Cocktail Reception 展覽開幕
Date 日期︰26/6/2010(SAT六) 19:00
Exhibition Date 展覽日期
Date 日期︰27/6 – 13/7/2010
Opening Hours 開放時間︰[MON - SAT 一至六] 11:00-20:00 / [SUN 日] 11:00-18:00
Venue 地點︰Kapok
Address 地址︰3 Sun Street, Wanchai, Hong Kong, 灣仔日街3號
Mario Viva Seminar 研討會
Date 日期︰2/7/2010 (FRI五) 17:00-19:00
Venue 地點︰C Y Sun Lecture Theatre [LT3] 孫建業演講廳[LT3]
Address 地址︰4/F Yellow Zone, Academic Building, City University of Hong Kong, Tat Chee Avenue, Kowloon Tong
九龍塘達之路香港城市大學教學樓四樓
MARIO VIVA: 當經典遊戲遇上新媒體藝術
生於80年代初的瑪里奧，前身為電玩系列《大金剛》（Donkey Kong）的主角，由宮本茂設計，本名Mr. Video，後發展成現今廣為人知的《超級瑪利奧》遊戲(Super Mario Bros)。其後因其形象與任天堂美國分公司之意裔業主Mario Segale甚為相似，是故公司員工一致把Mr. Video改名瑪利奧，並將之揚名國際。此著名的橫版過關遊戲在港稱為「孖寶兄弟」，瑪利奧永遠在戰鬥，生存的目的就是從魔王的城堡中拯救桃子公主。作為無人不曉的遊戲界巨星，瑪利奧曾出現於多個電視電腦電玩遊戲版本，甚至被改編成電視卡通、動畫電影、漫畫等超過200部作品於全球發行。
而在二十多年後的今天，這個經典電玩主角依然充斥大眾的生活當中，尤其當遊戲機(電玩)的發展日益千里，不論男女老幼均能透過不同的電玩迷上孖寶兄弟。到底這個現象反映的是什麼? 大眾一直認為藝術具有距離感，但如果把陪著我們成長的瑪利奧變成藝術作品，那又會怎樣? 多年來不少新媒體藝術家已經在探討此範疇，並嘗試以此角色或遊戲程式作為創作靈感及媒介，創作了不少與瑪利奧、電玩文化、互動遊戲探索相關的作品。這次Microwave期望透過MARIO VIVA，以人們熟悉的瑪利奧出發，為大眾打開另一扇門去觀看電玩遊戲文化及其背後概念。
MARIO VIVA: What does this legendary icon tell?
Mario’s life began in 1981 as the main character Jumpman in cult game Donkey Kong, designed by Shigeru Miyamoto and originally named Mr. Video for planned recurring roles in multiple games. However, he was renamed Mario after the landlord of Nintendo’s US warehouse, Mario Segale, whom they owed rent to and resembled the character -- a move Miyamoto said saved the character from disappearing off the face of the earth. As the most famous videogame star, Mario has appeared in countless computer/TV games, TV series, cartoons, animated films and comic books with worldwide distribution. With his famous cap and mustache that were in fact specifically designed to cover up graphical limitations of animating hair and facial expressions back in the day, there is no doubt the pudgy plumber from Super Mario Bros serves as a legendary icon of video games all over the world.
Taking time to recall a familiar sight from our daily lives: people playing hand-held games everywhere -- it's reached the point where those mini-machines are in fact playing with us, or even playing us. They serve as a universal communication hub, dragging us into the virtual world, where the question of "reality" is a constant debate -- how, why and when have we become so addicted to it?
People often speak of art as an unreachable realm; but if we looked at art through video games, what we could we see? Through this project – MARIO VIVA – Microwave would like to use this iconic game character as a starter for the public to taste the fun of interactive media artworks, and at the same time, explore the social and cultural phenomenon that runs deep in our society today.
Exhibition Date 展覽日期︰27/6 – 13/7/2010
Opening Hours 開放時間︰[MON - SAT 一至六] 11:00-20:00 / [SUN 日] 11:00-18:00
Venue 地點︰ Kapok
Address 地址︰3 Sun Street, Wanchai, Hong Kong 灣仔日街3號
Sonata per Mario (2008)
Stéphane Shibatsuji-Perrin (France法國)
Artist Statement 藝術家陳述
In addition to the sheer entertainment value of the project when considered as a game, Sonata per Mario is a reflection on the practice of recuperation by companies and the similar practice of détournement through hacking and DIY techniques by hobbyists and artists.
The Soundrops can be classified as merchandising and as such, products of recuperation. At the same time, the object itself is an original and creative product that yet cannot be dissociated of the original product to which it is related. Without its reference, the pertinence of the object is lost.
Sonata per Mario re-uses (or hacks, "détourne") an already recuperated merchandising product (the Soundrops) to become an original game that is itself a detournement of existing video games.
Moreover, by emitting sound samples of the video game, the Soundrops trigger memories of the original video game. Sonata per Mario acts in a similar but extended way than the Soundrops by making people interact with a representation of the video game (pre-recorded plays) that is incomplete. The audience becomes more of a restorer than a consumer that must call on his/her own memories to keep Mario alive.
除了作為富娛樂性的遊戲，Sonata per Mario同時提出了對大公司把創意的商品化，以及業餘愛好者和藝術家透過破解(hacking)和自製(DIY)技術「創舊」的反思。
Soundrops可被歸類為一種推銷規劃，亦是再生(recuperation)的產品。它是一個原創的創意產物，但同時不能脫離其連繫著的商品。失去了指涉對象，它在市場上的切入點也會除之消失。
Sonata per Mario 重新使用了（或是破解、挪用）一個再生的商品（Soundrops）創作原創遊戲，而此遊戲也是現有遊戲的「創舊」演繹。此外，透過發出電玩遊戲的聲音樣本，Soundrops能觸發玩家對原有電玩遊戲的回憶。 Sonata per Mario 把Soundrops的互動概念進一步延伸，創作出原有電玩遊戲的再現，並讓玩家在不完整的再現中進行互動。此時，觀眾便從消費者轉化為修復者，必須倚靠自己的記憶讓馬里奧繼續生存。
Technical Statement 技術陳述
Soundrops (small key holders that emit sound when pushed) are connected to a computer through a microcontroller (arduino) running an application written with OpenFrameworks. The players interact with the game through the Soundrops as a controller/instrument and are presented with a display showing pre-recorded games of the original Super Mario Bros. video game.
Soundrops原為會發聲的鑰匙扣玩意。它們通過運行 OpenFrameworks 應用程式的微控制器（arduino）連接到一台電腦上。玩者隨著預先錄製的原版超級瑪里奧兄弟電子遊戲，利用Soundrops作為控制器/樂器與遊戲互動。
Artist Biography 藝術家簡歷
Stéphane Shibatsuji-Perrin is a noise music performer and occasional media artist living in Tokyo since 2001. He is involved in several musical projects (No Fork Droise, The Ningen Dogs Orchestra and the recent extreme solo noise performance Nunk on Droise) and has been collaborating with several artists in various fields. He is particularly interested in bodily noise music performances and in "détournement".
自2001年起暫居東京的Stéphane Shibatsuji-Perrin是一個噪音音樂表演者及媒體藝術家。他目前正參與多個音樂項目（No Fork Droise，The Ningen Dogs Orchestra 和最近的極端獨奏噪聲表演Nunk on Droise），並與一眾藝術家在不同領域上合作。他對身體噪音音樂演出尤其感興趣，也喜歡用舊媒體創作作「創舊」演繹。
Super Cop World 超級警察世界 (2005)
Eric Siu蕭子文 (HK香港)
Artist Statement 藝術家陳述
Super Cop World is an innocent play with a fictional action movie and imaginary classical video game. Jacky Chan's fictional action collage is a coincidental match with Super Mario's runs and jumps.
Montage in film is a technique that tries to evoke a unique perception of time. The creative decision of montage gives illusion of virtual time, creates tension, triggers emotion and tells a story. What if the decision to montage is totally based on a rule-driven structure? What if the continuity of images is not just based on shot-by-shot but also motion-to-motion?
Every game has a rule and a goal. For instance, Super Mario World requires players to keep going forward to save the Princess. Risk factors are inevitable and you have to interact with the space and the creatures to design when you would run or jump. In other words, you're bringing live a narration of Mario while playing, which the story goes by chance, by how players perform. In Super Cop World, the story of Super Mario World is told through Jacky Chan's action assembled onto Mario's actions. Jacky Chan therefore is running in a Super Mario Wonderland and sub-spaced in his fictional movie world.
What really transformed the montage decision is how the footage is treated during editing -- just as a branch of motion. Besides depicting the meanings of the images, the artist makes use of character's motion in them. The motion of different shots which shadow Mario's each and every movement is connected. It is a type of montage-like animation: trying to make continuous movement by sequencing connectable motion.
Mario-driven Jacky runs in unexpected motion continuity, and the interaction of sub-movie-space and Mario Wonderland give complete new meanings to both Jacky and Mario (the movie and the game).
《超級警察世界》是單純把虛構的動作片和經典電子遊戲結合的玩意。成龍的動作剪輯恰好配合了超級瑪里奧的跑跑跳跳。
電影中，蒙太奇是一種用來喚起獨特時間感的剪輯技術。蒙太奇製造出虛擬時間的幻象，造成緊張節奏，觸發情感，並敘述故事。如果蒙太奇的安排完全是根據一個規則性的結構；圖像的連續性不只是基於鏡頭接鏡頭，而是動作對動作，那會怎樣呢？
每個遊戲均有規則和目標。如，超級瑪里奧世界需要玩者繼續前進，挽救公主。風險是避不了的，你必須憑藉與空間和生物的互動，決定何時走何時跳。換句話說，在玩遊戲時，你會把瑪里奧的故事活出來，而故事的去向是偶發性的，並由玩者帶動。在《超級警察世界》中，超級瑪里奧世界的故事是透過成龍的動作敘述出來的。因此當成龍運行在超級瑪里奧仙境中，他同時亦在虛構電影世界的次空間中走動。
真正改變蒙太奇的決定，是在剪輯過程中的片段處理 ﹣它只是一連串的動作。除了描繪圖像的意義，藝術家也利用了主角的動作：不同動作鏡頭對照著瑪里奧動作連貫起來。它是一種蒙太奇式的動畫：試圖把可連接的動作，順序製造出連續性的動作 。
受瑪里奧驅動的成龍走動有意想不到的連續性，而電影空間和瑪里奧仙境的互動給予兩角式全新的含義。
Artist Biography 藝術家簡歷
Raised in Hong Kong, Eric Siu is currently a graduate student of Design | Media Arts at UCLA. In 2008, he completed a 12-month cultural exchange and research project in the United States funded by the Lee Hysan Foundation, Asian Cultural Council. Before this trip, he taught at the Hong Kong Institute of Vocational Education (Kwun Tong) for two years right after he had earned his bachelor's degree from the School of Creative Media, City University of Hong Kong. Eric’s video art and multi-media works have been shown both locally and internationally including USA, Australia, Japan, Korea, Germany, and Poland, amongst others. His video short “Sliding Whites” received an honorable mention from the WRO 05, 11th International Media Art Biennale, Wroclaw, Poland. Since 2008, he has been serving as a board member of Videotage, Hong Kong. Eric has a broad interest in animation, video, installation and interactive art. He loves to create interesting spectacles and to transform human perception and experience to sensational levels. His work always blurs the boundaries between high and low culture at the same time provides laughter and amusement that entail critical thoughts. He explores media in a raw and primitive perspective.
蕭子文是一名年輕的香港新媒體藝術家，現於美國加州洛杉磯大學修讀畢業生課程。在利希慎基金，亞洲文化委員會的資助下，他於2007年在美國進行了為期12個月的文化交流研究。他的錄像和多媒體作品曾在本地和世界多個地方展出，包括美國、澳洲、日本、韓國、德國、波蘭等，而錄像短片《溜，紅綠藍》更獲2005波蘭第十一屆國際媒體藝術雙年展榮譽提拔。蕭為香港錄影太奇的董事會成員，亦於2005年起擔任了兩年香港職業教育學院的助理教師。蕭子文喜歡創作實驗性的錄像、動畫、裝置及互動藝術。他的作品常把高低等文化的邊界模糊。他亦醉心於發掘媒體的可塑性及科技的可能性，用以創作有趣的視覺、感官以至身體經驗。
Mario Soup (2003)
Ben Fry (USA美國)
Artist Statement 藝術家陳述
Any piece of executable code is also commingled with data, ranging from simple sentences of text for error messages to entire sets of graphics for the application. In older cartridge-based console games, the images for each of the small on-screen images (the "sprites") were often stored as raw data embedded after the actual program's instructions. This piece examines the unpacking of a Nintendo game cartridge, decoding the program as a four-color image, revealing a beautiful soup of the thousands of individual elements that make up the game screen.
The images are a long series of 8x8 pixel "tiles". Looking at the cartridge memory directly (with a black pixel for an "on" bit, and a white pixel for an "off") reveals the sequence of black and white (one bit) 8x8 images. Each pair of images is mixed together to produce a two bit (four-color) image. The blue represents the first sequence of image data, the red layer is the second set of data that is read, and seeing them together produces the proper mixed-color image depicting the actual image data.
This image was created with a short java program that the artist wrote, that unpacked the cartridge data and generated tiff images from it. The project was created as part of a series of short sketch projects done in about two days to one week apiece. The name 'mariosoup' comes from a comment from Bryce Glass, a friend to whom the artist had shown the images while working on the project.
從應用軟件裡用簡單句子組成的錯誤訊息，到整組圖像，所有可執行的程式代碼也是跟數據摻和在一起的。使用卡匣的舊式遊戲機中，屏幕影像裡的每個小圖像（又名“sprites”）通常會在程式指令執行後被儲存為嵌入式原始數據。這作品就是把任天堂遊戲卡匣拆解，解碼成四色圖像，展示構成的遊戲畫面的千萬個單元素。
這些圖像是一系列8x8像素的“瓦片圖像”。遊戲卡匣的記憶體（黑色像素代表“開”，白色的像素代表“關”）揭示了一連串黑白（一位元）的8X8圖像，每對圖像又混合一起產生一個2位元（4色）圖像。藍色所代表的是第一個序列的圖像數據，而紅層是在第二組被讀取的數據。它們的結合而成的混合彩色圖像便是對實際圖像數據的描繪。
此圖片是藝術家用一個簡短的Java程序寫的，他把遊戲卡匣數據解開並從而產生TIFF圖像。該項目起源於一系列為期兩天至一周的短期素描項目。有一次藝術家把這些圖像顯示給他的朋友Bryce Glass，而該朋友替作品起名為'Mariosoup'。
Artist Biography 藝術家簡歷
Ben Fry is distracted by patterns and structures found in complex and dynamic sources of data. Drawing on a background in graphic design and computer science, he pursues this fascination as head of consultancy in Cambridge, Massachusetts, where he produces software, printed works, installations, and books that depict and explain important and heady topics like the human genome and baseball salaries. He's also co-founder of the Processing (www.processing.org) project, which seeks to ruin the careers of talented designers by tempting them away from their usual tools and into the world of programming and computation.
Ben Fry著迷於複雜數據來源的模式及結構。在美國麻省劍橋市當顧問公司主管的Fry, 運用自己的平面設計和電腦科學背景，追求他的愛好。他創作了各類軟件、刊物、裝置，並編寫關於人類基因組和棒球員薪酬等重要而振奮人心的書籍。他也是Processing（www.processing.org）創建人之一，志在破壞其他賦才華的設計師的事業，誘使他們丟棄慣常用的工具，融入編程和計算的世界裡。
Moving Mario左左右右馬力歐 (2007)
Keith Lam 林欣傑 (HK香港)
Artist Statement 藝術家陳述
Over the years, the development of video games has been aiming to produce a virtual reality experience that is getting increasingly closer to reality. By changing the interface, from Atari’s joystick to analog vibration of the PS2 joystick, to gun shaped controllers for shooting games; from the dance game floor controllers to Wii's wiimote, video game design is creating an increasingly physical experience for players. Players can now smash and swing to play the game, but ultimately, we are still playing the games in a 2D virtual environment: manipulating the character in an unlimited virtual space, in a fixed, static, limited real world. By taking some of the key concepts and elements behind TV game development, Moving Mario tries to challenge some of these traditional game elements, provoking an anomalous interaction between participants and the game that asks them to rethink this very relationship. Moving Mario was awarded an Honorary Mention in the Interactive Art Category at Ars Electronica 2008.
多年來，電玩遊戲不斷朝著更趨近現實的擬真 （virtual reality）經驗發展。從搖桿式遊戲、射擊遊戲、地板式跳舞機到最新的 wiimote 遊戲，電玩遊戲設計出越來越接近玩家的實體經驗（physical experience），並且真實地融入遊戲角色的動作。然而，遊戲仍然只存在於平面的虛擬環境裡：亦即在一個靜態、受限的「現實」世界中操縱遊戲的角色。
《左左右右馬力歐》並非再複製「超級瑪里奧兄弟」的遊戲。作品擷取了電視遊戲機背後的部分概念與重點，試圖挑戰傳統的遊戲元素。透過遊戲整個的互動過程，玩家可以重新思考玩家與遊戲之間的關係。《左左右右馬力歐》曾獲奧地利電子藝術節（PRIX Ars Electronica）2008 互動藝術組別的榮譽提名。
Technical Statement 技術陳述
This work consists of basic set-up only: there isn’t any side-scroller or background scrolling. Moving Mario is actually demonstrating the mentioned concept and set up a platform for players to visualize this concept while participating in it.
Moving Mario is also exploring two more aspects of TV game at the same time:
1) Transferring from virtual into real
Usually, we are moving the key character in the virtual space while playing the game in a fixed, static, limited, real world. Moving Mario is modeling the background of game scene (World 1-1). It is not trying to extend the virtual space but demonstrating the whole original scene instead. By using wires to connect the game controller with the TV case, the player needs to walk in order to play the game. By making the virtual game environment into a real set-up, Moving Mario is transferring the movement of virtual character (Mario) to the game player.
2) Layering: exposing the mechanism of game layer
Basically, this kind of video game – scrolling game background consists of four layers (in general) : Character, Background, Game objects 1, Game objects 2 To display the mechanism of layering (pattern),Moving Mario deconstructs the game layer and converts it in a mechanical way. By playing Moving Mario, player is moving the “TV” instead of moving Mario. Except for the game objects, the character and background layer are never moved from its location. (For example, even as the character/Mario is jumping, the character is just jumping up but not jumping forward).
作品只包含基本的裝置：沒有線性或背景的捲動。《左左右右馬力歐》其實說明了上述的概念，並為玩家創造一個實現此一概念的平台，同時參與作品的進行。
《左左右右馬力歐》同時從電視遊戲機延伸出另外兩個面向：
1) 將虛擬動作轉換成實體動作
在捲動式遊戲中，我們通常是在一個固定的虛擬空間中移動遊戲中的角色，並在一個固定的空間操作遊戲。《左左右右馬力歐》建構了遊戲的背景模型。它並非試圖延伸虛擬的空間，而是將整個實際的場景復原為真實。藉由以電線連接電視機的遊戲控制器，玩家自己必須走動才能玩遊戲。藉由將虛擬的環境還原為真實佈景的過程，《左左右右馬力歐》也將虛擬角色的行動轉換為真實玩家的行動。
2) 圖層: 暴露圖層展現的行動機制
大致而言，這種捲動式遊戲環境類型又可區分為四層：（一）角色，（二）背景，（三）物件一，（四）物件二。為了展示圖層的機制，《左左右右馬力歐》解構了電玩遊戲的圖層設計，將之反轉為物理的對應結構。玩家在操作馬力歐的時候，是移動背景而不是角色。除了遊戲中的物件，角色和背景的圖層相對位置永遠不改變。（舉例來說，即使馬力歐往上跳也只是往上而不是往前。）
Artist Biography 藝術家簡歷
Born in Hong Kong at the start of the 80s, Keith Lam is a new media artist and artistic director of new media art group “dimension+“. He is also Visiting Lecturer of School of Design, Hong Kong Polytechnic University and Hong Kong Art School, and was an instructor at the School of Creative Media, Hong Kong City University. He was also technical director and consultant for Microwave International New Media Arts Festival and is active in art education, leading workshops on new media around the world.
Keith's artworks have been invited to numerous festivals around the world, including Ars Electronica Festival (Austria), FILE 2009 (Brazil), Split Film Festival (Croatia), AveCom (The Netherlands), Microwave International New Media Arts Festival (Hong Kong) , Wikimania 2007 (Taipei), Eslite Digital Caillgraphy Exhibition (Taipei), Taiwan Digital Media Art Archive Festival (Taipei) and Hong Kong Arts Biennale (Hong Kong), etc. His work “Moving Mario” was awarded an Honorary Mention in Ars Electronica 2008 Interactive Arts Category. Keith was also presented with the Award for Young Artist (Film & Media Arts) at the Hong Kong Arts Development Awards 2008 for his efforts and achievements in the arts. Keith is also passionate about music and works on audiovisual projects. He has participated in various live performances and compilation albums.
林欣傑 (Keith Lam)（a.k.a theDemos）1980出生於香港，為新媒體藝術家，現職藝術團體dimension+ 藝術總監，香港理工大學設計學院和香港藝術學院的客席講師。曾任職香港城市大學創意媒體學院導師，微波國際新媒體藝術節技術總監及顧問，亦積極於新媒體藝術的教育工作，曾擔任多個工作坊的講師。
他創作的作品被邀請到世界各地多個藝術展展出，包括Ars Electronica Festival (奧地利電子藝術節)，FILE 2009 (巴西聖保羅)，Split Film Festival (克羅地亞)，AveCom(荷蘭)，台灣數位典藏藝術節，微波國際新媒體藝術節，Wikimania 2007，誠品的董陽孜書法展中聯合創作作品「書法.空 間.運算」和香港藝術雙年展2003 等等。其在藝術上的努力及成就讓他榮獲香港藝術發展獎2008之藝術新秀獎（電影及媒體藝術）。
他同時創作很多電子聲音影像 (audiovisual)，致力把新媒體元素注入具實驗性的電子音樂，曾合輯《香港電氣》、the Dusty City 和 When French Electro Meets Hong Kong，並多次參與現場演出。
Date 日期︰2/7/2010 (FRI 五) 17:00-19:00
Moderator 主持︰Jamsen Law 羅琛堡
Speaker 講者︰Keith Lam 林欣傑 - Embedded Player: Interaction between virtual and reality《玩家置入：電玩和玩家的虛實互動》,Olli Tapio Leino 連藹理 - The Ambivalent Aesthetics of Computer Games as Art《電腦遊戲在藝術中的矛盾美學》,Hector Rodriguez 羅海德 - Games, Narrative and Text 《遊戲，敘事與文本》
Venue 地點︰C Y Sun Lecture Theatre [LT3] 孫建業演講廳[LT3]
Address 地址︰4/F Yellow Zone, Academic Building, City University of Hong Kong, Tat Chee Avenue, Kowloon Tong 九龍塘達之路香港城市大學教學樓四樓
Speaker Biography 講者簡歷
Keith Lam 林欣傑
Born in Hong Kong at the start of the 80s, Keith Lam is a new media artist and artistic director of new media art group “dimension+“. He is also Visiting Lecturer of School of Design, Hong Kong Polytechnic University and Hong Kong Art School, and was an instructor at the School of Creative Media, Hong Kong City University. He was also technical director and consultant for Microwave International New Media Arts Festival and is active in art education, leading workshops on new media around the world. (Full biography available at “Exhibition”)
林欣傑 (Keith Lam)（a.k.a theDemos）1980出生於香港，為新媒體藝術家，現職藝術團體dimension+ 藝術總監，香港理工大學設計學院和香港藝術學院的客席講師。曾任職香港城市大學創意媒體學院導師，微波國際新媒體藝術節技術總監及顧問，亦積極於新媒體藝術的教育工作，曾擔任多個工作坊的講師。(詳盡資料請瀏覽”Exhibition”)
Olli Tapio Leino 連藹理
Olli Tapio Leino is a new media scholar focusing on computer games, interactive art and contemporary media culture from the perspectives of critical ludology, philosophy of technology and existential phenomenology. He earned his PhD from the Center for Computer Games Research at the IT University of Copenhagen, Denmark. Olli has presented and published in the fields of game studies, new media art and philosophy of computer games. He has been involved in consultancy and applied research projects on computer game player's experience, game design for emotions, and pervasive and mobile media. During his PhD studies he was a visiting scholar at the Play Research Group of the University of the West of England and had a 6-month residency at the Pervasive Media Studio in Bristol, UK.
In his current research Olli seeks to combine game studies with critical aesthetics and media archaeology in order to assess the role of playability at the overlaps of interactive art and computer games and to rethink the sedimented assumptions underlying the paradigm of game studies.
連藹理（Olli Tapio Leino）是一位新媒體學者，他透過批判遊戲學，科技哲學及存在主義現象學的角度研究電腦遊戲，互動藝術和當代媒體文化。於哥本哈根資訊科技大學電腦遊戲研究中心取得博士學位，連藹理曾發表及出版關於遊戲研究、新媒體藝術和電腦遊戲哲學的研究成果，並參與電腦遊戲玩家經驗、情緒遊戲設計與及隨境和行動媒體的諮詢和應用研究項目。
在博士修學期間曾任西英格蘭大學Play Research Group的訪問學者，並於英國布里斯托Pervasive Media Studio作六個月的駐留研究。連藹理現正嘗試把遊戲研究融入批判美學及媒體考古學之中，以評估互動藝術和電腦遊戲重疊的可玩性，並重新思考紮根於遊戲研究中的種種假設。
Hector Rodriguez 羅海德
Hector Rodriguez is a digital artist and new media theorist. His digital animation Res Extensa received the award for best digital work in the 2004 Hong Kong Art Biennial, and has been shown in India, China, Germany, and Spain. His game system CoPerspective was a finalist in the Games Meets Graphics competition at Eurographics 2006, held in Vienna, Austria. His essays about film theory/history and digital art have been published in Screen, Cinema Journal, and Game Studies, and he has participated in various art, game, and technology conferences. His most recent work of software art, DeadCode, premiered in the 2009 Electro-Fringe festival in Australia. He was Artistic Director of the Microwave International Media Art Festival. He is currently Associate Professor at the School of Creative Media, City University of Hong Kong.
羅海德Hector Rodriguez 為數碼藝術家和新媒體理論家。他的數碼動畫Res Extensa曾被選為2004年香港藝術雙年展的最佳數碼作品，並於印度、中國、德國和西班牙展出；而遊戲系統 CoPerspective亦在維也納Eurographics 2006的"Games Meets Graphics"比賽中入圍決賽。他就電影理論/歷史和數碼藝術所寫的文章曾刊登於<
Moderator 主持
Olli Tapio Leino 連藹理
Olli Tapio Leino is a new media scholar focusing on computer games, interactive art and contemporary media culture from the perspectives of critical ludology, philosophy of technology and existential phenomenology. He earned his PhD from the Center for Computer Games Research at the IT University of Copenhagen, Denmark. Olli has presented and published in the fields of game studies, new media art and philosophy of computer games. He has been involved in consultancy and applied research projects on computer game player's experience, game design for emotions, and pervasive and mobile media. During his PhD studies he was a visiting scholar at the Play Research Group of the University of the West of England and had a 6-month residency at the Pervasive Media Studio in Bristol, UK.
In his current research Olli seeks to combine game studies with critical aesthetics and media archaeology in order to assess the role of playability at the overlaps of interactive art and computer games and to rethink the sedimented assumptions underlying the paradigm of game studies.
連藹理（Olli Tapio Leino）是一位新媒體學者，他透過批判遊戲學，科技哲學及存在主義現象學的角度研究電腦遊戲，互動藝術和當代媒體文化。於哥本哈根資訊科技大學電腦遊戲研究中心取得博士學位，連藹理曾發表及出版關於遊戲研究、新媒體藝術和電腦遊戲哲學的研究成果，並參與電腦遊戲玩家經驗、情緒遊戲設計與及隨境和行動媒體的諮詢和應用研究項目。
在博士修學期間曾任西英格蘭大學Play Research Group的訪問學者，並於英國布里斯托Pervasive Media Studio作六個月的駐留研究。連藹理現正嘗試把遊戲研究融入批判美學及媒體考古學之中，以評估互動藝術和電腦遊戲重疊的可玩性，並重新思考紮根於遊戲研究中的種種假設。
RESERVATION WELCOMED 歡迎預約︰marioviva@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 MARIO VIVA seminar.
要深入思考，激發更大的想像力，我們請個人，機構和組織簽署了我們的免費導遊在展覽期間。隨著導遊介紹的概念和技術落後的作品，參加者可以真正理解的重要性和複雜性的欣賞媒體藝術。我們也歡迎提前預定於馬里奧非凡研討會。
To book for a free guided tour 免費導賞預
marioviva@microwavefest.net
Press Release Download 新聞稿下載
English / 中文
Exhibition Images Download 展覽作品圖片下載 Click Here 按此下載
Media Enquiry 媒體查詢
Iras Tam : irastam@microwavefest.net
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。
