高重黎 Kao Chung-Li 中国台湾 Taiwan, China

人肉的滋味                                                  The Taste of Human Flesh  《幻灯简报电影01—人肉的滋味》是80张幻灯片以一颗子弹之名所展开的第一人称叙事。它欲揭露某个即存在又缺席的个人记忆与历史事件。幻灯简报电影系列它是经由1.画面(视觉),主要元素为照片与绘画以及字卡。2.声音(听觉),主要元素为画外音(语言)与歌唱音效,这两方面的影音技术所构成。由于承担此投影与放音两方面的是一款70年代末之机具,从现今来看它确实是个初阶技术物,有着不结实的音画同步而出现间隙,此不完备的状态也成为其特质。其中的视觉元素当然不同于听觉元素,因为前者是指证性质的影像,而后者是属于符号性质的语言,相同的是无论指证或符号性质的元素都足够在以此文本为对象的意识流之中转成触媒并行使其现实性。它们促成观众听者产生以为是自己在阅读、默念出这些画外音的错觉,正是由于这个间隙才能允许参与者获得了看与读的主动位置还有疏离效应以取代原本只能处于看与听的接受且沉浸之被动状态。其实在《人肉的滋味》当中,画外音那言说着的主体是开始于一颗子弹,旋即又越层为儿子的身份,时而又是作者的口吻也就是欲借此文本作出表述行为的主体,当在这些个多层的第一人称转换、穿梭之间就有了生成召唤着幻灯机前第二人称的你之条件。  Slide Presentation film 01 –The Taste of Human Flesh consists of 80 slides. It begins with a bullet and it is narrated by a first-person perspective. It tends to expose some personal memory and historical event that are simultaneously existed and absent. In slide presentation film series, we have two aspects of video technologies 1. Picture (vision): the main elements include photos and paintings and word card 2. Sound (hearing): the main elements contain voiceover (language) and singing sound effect. Because the task of projection and playback have been carried out by a late 70s machine, hence if we see it today, it was really on a preliminary stage, for there were gaps due to the unstable sync. However, the flaws of the equipment finally turn out to be its characteristics. The visual element is definitely different from hearing element, because the former refers to the images with a nature of correction, while the latter belongs to the language with a nature of symbol. But these two share one same point: no matter it has the nature of correction or symbol, they can turn out to be media and be put into practice within the stream of consciousness taking the text as an object. They contribute to the illusion that the audience may consider that it is themselves who silently read these voice-over. And it is because of this gap that allows participants to gain the initiative in watching and reading and also the alienation effect changes the previous passive state of acceptance in watching and listening. Actually, in The Taste of Human Flesh, the subject of the voice-over begins with a bullet, then transforms into the identity of the son, and sometimes it becomes the author's tone. It represents the subject of the narrative behavior through the text. Within the multiple layers in the transformation of first-person perspectives, the birth of second person “you” narrative arrives naturally. 

人肉的滋味                                                 
The Taste of Human Flesh

《幻灯简报电影01—人肉的滋味》是80张幻灯片以一颗子弹之名所展开的第一人称叙事。它欲揭露某个即存在又缺席的个人记忆与历史事件。幻灯简报电影系列它是经由1.画面(视觉),主要元素为照片与绘画以及字卡。2.声音(听觉),主要元素为画外音(语言)与歌唱音效,这两方面的影音技术所构成。由于承担此投影与放音两方面的是一款70年代末之机具,从现今来看它确实是个初阶技术物,有着不结实的音画同步而出现间隙,此不完备的状态也成为其特质。其中的视觉元素当然不同于听觉元素,因为前者是指证性质的影像,而后者是属于符号性质的语言,相同的是无论指证或符号性质的元素都足够在以此文本为对象的意识流之中转成触媒并行使其现实性。它们促成观众听者产生以为是自己在阅读、默念出这些画外音的错觉,正是由于这个间隙才能允许参与者获得了看与读的主动位置还有疏离效应以取代原本只能处于看与听的接受且沉浸之被动状态。其实在《人肉的滋味》当中,画外音那言说着的主体是开始于一颗子弹,旋即又越层为儿子的身份,时而又是作者的口吻也就是欲借此文本作出表述行为的主体,当在这些个多层的第一人称转换、穿梭之间就有了生成召唤着幻灯机前第二人称的你之条件。

Slide Presentation film 01 –The Taste of Human Flesh consists of 80 slides. It begins with a bullet and it is narrated by a first-person perspective. It tends to expose some personal memory and historical event that are simultaneously existed and absent. In slide presentation film series, we have two aspects of video technologies 1. Picture (vision): the main elements include photos and paintings and word card 2. Sound (hearing): the main elements contain voiceover (language) and singing sound effect. Because the task of projection and playback have been carried out by a late 70s machine, hence if we see it today, it was really on a preliminary stage, for there were gaps due to the unstable sync. However, the flaws of the equipment finally turn out to be its characteristics. The visual element is definitely different from hearing element, because the former refers to the images with a nature of correction, while the latter belongs to the language with a nature of symbol. But these two share one same point: no matter it has the nature of correction or symbol, they can turn out to be media and be put into practice within the stream of consciousness taking the text as an object. They contribute to the illusion that the audience may consider that it is themselves who silently read these voice-over. And it is because of this gap that allows participants to gain the initiative in watching and reading and also the alienation effect changes the previous passive state of acceptance in watching and listening. Actually, in The Taste of Human Flesh, the subject of the voice-over begins with a bullet, then transforms into the identity of the son, and sometimes it becomes the author's tone. It represents the subject of the narrative behavior through the text. Within the multiple layers in the transformation of first-person perspectives, the birth of second person “you” narrative arrives naturally. 

《我的陈老师》 My Mentor, Chen Yingzhen  近八年来才开始接触数字摄像机而且还都是低阶的,在偶尔为之中,也会搭以一个乏人问津甚至饱受负面看待更谈不上是个工法的“翻拍”方式去创作,依此企图回归拥抱与揶揄反省在机器影像的复制之本性中所形成的迷宫与宿命。进一步说,当我们回溯塔尔博特的负像底片、纸基相片之关系时,或者想象在电影问世初期曾经盛行将镜头对准话剧演出视其如沙丁鱼般的把它装入摄影机罐头,以及参考本雅明所说:用照相机对着一幅画或是雕刻时都不能改变镜头前是艺术而镜头后的所得依旧不是艺术品的这个定论,或是费尔巴哈“摹本胜原作”,还有桑塔格“影子的影子”的说法……这一些悲叹事例、消极评断都是对于复制或翻拍这等事本身预设着怀疑的立场。反之,卡尔维诺他曾天才的在其短篇小说《一个摄影师的历险》预示翻拍照片就是摄影者的第一课,同时也是最后一课的情节,而我亦曾于1984年借8毫米把一张照片经由翻拍的方法将其做成7分钟短片。上述除直接了当的指明复制性就是如此影响着人们对于摄影的判断及定义;也理解到翻拍决不只是一个为整合互异视觉媒材间的方便手段,其实它是极具影像历史、理论、美学等辩证复杂面向与高度的,甚至就是能穷尽电影与反对电影矛盾之统一的方法与认识论。于《我的陈老师》中借DV翻拍的包括有8毫米实摄与动画影像以及幻灯片等,也就是在针对不同技术的画面比例与不同规格的影质之间以及互异的表意、情感影片类型的再记录中,不但让它们可以朴拙且异质的展开着叙事,同时也指明“翻拍”确实不失为是一个探究影像本质的路径。                                                                                               Nearly eight years ago, I began to use digital video cameras and sometimes, I adopted the unpopular method of remaking to create my work, which was considered rather negatively. But my aim was to go back to the embrace and banter, reflecting on the labyrinth and destiny formed in the duplicating nature of machine-produced images. Further, when we see the relation of negative film of Talbot and paper base photos, we could imagine that when the movie was firstly introduced into the world, it was rather popular to turn the lens towards drama performance which was much like putting the sardines into the camera can. Besides, Walter Benjamin once said: pointing a camera in front of a painting or a sculpture can never change the fact that on one side of the lens there is work of art, while on the other is not. Feuerbach has his conclusion that “our era” prefers “the image to the thing, the copy to the original, the representation to the reality, appearance to being”; and Susan Sontag’s “shadows of shadows”. All these negative judgments and sad points of views illustrate their doubted side when they think about duplication or remaking. On the contrary, Calvino once showed his great talent in one short story “The Adventure of a Photographer” which indicated that retaking the photos should be the first lesson, but also the last of a photographer. And in the year of 1984, I made a seven-minute short film recording the procedure of remaking a photo. The aforementioned directly tells us how the duplication influences people’s judgment and definition on photography. It is understandable that remaking is never a convenient approach of integration of mutually different visual media; in fact, it is a methodology and epistemology that contain all the movies and reflect contradiction and unity in movies, involving the history of visual arts, theory, aesthetics and other dialectic aspects. In “My Mentor, Chen Yingzhen”, the DV remakes consist of 8 mm real filming and animation image and slides. Thus, in the record of remaking based on the existed resources, the proportion of screen corresponding to the different techniques, the different film quality and the expression of emotion could assure a heterogeneous narrative, but also indicate that the “remaking” can lead to the nature of images.

《我的陈老师》
My Mentor, Chen Yingzhen

近八年来才开始接触数字摄像机而且还都是低阶的,在偶尔为之中,也会搭以一个乏人问津甚至饱受负面看待更谈不上是个工法的“翻拍”方式去创作,依此企图回归拥抱与揶揄反省在机器影像的复制之本性中所形成的迷宫与宿命。进一步说,当我们回溯塔尔博特的负像底片、纸基相片之关系时,或者想象在电影问世初期曾经盛行将镜头对准话剧演出视其如沙丁鱼般的把它装入摄影机罐头,以及参考本雅明所说:用照相机对着一幅画或是雕刻时都不能改变镜头前是艺术而镜头后的所得依旧不是艺术品的这个定论,或是费尔巴哈“摹本胜原作”,还有桑塔格“影子的影子”的说法……这一些悲叹事例、消极评断都是对于复制或翻拍这等事本身预设着怀疑的立场。反之,卡尔维诺他曾天才的在其短篇小说《一个摄影师的历险》预示翻拍照片就是摄影者的第一课,同时也是最后一课的情节,而我亦曾于1984年借8毫米把一张照片经由翻拍的方法将其做成7分钟短片。上述除直接了当的指明复制性就是如此影响着人们对于摄影的判断及定义;也理解到翻拍决不只是一个为整合互异视觉媒材间的方便手段,其实它是极具影像历史、理论、美学等辩证复杂面向与高度的,甚至就是能穷尽电影与反对电影矛盾之统一的方法与认识论。于《我的陈老师》中借DV翻拍的包括有8毫米实摄与动画影像以及幻灯片等,也就是在针对不同技术的画面比例与不同规格的影质之间以及互异的表意、情感影片类型的再记录中,不但让它们可以朴拙且异质的展开着叙事,同时也指明“翻拍”确实不失为是一个探究影像本质的路径。                                                                                             

Nearly eight years ago, I began to use digital video cameras and sometimes, I adopted the unpopular method of remaking to create my work, which was considered rather negatively. But my aim was to go back to the embrace and banter, reflecting on the labyrinth and destiny formed in the duplicating nature of machine-produced images. Further, when we see the relation of negative film of Talbot and paper base photos, we could imagine that when the movie was firstly introduced into the world, it was rather popular to turn the lens towards drama performance which was much like putting the sardines into the camera can. Besides, Walter Benjamin once said: pointing a camera in front of a painting or a sculpture can never change the fact that on one side of the lens there is work of art, while on the other is not. Feuerbach has his conclusion that “our era” prefers “the image to the thing, the copy to the original, the representation to the reality, appearance to being”; and Susan Sontag’s “shadows of shadows”. All these negative judgments and sad points of views illustrate their doubted side when they think about duplication or remaking. On the contrary, Calvino once showed his great talent in one short story “The Adventure of a Photographer” which indicated that retaking the photos should be the first lesson, but also the last of a photographer. And in the year of 1984, I made a seven-minute short film recording the procedure of remaking a photo. The aforementioned directly tells us how the duplication influences people’s judgment and definition on photography. It is understandable that remaking is never a convenient approach of integration of mutually different visual media; in fact, it is a methodology and epistemology that contain all the movies and reflect contradiction and unity in movies, involving the history of visual arts, theory, aesthetics and other dialectic aspects. In “My Mentor, Chen Yingzhen”, the DV remakes consist of 8 mm real filming and animation image and slides. Thus, in the record of remaking based on the existed resources, the proportion of screen corresponding to the different techniques, the different film quality and the expression of emotion could assure a heterogeneous narrative, but also indicate that the “remaking” can lead to the nature of images.

高重黎 
1958 年生于台湾台北,现今创作与生活于台北。他的作 品检视历史和个人生平的关系,以及时间、影像和媒体 的关系。他不仅是摄影师,也收集历史照片,同时是影 片和动画创作者、媒体的考掘者。艺术家表示:“拍摄 时是对现实的中止,放映时是对幻觉的终止。”对他而言, 幻灯片秀特别能保有存在于影像、时间和静止之间的张力——它位于幻想和现实之外的界域,同时纳入了摄影 作为过去事件印记的性质,以及电影式时间和叙事勾起的期望。 


Kao Chung-Li
Kao Chung-Li was born in 1958 in Taipei, Taiwan. He lives and works in Taipei. Kao’s work investigates the relationship between history and personal biography, between time, images, and media. He is a photographer and a collector of historical pictures as much as a filmmaker, animator, and media-archeologist. “Taking a picture means an interruption of reality. Showing that picture means a cessation of fantasy,” states the artist. For him, the slideshow in particular sustains a tension between image, time, and stillness—and is situ¬ated beyond fantasy and reality, subsuming both photography’s indexical relation to past events, and the expectancy of cinematic time and storytelling. 
 

威廉·肯特里奇 William Kentridge 南非 South Africa

威廉·肯特里奇 William Kentridge 南非 South Africa

郑曦然 Ian Cheng 美国 USA

郑曦然 Ian Cheng 美国 USA