EXHIBITION DATE 展覽日期	22/7 - 07/8/2011
OPENING HOUR 開放時間	12:00 - 22:00
VENUE 地點	Level LG2, Festival Walk 80 Tat Chee Avenue, Kowloon Tong, Hong Kong 九龍塘達之路80號又一城LG2

發明π iphone apps 可於 iTunes Store 下載

“Invention & Intervention” iphone apps
at iTunes Store

Gathering the strengths of the five local new media art stars, SENSE LIVE! is a cross-disciplinary performance that stimulates all senses of the audiences. The artists will collect live data from the audiences and use mobile technologies, brainwaves, bodies, sensors, and light & visuals to construct an outstanding performance. Definitely a media art live show not to be missed in 2011!

DATE 日期	07 Aug 2011 (Sun)
TIME 時間	7:30pm
VENUE 地點	The Hong Kong Jockey Club Amphitheatre, The Hong Kong Academy for Performing Arts 香港演藝學院賽馬會演藝劇院

Price 票價：$120 / $80

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Customer Service Hotline 顧客服務熱線	2922 8288

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CHRIS HONHIM CHEUNG 張瀚謙	A dancer, a calligrapher, an installation, a language, tones of data. 一位舞蹈家，一位書法家，一個裝置，一種言語，萬個數據。
KEITH LAM 林欣傑	This is a performance of signal and communication. Audience is performer, the communication is audiovisual. Signal Morphor: The Orchestra: communication as score, performs the immaterial signal. 一場信號和通訊的演出，觀眾同為表演者， 通訊化為聲音光影。訊變大合奏，通訊成曲譜，奏出無形信號。
MIU LING LAM 林妙玲	Dancer’s primordial form almost completely disappears in the accompaniment of Bach and the Space’s aria. Her body is decomposed into massless photons dancing with the hypothetical partner graviton. 舞者的真身在巴哈與太空合奏的詠嘆調中幾乎完全消失，軀體幻化成無質量的光子與假想舞伴引力子迴旋起舞。
TEDDY LO 羅揚文	The performance is about the process of meditation of seven chakras in human body. The visual, sound and dance act will convey the various emotional states, color and image resemblances of each spiritual experience. Chakra是梵文，意思是「輪」。在印度靈性系統中，一個脈輪被認為是人身體的一個結點，稱為能量中心，共有七輪。是次演出由視效、聲音結合舞者的身體，透達人的情緒及能量指數，並繪畫出一種簇新的心靈經驗。
SAMSON YOUNG 楊嘉輝	Sensors monitor eight electroencephalographic signals (brain waves) while performers focus their attention. When attention level is above a certain threshold, tones will begin to stabilize and collectively produce an approximation to the harmonic series. 演出者專注用腦，腦電波化作聲調。專注到出神，聲調漸增平穩，共達諧和之音。

In modern days, people heavily rely on technology to communicate with others through Internet and mobile. Undoubtedly, technology has brought people closer than before. However, it comes up with a question: Does the convenience brought by technology improve our ways of communication? Advanced technology in fact leads the fade out of the significance of handwriting. Do you remember when is the last time you write on a piece of paper?

Basically, handwriting carries and expresses our emotions. No Longer RIGHT provides a platform for participant to write and record their handwriting. When the participant finished writing the eight common strokes preset by the artist, the input process is completed. The work will then present and create a passage with the authentic “handwriting” style. Through this artwork, the artist believes that people could recap their feeling of handwriting and how technology changes our daily lives.

現今人們都依賴科技，透過互聯網、手提電話去溝通。無可口非，科技確實是拉近了人與人之間的距離，但這種方便又是否同時可以令人們的溝通變好？ 今時今日書寫的意義在哪？你有否記起最近一次認真書寫的情況？

用紙筆去書寫帶有個人情感，《封筆》提供一個書寫平台，紀錄書寫者的每個筆劃。當書寫者完成了構成各個文字的基本八筆後，書寫者就完成了「輸入數據」的部份。作品將會利用技術去衍生帶有書寫者筆跡的文字，並製作成一篇文章。作品表現的形態是否能夠帶給書寫者反思書寫的沒落及其重要性?由筆跡而來所書寫的情感是否能透過科技衍生?

It is said that “The Eight Principles of Yong” is “the essence of writing”. According to the principle, the eight common strokes in regular script can all be found in one character “Yong” (永). It is said that frequently practising calligraphy with this principle could lead to the beauty of one’s writing.
From the artwork, it adopts the “Eight Principles of Yong” to analyze handwriting and composite the script. By writing the eight different strokes, characters in the script are formed. Every character embeds the personal style of participants. On the other way round, the demonstrated script also suggests the unique style of the handwriting.

備八法之勢，能通一切。作品利用中國傳統書藝「永字八法」法則，拆解文字的每個細部的組成和書寫方法。透過書寫出八種不同的筆劃，從而衍生出不同的文字。每個文字都具備書寫者本身的風格，建立出來的文章或段落都能有效展示出書寫者的筆跡特色。

Chris honhim Cheung is a new media artist and designer focuses on audiovisual and interactive design. His interactive works were awarded in the HKDA 07 & 13th- 15th Hong Kong IFVA interactive media category, and his installation The Happiness of Fish has been shown in the 404 international electronic art festival as well. In 2009, he founded XEX GRP, a creative group which focuses on blending new interactive experience in audiovisual aspect. He is being awarded for the Young Design Talent Awards in the same year. In 2011, He is selected as 36 Asian designers in Designnet Magazine and got the Award for Young Artist in HKADC awards. He is also a composer for commercial projects, includes film and TVC. He found an electronic music group, entitled VIM/ Volt in Music in 2008, has been awarded for the best song and the best performing group in the Tom Lee Interzone Digital Music Award 2009 and being selected by Time Out Magazine as one of the top 10 indie band 2009 in Hong Kong.

張瀚謙是一位專注於聲音、映像及互動創作的新媒體藝術家。其新媒體作品曾分別於2007年香港設計師協會，以及第13至15屆香港獨立短片及錄像比賽單螢幕互動媒體組別中取得獎項，他的互動裝置作品《子非魚》更獲邀於404國際數碼藝術節展出。張氏於2009年成立創作團隊XEXGRP，將新媒體互動元素融入聲音映像的作品中，並於同年獲得「香港青年設計才俊大獎」。於2011年，被韓國DESIGNNET設計雜誌選為亞洲的「36位設計師」，同年獲得由香港藝術發展局頒發的「藝術新秀獎」。張氏同時亦為廣告及電影配樂作曲。2008年，他組成2人電音組合「VIM/Volt-in-Music」，樂隊作品於2009年「通利琴行數碼音樂創作比賽」獲得最佳歌曲及最佳演繹獎，及後VIM更被Time Out雜誌選為香港十大最佳獨立樂隊。

honhim.com

Jason Lam (mb09) is an interactive media and web designer. He loves exploring coding in software art. He is also one of the core members in XEX GRP. His interactive work received Special Mentions & Silver Award in IFVA, and also Golden Award in Hong Kong Design Awards. His work textworm has been selected in Tokyo Type Directors Club (TDC) and 404 international digital art festival.

互動媒體及網站設計師，喜歡探索軟體藝術中的程式編碼，為XEX GRP的核心成員。他的互動作品曾獲香港獨立短片及錄像比賽的銀獎及特別表揚獎，亦曾獲香港設計師協會頒發設計金獎。作品《解‧ 構》曾入選日本東京TDC及404國際數碼藝術節。

Jeff Wong (basara) is mainly focus on investigating on electronics and installation art; he is also a web programmer. He joined XEX GRP in 2008 as a core member since then. His interactive work has been shortlisted in IFVA interactive exhibition (Hong Kong). In 2010, he was invited to join the group exhibition organized by Hong Kong Visual Art Centre, and also participated in many international art festivals and interactive performances. Recently, he was invited to perform in the Hong Kong Arts Development Awards Ceremony 2011.

主力研究電子及裝置藝術，同時為網站程式設計師，為2008年加入XEX GRP並成為其核心成員。他的互動作品曾入選香港獨立短片及錄像比賽的展覽。2010年，獲香港視覺藝術中心邀請參與聯展。近年亦參與了不少國際藝術節及互動媒體演出，最近曾為香港藝術發展局的頒獎禮 2011 擔任演出嘉賓。

The city is filled with invisible signals. They carry different levels of data, messages, and information. Smart phones, laptops, tablet computers and their interconnected networks, mobile and wireless directly influence how urbanity is being interpreted. Signal Morphor visualizes the boundless signals, morphing and shaping architectures and the environment. It explores and reveals the way immaterial signals influence the formation and perception of urban life.

城市中充滿各種無形的訊號；訊號攜帶著不同的數據、信息及資料。電腦、智能手機、流動設備和無線移動網絡正在不斷改變著我們對城市的理解。《訊變》把無處不在的信號形象化，改變及塑造城市建築物與環境，探索並揭示訊號對都市生活帶來的影響。

This is a kinetic sculpture. All movements are based on the calculation of mechanical engineering. It includes gears, actuators and motors etc. The sculpture also detects signals; a signal detector (for radio frequency (RF) signaling power from 50Mhz to 3GHz with 60dB dynamic range) with microcontroller (Arduino modified) acts as the central processing unit to trigger the whole kinetic movement, as well as the light and sound effects. When the sculpture detects the active RF signal around, it reacts to phone calling, receiving, SMS/MMS in or out and data transcribing with 3G/bluetooth/wifi. The sculpture doesn’t detect non-active RF.

這作品是一座動態雕塑，包含兩項功能: 機械發動及收發訊號。作品的動作經由一系列機械運算而產生，當中運用了多組齒輪和發動器等配套。在收發訊號方面，雕塑內裝置了收發訊號器，以用作接收無線電頻率。其裝置可接收射頻範圍60分貝(dB)之大，有效探測50兆赫(MHz)至3吉赫(GHz)的波動頻率。

另外，連接的訊號器與微型控制器是作為中央處理之用，以控制作品的動態、燈光及聲效。當訊號器探測到附近有強烈的無線電頻率（來電及訊息往來，及由藍牙、3G和WIFI所傳送出的數據），便會啟動微型控制器，回應所接收的信號。

Keith Lam is a new media artist born and raised in Hong Kong. He is the Artistic Director of a new media art group “dimension+”, also a visiting lecturer of School of Design of The Hong Kong Polytechnic University and Hong Kong Art School. His artworks have been shown to numerous festivals around the world, includes Ars Electronica Festival (Austria), FILE 2009 (Brazil, Sau Pualo), Split Film Festival (Croatia), AveCom (The Netherlands), Microwave International New Media Arts Festival (Hong Kong), ISEA (Ireland), 404 International New Media Arts Festival (Argentina), Taiwan Digital Media Art Archive Festival (Taipei) and Hong Kong Arts Biennale (Hong Kong), etc. And his interactive work Moving Mario has been awarded the Honorary Mention in Ars Electronica 2008 Interactive Arts Category, a world leading new media art awards. Based on his effort and remarkable achievements in arts, Lam has been awarded the Award for Young Artist (Film & Media Arts) of Hong Kong Arts Development Awards in 2008.

林欣傑，1980年生於香港，新媒體藝術家，現職藝術團體dimension+藝術總監及創辦人，亦為香港理工大學設計學院和香港藝術學院的客席講師。他的作品曾於世界各地多個藝術展展出，包括ArsElectronicaFestival(奧地利電子藝術節)，FILE(巴西聖保羅)，SplitFilmFestival(克羅地亞)，ISEA(愛爾蘭)，AveCom(荷蘭)，404Festival，台灣數位典藏藝術節，微波國際新媒體藝術節、Wikimania2007香港藝術雙年展2003等。其互動裝置『左左右右瑪利奧』更獲電子藝術界桂冠----奧地利電子藝術節 (PRIXArsElectronica)2008互動藝術組別的榮譽提名獎。其藝術上的努力及成就讓他榮獲2008年香港藝術發展獎之藝術新秀獎(電影及媒體藝術)。

the-demos.com

This work is a live relocation of sound from nature to where nature does not exist. Sound is basically particle vibration – mechanical wave. Listening to the sound from a distant environment is a process of experiencing the mechanical activities in that environment. Real-timeliness implies spaceless. Technology sets us free from the limit of distance. This project facilitates a system to contact with the inaccessible nature for anyone at anytime from anywhere by streaming nature soundscape to the phone system – which is readily accessible to most people. Natural and unnatural are opposite but interwoven. While bringing audience “closer” to Mother Nature, this work subtly controverts against itself on some fundamental questions: Does the use of technology make us closer or further away from nature? Is embedding technology in nature an intervention?

這件作品把來自大自然的聲音重置於大自然不存在的地方。聲音只是粒子的振動（機械波），而聆聽從遙處傳來的聲音即是體驗著來自遙遠環境中的機械活動。實時性意味著零距離，技術把我們從距離的限制中解放出來。這個計劃提供一個讓任何人都可以隨時隨地地接觸到大自然的系統。透過串流技術，這些一般人難以到達的地點裡的聲音被傳送到電話筒內，讓幾乎任何人都可以輕易接觸到。

自然與非自然是對立卻又是相互交織。當拉近人們與大自然的距離時，這件作品在一些根本性的問題上出現微妙的矛盾：科技的應用究竟令人們親近抑或是遠離了大自然？把科技融入自然之中可算是一種介入嗎？

Streaming Nature is an interactive installation that connects audience to the nature environments in real-time by sound. It relocates the live soundscape of Pacific Ocean underwater near Maui, South Africa, Antarctica and ShengSi (isle near Shanghai) to the phone system. Viewers are invited to make phone calls using cellphones to listen to the sound at the nature sites. No sound is pre-recorded.

The visualization part is a world map represented by clusters of particles, which swarm under the influence of waves. The nature sites are shown on the map by their local time. Any phone call made by viewer will trigger a local disturbance at the site being called, and the disturbance will generate waves which imitate sound vibrations, and slowly propagate out and influence the entire world.

這是一件將觀眾與自然環境即時連接的互動裝置。它搬來太平洋海底臨近毛伊島、南非、南極洲以及嵊泗（上海附近一小島）的聲景，並連接至電話系統中。觀眾可用手機撥打電話，細聽這些自然環境的聲音。全部聲音均非預先錄製。影像部份是張世界地圖，以受聲波影響的大量浮游粒子組成。通過展示當地時間，自然景觀呈現在地圖上。任何觀眾撥打至自然環境的電話號碼，均會使地圖上的該自然環境的粒子騷動，而這些騷動又模仿震動的聲波，緩慢地進而影響全世界的粒子。

Miu Ling Lam is a Hong Kong and Los Angeles based researcher and media artist. She has been invited to speak at the Leonardo LASER Lecture Series and the China Academy of Art. Her artworks are created on cutting edge technology and the intersection of art and science. She works on a variety of art forms, including interactive installation, physical computing, device art and mobile app development. She obtained her PhD at The Chinese University of Hong Kong with a focus in robotics and wireless sensor network. She then moved to the University of California, Los Angeles where she shifted her research to bioinformatics and physical intelligence, and began her art practice.

林妙玲是活躍於香港和美國洛杉磯的研究學者及媒體藝術家，曾獲邀於國際藝術與科技學會及中國美術學院演說。她的作品結合科學與人文題材，藝術形式包括互動裝置、物理運算、裝置藝術和手機應用程式。林氏於香港中文大學取得博士學位，研究領域為機械人學和無線傳感器網絡。其後赴美國加州大學洛杉磯分校進行生物資訊學和物理智能的研究，並從此展開她的藝術生涯。

miulinglam.com

Organic form has been explored extensively with the advent of 3D software hence sophisticated forms are made possible nowadays for industrial designs and in architecture. One of the elite in organic form creation is Zaha Hadid. Her imaginative structures are both dynamic and elegant, they represent the futuristic aesthetics of being and pushes the development of contemporary designs and constructions. In this piece, the structure is inspired by Zaha’s architecture and on this parametric design sculpture, the artist adds an extra interactive luminous element in golden mean which represents the real-time weather conditions of 2 cities.

3D軟件的出現使人得以探索有機形態（organicform）的種種可能性，而這些日益純熟的有機形態，近年亦開始應用在工業與建築設計之上。扎哈哈迪德（ZahaHadid）便是其中一位創作有機形態的建築大師。她富想像力的結構既動感又優雅，代表了一種屬於未來的美學概念，並以此推動當代設計與建築進化。這件作品的結構設計受到哈迪德的建築與參數化設計（parametricdesign）雕塑所啟發，而藝術家在黃金分割處額外加入了互動發光元素，展現兩城的實時天氣情況。

The parametric form was created by referencing the linear contours and geometric lines of organic and futuristic architectures and expressed in a new way. The sculpture were molded manually and fabricated with fiberglass. The rigid form acts as a strong base to hold the electronics that juxtapose with it. The integration of the electronics with the parametric form were balanced by creating two rings in golden mean which house the circular printed circuit boards with LEDs. The interactivity of the light piece was about data visualization of weather conditions of two different cities. The design was done by connecting the data to the Internet, which allows the codes translate it into varies visual graphic sequences.

作品的結構理念是源自參數的變化，參考建築學的未來主義及其有機性，以線性的輪廓及幾何學勾劃。作品的雕塑部份由人手鑄模，以玻璃纖維製造。雕塑的結構支撐整件裝置，與電子組件並置。作品內的電子零件整合配以兩個由LED燈及電路板組裝而成的環狀結構，圓環一大一小，分別顯示兩個城市的天氣數據。裝置的互動元素，在於其實時的數據視象化。透過與網絡連結，兩環的顏色及閃動頻率將顯示兩城即時的天氣狀況。

Teddy Lo began his exploration of LED as a mode of artistic expression, while studying advertising design at the Art Centre College of Design in Pasadena, CA. Upon graduation, Lo relocated to New York City, and soon established himself as an artist, while leading numerous design and advertising projects for technology companies around the world.

In 2003, Lo held his first solo exhibition, Morphology, in NYC. Since then, Lo held solo exhibitions in prestigious locations around the world, including Russell Simmons’ Art for Life in NYC, and Luminale in Frankfurt, recently at MoCA for eArts Festival, Shanghai. In addition to continuing his artistic pursuits, Lo has just completed his Master’s Degree in lighting technology.

羅揚文，在巴沙狄那藝術中心設計學院(ArtCenter College of Design, Pasadena, CA）學習廣告設計的期間，便開始嘗試把LED作為一種藝術表現形式。畢業後，他移居了紐約，一邊主導大量全球各地科技公司的廣告設計項目，一邊進行藝術創作。2003年，羅氏在紐約舉辦了自己的首個LED個展「形態論」(Morphology)。之後他亦在世界各地舉辦了個展，包括紐約的RussellSimmons’ArtforLife，德國法蘭克福的Luminale和上海電子藝術節期間的上海當代美術館。爲了更好地實現自己對藝術的追求，羅氏剛完成其光影技術(LightingTechnology)的碩士學位。

teddylo.tv

Interactivity is seductive. As a sticker label it is endowed with the magical power to transform ordinary appliances and bad art into potent objects of desire. The act of interacting is based on condescension, or, a deliberate masking of power. To quote Bauman - seduction requires no need to blatantly legitimate itself, to justify its own ends. We move our thumb horizontally across our smartphones because we long to be hypnotized by flying icons, and that vibration on it just feels so right in our hands. Wait, right there, did our docile bodies just subvert - or at least “personalize” - the machine?

Machines for Making Nothing is a series of tiny electronic objects that comment on the banality of human-machine interaction. Battery-powered and no larger than the size of a pack of cards, these machines are designed to positively reinforce physical input from humans with almost hypnotic visual or sonic feedback, but otherwise they have no utilitarian value.

互動性令人沉迷：它被賦予無盡的魔力，其力量之大，能令平凡用品或劣質藝術品變成有慾望的對象。互動是基於屈從而成或是一場權力的競爭。根據鮑曼，「要令人受誘，花不着公然地去標榜自己，從而達到目的。」我們在智能電話的螢光幕上揮動手指，是因為我們一直期待在那些圖標中遊走，而其震動功能又使人無比滿足。停一停，想一想，在我們將機器人格化之際，我們的身體實際上已備受制動，甚至破壞。

《無為機器》是一連串微型電子物件，反映著人類與機械互動的普遍性。每一件電子物件都由電池供電，體積小於一副撲克牌。這些機器把人們的輸入動作加以放大，以近乎催眠的視覺或聲音作為反饋，除此之外它們並沒有任何實際用途。

Machines for Making Nothing used the open hardware platform Arduino as basis. Each Arduino is coupled with a 340×240 resistive OLED touchscreen, which runs a graphic core that is compatible with a stripped down version of Processing.

這一系列的作品以 Arduino（一個開放源碼的硬體平台）創作。每塊 Arduino 上都裝有一塊340 x240解析度的OLED輕觸式顯示屏，當中顯示的圖案由一個與簡化版Processing（一種開放源碼的電腦語言與環境，專供圖像、動畫與互動創作）相容的繪圖核心運算出來。

With formal training in music composition, an eye for visuals and a keen interest in emergent technologies, Young has been known to combine his diverse expertise into uniquely intermedia experiences. His works are fundamentally informed by an engagement with new cultural-technological paradigms, yet deeply grounded in the classical musical tradition. Young’s creative output spans the widest possible range: from composition for orchestra and gameboys, to amusement ride-turned-sound installation, to ensembles of ipad and iphones, to multimedia music theatre. Described by Sequenza 21 as “epic, dark and fun,” a sense of play that comes from breaking down preconceived boundaries unifies all of his work.

In 2007, Young became the first from Hong Kong to receive the Bloomberg Emerging Artist Award. In 2009, CNN’s global portal named him one of the top “20 people to watch in Hong Kong.” Young is a regular guest at festivals around the globe, he is currently a Ph.D fellow at Princeton University, and an assistant professor in the School of Creative Media, City University of Hong Kong.

楊嘉輝的創作以融合古典音樂、科技及新媒體元素而見稱，作品早已超越當代古典、聲音視覺等定義。由為交響樂團、任天堂Gameboy及電子聲效創作的管弦樂，以至由投幣電玩改裝而成的聲音裝置等，楊氏慣常將饒具玩味的元素與嚴謹結構並置，創作出具強烈個人風格的新媒體作品。2007年，楊氏憑着以任天堂Gameboy為創作靈感的裝置作品《快樂時光》成為首位獲選為「Bloomberg新一代藝術家」的本地創作人。2009年，楊氏獲美國有線新聞網絡CNN的環球網站選為「Top 20 people in Hong Kong to watch」之一。

楊嘉輝於美國普林斯頓大學(PrincetonUniversity)攻讀作曲博士學位，曾師隨陳慶恩及著名電子音樂先驅藍斯基博士，現為香港城市大學創意媒體學院助理教授。

thismusicisfalse.com

Participating Artists will present the concept development and creative process of their showcased artworks, and also share the thought on their paths of New Media Arts creation over the years.

參展藝術家將為大眾分享及剖析其參展作品的創作概念及過程，更會進一步分享其新媒體藝術創作歷程。

DATE 日期	30/7/2011 (SAT)
VENUE 地點	Lecture Theatre 3 [LT-3], 4/F Yellow Zone, Academic Building, City University of Hong Kong, 72,Tat Chee Avenue, Kowloon Tong 九龍塘達之路香港城市大學教學樓四樓3號演講廳

3:00 pm Chris Cheung 張瀚謙
3:30 pm Keith Lam 林欣傑
4:00 pm Miu Ling Lam 林妙玲
4:30 pm Teddy Lo 羅揚文
5:00 pm Samson Young 楊嘉輝

Artist Symposium will be conducted in English
藝術家研討會將以英語主講

Limited seats available, reservation required.
名額有限，敬請預約。

info@microwavefest.net

To ignite deeper thinking and greater imagination, we invite individuals, institutions and organizations to sign up for our free guided tours during the exhibition period. With tour guides introducing the concepts and technologies behind the works, participants can truly understand the significance and appreciate the complexities of media art. We also welcome early reservations on Artist Symposium.

為拓闊大眾的思考與想像空間，我們誠邀個人、院校或組織報名參加展覽免費導賞團。導賞員將會向大家講解作品背後的理念與技術，讓參加者深入了解作品的意義並體會到媒體藝術的複雜性。我們亦同時邀請大家報名參加藝術家研討會。

Date 日期	Time 時間
星期一至星期五	1:00pm 下午一時 7:00pm 晚上七時
星期六及星期日	1:00pm 下午一時 3:00pm 下午三時 5:00pm 下午五時 7:00pm 晚上七時 9:00pm 晚上九時

click here to download the school tour information and application form.
按此下載導賞團資料及報名表格

English / 中文

schooltour@microwavefest.net

Established in 1995, the Hong Kong Arts Development Council (ADC) is a statutory body set up by the government to plan, promote and support the broad development of the arts including literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, the ADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism and raising the standard of arts administration.

Through a variety of development strategies, the ADC aims to achieve the following goals:

• Making use of research findings to exert influence on cultural policy-making
• Providing greater support to the arts community for artistic pursuits
• Establishing platforms to assist arts groups in reaching out
• Encouraging public participation and expanding audience base; promoting arts education and popularising the arts
• Drawing arts veterans and cultivating new talents to raise professional standards of practice
• Exploring community resources and fostering partnerships to promote arts development
• Strengthening cultural exchanges with Mainland and overseas counterparts

香港藝術發展局（藝發局）於1995年成立，是政府指定全方位發展香港藝術的法定機構。藝發局的使命為策劃、推廣及支持包括文學、表演、視覺藝術、電影及媒體藝術之發展，促進和改善藝術的參與和教育、鼓勵藝術評論、提升藝術行政之水平及加強政策研究工作，務求藉藝術發展提高社會的生活質素。

藝發局通過不同發展策略，達至以下目標：

• 以研究作基礎，發揮在文化政策上的影響力
• 加強對藝文界的支持，追求卓越發展
• 建立平台，協助藝團面向公眾及市場
• 擴闊參與及欣賞藝術層面，提倡藝術教育和普及藝術
• 促進藝術人才匯聚、培育新進，以提升藝文界的專業水平
• 開拓社會資源，締結伙伴，推動香港藝文發展
• 加強國內及海外之文化交流活動

Established in 1996, Microwave is a new media arts organization. Each year, Microwave organizes the Microwave International New Media Arts Festival, which is one of the pioneering festivals of its kind both in Asia and internationally. Under a selected theme, international artists are invited to the festival for a series of programmes, including exhibitions, conference, screening, workshops and performance. In 2008, Microwave also organized the grand outdoor media arts show A-GLOW-GLOW at the Avenue of Stars. Throughout the 14 years, Microwave has engaged active participation from renowned artists, international professionals and all walks of life. Apart from the annual festival, Microwave also organizes media arts related events, aiming to bring cutting-edge technology from around the world in the form of media art to Hong Kong.

Microwave成立於1996年，為新媒體藝術機構。Microwave每年均主辦微波國際新媒體藝術節，並按不同主題，邀請世界各地的知名藝術家及學者來港透過展覽，工作坊，研討會，放映，戶外表演等節目，與大眾交流，希望打破市民對新媒體的隔膜。如2007年的「形光譜」，2008年的「異生界」及2009年的「自然反」等。而於2008年，Microwave更於星光大道舉辦了大型互動聲光媒體藝術展「燈陸．亞高高」。十四年間，Microwave吸納了不同層面的參與者，包括來自各地的藝術館總監、國際策展人、設計師、行內專業、學生、及市民。除藝術節外，Microwave亦舉辦比賽，工作坊及新媒體展覽等活動，致力把世界各地嶄新的新媒體作品帶來香港。

PRESENTED BY 主辦	ORGANIZED BY 統籌

EXHIBITION PARTNER 展覽伙伴	VENUE PARTNERS 場地贊助			SPECIAL THANKS 嗚謝

MEDIA PARTNERS 媒體伙伴

DESIGN & WEB PARTNERS 設計及網頁伙伴	APPS PARTNER 程式伙伴

ii@microwavefest.net

Room 1801, Wing On Central Building, 26 Des Voeux Rd, Central, Hong Kong.

English / 中文

kityip@microwavefest.net (Kit Yip)