Searching for tag: pictogram
Ventriloquists 2021 / 07-Pictograms analyzing Nolan’s INCEPTION 腹語系之七：圖解《潛行凶間》
Why are these young artists drawn to Christopher Nolan’s Inception (2010)? Must dreamwork be understood as the manifestation of our unconscious in the Freudian sense? The dream narrative in Nolan’s work suggest technology’s possible to insert a mechanism that narrativize the present, pockets of past memories and emotive response to remembering… Here are some pictograms tapping into these thoughts. 電影《潛行凶間》吸引了不少年青創作人的好奇。夢敘事不再是佛洛伊德下意識世界的活動的敘事化表現，而是科技的植插，把個人記憶、現實、情緒變動化成一種監控和介入。這裡是幾個重構這個反前向線性的電影敘事體的創作分析圖。
Ventriloquists 2021 / 06-Fairy Tale Pictograms 腹語系之六：神話仙圖
誰需要童話、仙境？成年人。童話用美麗的外貌包裝著似謊話非謊話又不能盡言的現實碎片。五個作品，仙境是引入，內部內裡又一個世界。圖像解構，就是為了把外貌與內涵的勾連表達出來。Fairy tales are not just for children, nor are animation pictures. The works in this post seek to reveal appearances of fairy tale that hide the flip side of magic which could be horror.
Ventriloquists 2021 / 04-Complex Narrative Pictograms 腹語系之四：「圖像資訊分析」，繁複世界繁而不雜
Six more works from The Ventriloquists II exhibition (2021.08.18-09.13), shows two kinds of pictograms that interpret existing moving image works: those that unravel complexity, and those that detail the process, Sofya Anatova observes.
The Ventriloquists 15. Snow White and Monkey King 黑白白雪公主。奇幻七彩500年的孫悟空。
The pictogram method was applied to the reading and reconstructing of various commercial heats, including the pre-Disney 1933 animation classic on Snow White and Pandora’s Box featuring Stephen Chow, resulting in various works, three of them shown at the exhibition The Ventriloquists…Thinking Narratively (4-19 July 2020) at Floating Projects. 《腹語系：微敘思考》展場中，有三個圖形轉化的作品，選擇了兩個商業收益叫好的作品 — 迪士尼《白雪公主》面世前，費里沙創作的黑白動畫，還有周星馳的《西遊記之月光寶盒》。
The Ventriloquists 12. Intermedia dialogues with experimental literature: invisible cities 看不見的城市，看得見的後設城市藍圖
A pictogram is a form of knowledge; a pictogram that reconstructs another existing work is the stretching of the epistemological potential of a work. In the pictogram exercises presented at “The Ventriloquists … Thinking Narratively,” the reading and re-reading of Calvino’s The Invisible Cities combines the methods of music scoring, cartography, story-boarding and chronology-making, each with its own conceptual emphasis in presenting pictures of realities. Here, one pictogram offers glimpse of these concepts. 解構式的圖形是知識的具體表現；重塑已存在的作品的圖形是對現有作品的知識能量的擴展，同時也是對班雅明的「作者作為生產者」的想法的一種回應，關注個別的作如何站立於一個時代的技術生產當中。這裡以一個創作為例。
