Jeffrey Shaw (Australia)
邵志飛 (澳洲)

The Embodied Cinematic Experience
體感電影

1200 - 1300
A core trajectory of the cultural imaginary to come is the evolution of a heterogeneous range of interactive relationships that together constitute co-active, co-creative and emergent modalities of viewer in-corporation. Opposing the late-capitalist appropriation of art practice that is exemplified by the passive gaze of the cultural consumer, media art's richly various modalities of interactivity call for new levels of exchange between the spectator and the artwork. This interplay of many energies embodies a discourse around the evolving technological materialization of our being in the virtual. The body becomes the agency that puts the artwork into motion, and in turn the artwork enables us to engage in newly discovered territories of experience. Such a corporeal theater of emergent values signals a shift from isolated individual experience to an interpersonal ambiance that provides for and propels various modalities of social engagement and exchange.

In this context Shaw will elucidate certain past and recent instances of his art practice concerning interactive narrative. While content and aesthetic intention varies from work to work, and whereas they may be configured as single or multi-user situations, what they share in common is the intention to create immersive cinematic experiences in which visitors can physically and conceptually participate in the authorship and performance. This mediated physicality also engages a paradoxical exploration of the immateriality that is an essential aspect of our digital condition, and offers resolution on the levels of surrogacy, augmented reality, algorithmic agency and re-embodiment.
未來的文化想像全靠一系列多層次、多類型的互動關係：這樣，一種共同參與、共同創作，與觀眾合作的新藝術形式便能成真。後資本主義在藝術上的挪用方式成全了一群被動的文化消費者，單靠「看」，便成了藝術的本能之事。可是， 當代媒體藝術蘊含豐富、多樣的互動形式，為觀眾及藝術作品之間提供一個互動交流的新局面。多方面多樣化多層次的創作力成為一種正能量，在科技日新月異的人類世界中甚至乎為人類在虛擬世界中找到存活的立足點。雖然如此，我們的身體仍有其角色，有其作用。身體成為啓動藝術品的媒介，一舉手一投足一顰一笑便能把從前是靜態的藝術作品帶領到一個動態的新世代，動態且互動的新媒體藝術作品亦能為我們帶來新的觸覺體驗。身體就如劇場，這種新興藝術概念把個體從孤獨的觀賞經驗帶領到人與人之間的互動磁場，推動社會性的藝術參與和交流。

在這樣的語境下，邵氏會就其個人的新舊作品說明「互動敍事」是甚麼的一回事。雖然他每件作品本質上有其內容及美學意圖的不同，而作品的設置模式或以個人、或以多個使用者出發，然而其所有作品都有一個共通點：有創造「沉浸式電影經驗」的用心。觀眾的「身」與「神」均可參與在作品中，或是表演，更可當上作品的「作者」，自導自演。這種中介的觀賞者身體特徵聽起來似是而非，但似非而是的矛盾亦可以是明日世界的出路，數碼世代裡的種種皆可以是無形物，有形及無形等形上的討論或許會在我們在這個藝術討論中得到一絲半點的雋語啟示，邵氏同時間亦就此為代孕複製、擴張實境、演算法作用及軀體再認知等概念層面提供新的理解。