Montage Express: Janus Cinémathèque
5 dec 2016 - 2 jan 2017
oi!, 12 oil street, north point, hong kong
exhibition: daniel c. howe
being invited by oi! street art space, interact-arts, the curatorial collective that me and ellen pau are members of, have selected a few movies in focus on humanity and society. with support of programmes from videotage, we have programmed a month of video art screenings and activities at oi!. 大眾電影技術如環迴立體聲效、3D影片和4D坐椅，使觀眾全情投入於一種被動的觀影體驗。是次「雙面電影」的節目設計則旨在運用油街實現獨特的建築空間，誘發觀眾多一點主動、同時遊走兩個相鄰的影院，自主地編輯熒幕上下、幕前幕後的影像，從而踏上更深邃的個人思想旅程。 雙面電影節目包括香港首映的微藝術記錄片系列Comment ça va? D' après Godard，以回應法國新浪潮大師尚盧．高達1978年之作《你還好嗎？》；錄映太奇合作策劃的全新世界性巡迴錄像節目《彼岸觀自在III》；讓追求快捷的香港觀眾體會緩慢魅力的《慢電視》；以及紀念世界人權宣言短片系列、網路公路電影和獨立短片作品。場內亦展出藝術家及程式設計師Daniel Howe所創作的混合媒體創作《廣告位置》，探討隱私、消費主義、軟件監控及虛擬替身等話題。
While popular cinemas employ techniques including stereo, 3D visual effects, 4D seats and others to engage audience in a passive viewing experience, Janus Cinémathèque entices its audience to be more dedicated and proactive to think of the film art in depth. Through the screening programme tailor-made for the two side-by-side cinemas unique the historical building of Oi!, audience could create their own physical and mental journeys by shuttling in and out of the cinemas, and ‘edit’ their own sequence of images in their minds. The focus works of Janus Cinémathèque include Comment ça va? D’après Godard, at its premiere screening in Hong Kong of micro art documentaries responding and paying tribute to Comment ça va? (1978) by the master of French New Wave Jean-Luc Godard; Both Sides Now III, the world tour programme of videos by artists from Hong Kong and the United Kingdom collaborated by Videotage; Slow TV, introducing the concept of slowness to our beloved hectic audience in Hong Kong; compilation of short films in observance of the Universal Declaration of Human Rights, internet road movies and other independent short videos. Besides, a mixed-media work Advertising Positions created by Hong Kong-based artist and coder, Daniel C. Howe, is also on display, exploring privacy, consumerism and surveillance via software and avatars.
以下作品於Interact_Arts︱雙面電影 節目期間(5.12.2016 - 2.1.2017) 展出:
Daniel C. Howe之"廣告位置"
特別鳴謝陳千尋、陳融、張泰梁對這件作品作出了重大貢獻。同時感謝林妙玲、DTo、Tobias Klein、Tamas Waliczky和梁曉明的回應和協助。
Daniel C. Howe是一名藝術家及程式設計師，他的作品主要探討電腦科技的社會及政治涵義，尤其在隱私、監控和人權方面的應用。他現居於香港並任教於創意媒體學院。
Artwork display during Janus Cinémathèque programme period (5.12.2016 - 2.1.2017) :
"Advertising Positions" by Daniel C. Howe Exhibition
2016 Mixed media installation
There was a time, however brief, when the web was a space almost entirely free of commerce and capitalism. Today, however, our every online action is tracked by sophisticated automated systems (“robots”) which mine our most personal data to analyze, predict, and finally, determine our behavior. While this vast surveillance architecture has indeed been used by governments as a means of control, its unchecked growth is due largely to corporations whose only motivation is profit. Human users are rarely asked to consent to such tracking, but must instead accept it as the necessary cost of access for the “free” information and services we feel unable to live without. The works in this exhibition also begin with “robots”, though with a different agenda. Rather than tracking humans, these robots are trained to search the web as if they were human, following specific user profiles they have been assigned (age, gender, location, interests and the like). Each trained robot is then turned loose on the web, driving a modified version of the Chrome browser, to periodically visit websites that it ‘likes’, and to click on weblinks it chooses, which then bring it to still further websites. This process continues over several weeks, during which time the robot collects and saves each of the advertisments (ads) it has been targeted with (generally several thousand or more). The specific ads shown are determined by real-time auctions, generally occurring within the time it takes a page to load, in which the robot's growing data profile is sold to the highest corporate bidder, who then injects one or more ads into the page content. The robot, rather than using these ads to make purchases, instead uses each as the texture for a single polygon on its virtual mesh body. The training period concludes when the robot’s new skin, which you see here for the first time, is complete.
Special thanks to Sally Chen, Leoson Cheong, and Dorothy Chen for their extensive contributions to this work. Thanks also to Miu Ling Lam, Diane To, Tobias Klein, Tamas Waliczky, and Eddie Leung for their feedbacks and assistance.
Daniel C. Howe is an artist and coder whose works focus on the social and political implications of computational technologies, specifically relatinged to privacy, surveillance and human rights. He lives in Hong Kong and teaches at the School of Creative Media.