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52 Card Cinema: '52 Card Psycho' & 'ARambo'
52 撲克影院：驚魂記 及 第一滴血 (2009)
Geoffrey Alan RHODES
謝飛．艾倫．羅德
USA 美國
Artist's Biography 藝術家簡介 >
Artist Statement 藝術家陳述 >
Technical Statement 技術陳述 >
52 撲克影院：驚魂記 及 第一滴血 (2009)
Geoffrey Alan RHODES
謝飛．艾倫．羅德
USA 美國
Artist's Biography 藝術家簡介 >
Artist Statement 藝術家陳述 >
Technical Statement 技術陳述 >
Artist Statement
52 Card Cinema is, in essence, a translation between media: an installation-based investigation into cinematic structures and interactive cinema viewership. The concept is simple: 52 cards, each printed with a unique identifier, are replaced in the subject's view by individual shots that make up a movie. The cards can be stacked, dealt, arranged in their original order or re-composed in different configurations, creating spreads of time.
New Media artists and theorists have an abiding fascination to see cinema as the root of all moving image media. In 52 Card Psycho, Rhodes uses marker-based augmented reality technology to look back on the late modern Hitchcock masterpiece, Psycho — which has become an icon of artistic appropriation.
Using technology developed for robot vision, the iconic shower scene in Psycho is mapped on to a deck of cards, each of the 52 shots that make up the scene appear on an individual card in a deck.
It is a media translation of both forwards and backwards — using new media technologies, the 50 years old film is translated to an older imagistic medium — a medium of loose interaction and game play: the deck of cards.
52 Cards Psycho is not a video game — it doesn't come with a programmed set of rules. Like a deck of cards, it is open for play, for user to develop their own games, and make their own connections.
52 Card Cinema: '52 Card Psycho' & 'ARambo' functions as a sort of mash-up, an artwork that allows viewer to re-envision cinema, understand it in new ways, and perceive connections that would never be apparent in the standard singular and linear theater screen. New interpretations of frame and montage become apparent, as you play cards with the body parts that are shots of a horror scene, and see this scene itself pulled apart from its temporal order.
www.garhodes.com
52 Card Cinema is, in essence, a translation between media: an installation-based investigation into cinematic structures and interactive cinema viewership. The concept is simple: 52 cards, each printed with a unique identifier, are replaced in the subject's view by individual shots that make up a movie. The cards can be stacked, dealt, arranged in their original order or re-composed in different configurations, creating spreads of time.
New Media artists and theorists have an abiding fascination to see cinema as the root of all moving image media. In 52 Card Psycho, Rhodes uses marker-based augmented reality technology to look back on the late modern Hitchcock masterpiece, Psycho — which has become an icon of artistic appropriation.
Using technology developed for robot vision, the iconic shower scene in Psycho is mapped on to a deck of cards, each of the 52 shots that make up the scene appear on an individual card in a deck.
It is a media translation of both forwards and backwards — using new media technologies, the 50 years old film is translated to an older imagistic medium — a medium of loose interaction and game play: the deck of cards.
52 Cards Psycho is not a video game — it doesn't come with a programmed set of rules. Like a deck of cards, it is open for play, for user to develop their own games, and make their own connections.
52 Card Cinema: '52 Card Psycho' & 'ARambo' functions as a sort of mash-up, an artwork that allows viewer to re-envision cinema, understand it in new ways, and perceive connections that would never be apparent in the standard singular and linear theater screen. New interpretations of frame and montage become apparent, as you play cards with the body parts that are shots of a horror scene, and see this scene itself pulled apart from its temporal order.
www.garhodes.com
藝術家陳述
52 撲克影院是一部跨媒體的翻譯本：從裝置藝術出發，探討電影結構及互動電影裡觀眾的角色。整個概念很簡單：作品包含五十二張撲克牌，每張牌上印有獨一無二的標籤，代表電影裡不同的片段。觀眾以自身的視點及角度，疊砌及重組撲克牌，透過順序或自由排列組成不同的組合，重新建構一場又一場電影時空。
新媒體藝術家及理論家深信電影是動態影像媒體的始祖。在52 撲克影院：驚魂記 ，羅德 以標籤擴增實境技術，重看後現代希治閣大師之作《驚魂記》，為這齣劃時代的驚世距著作出新的詮譯。
以製造機械人視覺的技術，《驚魂記》的經典淋浴場景被分為五十二段，分別嵌於五十二張撲克牌上。
這個互動裝置是個雙向的媒體翻譯本，它以新媒體技術把五十年前的電影翻譯成撲克牌，撲克牌是比電影更古老的圖像媒體。撲克是遊戲，同時亦代表一種時代的互動方式。
52 撲克影院：驚魂記不是電動遊戲 — 內裡没有既定的程式。撲克牌亦然，這個作品公開邀請玩家創造他們各自的遊戲及連繫。
52 撲克影院：驚魂記 及 第一滴血邀請觀眾重新審視電影的模式，以新角度去理解這種非單一及非線性的電影屏幕。當觀眾以出現在驚悚片中的身體部分重組電影，不但會對場景和剪接有新的詮釋，亦會見證經典的電影片段從原來的秩序中瓦解。
www.garhodes.com
52 撲克影院是一部跨媒體的翻譯本：從裝置藝術出發，探討電影結構及互動電影裡觀眾的角色。整個概念很簡單：作品包含五十二張撲克牌，每張牌上印有獨一無二的標籤，代表電影裡不同的片段。觀眾以自身的視點及角度，疊砌及重組撲克牌，透過順序或自由排列組成不同的組合，重新建構一場又一場電影時空。
新媒體藝術家及理論家深信電影是動態影像媒體的始祖。在52 撲克影院：驚魂記 ，羅德 以標籤擴增實境技術，重看後現代希治閣大師之作《驚魂記》，為這齣劃時代的驚世距著作出新的詮譯。
以製造機械人視覺的技術，《驚魂記》的經典淋浴場景被分為五十二段，分別嵌於五十二張撲克牌上。
這個互動裝置是個雙向的媒體翻譯本，它以新媒體技術把五十年前的電影翻譯成撲克牌，撲克牌是比電影更古老的圖像媒體。撲克是遊戲，同時亦代表一種時代的互動方式。
52 撲克影院：驚魂記不是電動遊戲 — 內裡没有既定的程式。撲克牌亦然，這個作品公開邀請玩家創造他們各自的遊戲及連繫。
52 撲克影院：驚魂記 及 第一滴血邀請觀眾重新審視電影的模式，以新角度去理解這種非單一及非線性的電影屏幕。當觀眾以出現在驚悚片中的身體部分重組電影，不但會對場景和剪接有新的詮釋，亦會見證經典的電影片段從原來的秩序中瓦解。
www.garhodes.com
