpse at post-War Taiwan’s aerial landscape photographic archives.
In addition, we will explore the photographic archives of Yang Chih-Hsin (1923-2005), a former photographer who was born during the Japanese colonial period and worked for the JCRR and Harvest, unearthing negatives and documents kept away in the ammunition and photo-paper box that had stayed sealed for more than half a century. This feature presents important files of Yang during his time with JCRR, and photographs taken and written texts produced during the U.S. aid era but were never made public. We go through the visual archives enclosed in what he called a “time capsule”, shedding light on the diversity of his photography career, while reflecting on the complex historial sentiments towards “U.S. aid photography” at the same time.
Lee Li-Chun continues the discussion on scientific photography in his column, exploring the interactive dialectics between the seen and the unseen through the observation technology of astrophotography in the late nineteenth century. Hsieh Pei-Chun focuses on the history of the technology behind remote transmission of visuals and examines the power, knowledge and aesthetics that underlies contemporary digital visual regime. Finally, this issue’s “Photobook Making Case Study” is led by the printing experts at Japan’s Benrido, a workshop that is renowned for its mastery of the collotype printing technique.
Through the large collection of photographic archives presented in this issue, readers will see that there remain many stories on the photography process in the U.S. aid era and various types of visual experiences in Taiwan’s history that are waiting to be unearthed. We thank our readers for staying with VOP for the past decade and we look forward to another ten years of exploring the world of images with you.
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Voices of Photography 攝影之聲
vopmagazine.com
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#美援 #農復會 #冷戰 #台灣 #攝影
#USAID #JCRR #ColdWar
#Taiwan #photography
#攝影之聲 #影言社
war films 在 The Michelle Chong Channel Youtube 的精選貼文
Ah Lian shares the three steps we should take to fight Covid - Test, Trace and Vaccinate.
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war films 在 IKKO'S FILMS イッコーズフィルムズ Youtube 的最佳貼文
【MUSIC】
Salt Lamp - Jobii
I Got A Little Lost (Instrumental Version) - The Big Let Down
Before the War - Lama House
Dusty Table - Guustavv
I Used to Be Free - Fleurs Douces
Subscribe for more videos► https://www.youtube.com/channel/UCgZilWOjrUQ_J_yyGjjd-JQ
If you've captioned/subbed one of my videos please inform me via E-mail. Thank you
★instagram
https://www.instagram.com/ikkos_films/
★サブチャンネル「IKKO'S FILMS X」
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★「品川イッコー 公式ブログ」
http://www.ikkoshinagawa.com/
★「IKKO'S FILMS OFFICIAL WEBSITE」
https://ikkosfilms.com/
★過去の「2020年度 けつがバター醤油」動画
https://www.youtube.com/playlist?list=PLMgfk05jIdQfvE_pnY1zacUOrL2JBmHdd
★Facebook(品川イッコー用)
https://www.facebook.com/ikko.shinagawa
★「専修どうでしょう」チャンネル
https://www.youtube.com/user/ikko2005
★Facebook(専修どうでしょう用)
https://www.facebook.com/senshudoudesho
★Twitter
https://twitter.com/ikko2005
「動画に関しての苦情やクレームは一切受け付けておりません。
気に入らなければチャンネル解除して頂いて構いません。」
って書いても読まないでしょうもないコメントしてくる奴いるんだよなぁ
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#冨所 #tomidokoro #IKKOSFILMSsoundtrack
war films 在 IKKO'S FILMS イッコーズフィルムズ Youtube 的最佳貼文
半年ぶりの佐藤大将、いい意味で何も変わってない。安定感抜群で押し付けがましくなくひたすら心地よい接客。
つまみもあくまで「握り」を引き立たせるくらいに抑えられてはいるが食べてわかる仕事の丁寧さ。
この時代に「足しすぎない」というのは確固たる自信の軸がある証拠。
さて、今宵もあなたを鮨の世界をへと誘います。
冨所
https://tabelog.com/tokyo/A1314/A131401/13223846/
【寿司91】鮨 一凛
https://www.youtube.com/watch?v=9v_Nmnh4x8A
【寿司92】鮨 来主
https://www.youtube.com/watch?v=ga7IpWk4IY0
【寿司93】蔵六雄山
https://www.youtube.com/watch?v=6fRld3uWaNU
【寿司94】鮨 一
https://www.youtube.com/watch?v=fZr57faTTrA
【寿司95】艪
https://www.youtube.com/watch?v=q6UOzbHzUYM
【寿司96】鮨 十兵衛
https://www.youtube.com/watch?v=WFySA57QDUI
【寿司97】冨所
https://www.youtube.com/watch?v=sn0Toz259Bw
【寿司98】鮨 さかい
https://www.youtube.com/watch?v=BgLdtErENI8
【寿司99】築地青空三代目 丸の内
https://www.youtube.com/watch?v=cnsO5Wv-aDU
【寿司100】すし屋の芳勘
https://www.youtube.com/watch?v=5luw2Ks-wXo
過去の寿司動画【1~90】
https://www.youtube.com/playlist?list=PLMgfk05jIdQdQFU9mGhPIRhPZScoS3Fyb
【MUSIC】
Salt Lamp - Jobii
I Got A Little Lost (Instrumental Version) - The Big Let Down
Before the War - Lama House
Dusty Table - Guustavv
I Used to Be Free - Fleurs Douces
Subscribe for more videos► https://www.youtube.com/channel/UCgZilWOjrUQ_J_yyGjjd-JQ
If you've captioned/subbed one of my videos please inform me via E-mail. Thank you
★instagram
https://www.instagram.com/ikkos_films/
★サブチャンネル「IKKO'S FILMS X」
https://www.youtube.com/channel/UC_b7JhrPKWAv0lU3509_xOA
★「品川イッコー 公式ブログ」
http://www.ikkoshinagawa.com/
★「IKKO'S FILMS OFFICIAL WEBSITE」
https://ikkosfilms.com/
★過去の「2020年度 けつがバター醤油」動画
https://www.youtube.com/playlist?list=PLMgfk05jIdQfvE_pnY1zacUOrL2JBmHdd
★Facebook(品川イッコー用)
https://www.facebook.com/ikko.shinagawa
★「専修どうでしょう」チャンネル
https://www.youtube.com/user/ikko2005
★Facebook(専修どうでしょう用)
https://www.facebook.com/senshudoudesho
★Twitter
https://twitter.com/ikko2005
「動画に関しての苦情やクレームは一切受け付けておりません。
気に入らなければチャンネル解除して頂いて構いません。」
って書いても読まないでしょうもないコメントしてくる奴いるんだよなぁ
字幕制作の協力をお願いいたします。
http://www.youtube.com/timedtext_cs_panel?c=UCgZilWOjrUQ_J_yyGjjd-JQ&tab=2
https://www.youtube.com/user/IkkoShinagawa
#冨所 #御成門 #tomidokoro