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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 >
Technical Statement
Developed at York University's Future Cinema Lab, Rhodes' hybrid-media Augmented Reality environment allows users to manipulate multiple "micro-channels" of moving images in real-time by using their own set of hands and a deck of cards.
52 Card Cinema has been used in various configurations to disassemble films such as Rambo, The Good The Bad and the Ugly and the shower scene from Hitchcock's Psycho. At the touch of a fingertip, the familiar face of Marion Crane appears animated, yet haunted and misplaced; faces and body parts writhe in unison, seamlessly looping scream after scream as the images patiently wait to be re-articulated into newly constructed vignettes by a simple hand shuffle or shift.
This technological process indulges more than a spatial juggling act, but pays homage to the craft of popular cinema and reunites the audience with the cinematic experience through a newfound aspect of timelessness.
Developed at York University's Future Cinema Lab, Rhodes' hybrid-media Augmented Reality environment allows users to manipulate multiple "micro-channels" of moving images in real-time by using their own set of hands and a deck of cards.
52 Card Cinema has been used in various configurations to disassemble films such as Rambo, The Good The Bad and the Ugly and the shower scene from Hitchcock's Psycho. At the touch of a fingertip, the familiar face of Marion Crane appears animated, yet haunted and misplaced; faces and body parts writhe in unison, seamlessly looping scream after scream as the images patiently wait to be re-articulated into newly constructed vignettes by a simple hand shuffle or shift.
This technological process indulges more than a spatial juggling act, but pays homage to the craft of popular cinema and reunites the audience with the cinematic experience through a newfound aspect of timelessness.
技術陳述
由約克大學的未來電影研究所開發，羅德的混合媒體擴張實境技術讓使用者及觀眾透過他們的手及撲克牌，同時操控多個動態影像的「微頻道」。
52 撲克影院 已應用於不同作品，將不同的電影拆裝重組，當中包括《第一滴血》, 《黃昏三鏢客》及希治閣《驚魂記》的淋浴場景。只要指頭一點，女主角瑪麗安的臉容瞬間化成動畫，既是驚恐且有錯配之效。她的臉容及身體同時翻動，尖叫聲不停重覆，直至觀眾重新疊洗或排列撲克牌，建構另一個新的電影時空。
這種技術不但能誘導觀眾玩弄時空，同時亦向流行電影工業作出深厚的致敬。新科技讓觀眾從新的電影體驗中找出永恆的奧秘。
由約克大學的未來電影研究所開發，羅德的混合媒體擴張實境技術讓使用者及觀眾透過他們的手及撲克牌，同時操控多個動態影像的「微頻道」。
52 撲克影院 已應用於不同作品，將不同的電影拆裝重組，當中包括《第一滴血》, 《黃昏三鏢客》及希治閣《驚魂記》的淋浴場景。只要指頭一點，女主角瑪麗安的臉容瞬間化成動畫，既是驚恐且有錯配之效。她的臉容及身體同時翻動，尖叫聲不停重覆，直至觀眾重新疊洗或排列撲克牌，建構另一個新的電影時空。
這種技術不但能誘導觀眾玩弄時空，同時亦向流行電影工業作出深厚的致敬。新科技讓觀眾從新的電影體驗中找出永恆的奧秘。
