How We Act Together (2016)
我們怎樣可以演好一點 (2016)
How We Act Together (2016)
我們怎樣可以演好一點 (2016)
Lauren McCarthy and Kyle McDonald (USA)
羅蘭．麥卡錫 及 凱爾．麥當納 (美國)
Commissioned by Schirn Kunsthalle Frankfurt
法蘭克福錫恩美術館委託作品
“The ultimate behavioral materials are the glances, gestures, positionings, and verbal statements that people continuously feed into the situation, whether intended or not. These are the external signs of orientation and involvement—states of mind and body not ordinarily examined with respect to their social organization.” —Erving Goffman, Interaction Ritual
How We Act Together focuses a lens on the small gestures of social interaction, asking participants to repeat them until exhausted, to a point where the gesture no longer feels natural and its meaning begins to shift. Interrogating a gesture through repetition evokes the discomfort we sometimes encounter in social interactions in the wild. We are becoming increasingly familiar with conversations characterized by divided attention and a loss of connection.
But the gesture is not completely empty, as the participant’s performance triggers a response. For as long as the participant acts, they are able to view a stream of all the previous participants performing the same action back at them. Distributed across a crowd, spread over space and time, an asynchronous interaction takes place that is both awkward and intimate.
The entire interaction is choreographed by the software. Participants act on command from the screen, and their performance does not begin until they conform to the metrics of computer vision algorithms that recognize their gesture. The software validates their human expressions and movements, allowing them access to the crowd of people interacting together.
「人類最終極的行為其實就是在不同場景中有意或無意的瞥看、手勢、定位及言語，而這些外在參與及取向的符號則不會與其社會地位及身心狀態成對測。」 —— 美國社會學家高夫曼的《互動儀式》
《我們怎樣可以演好一點》在鏡頭集中在一些微細的社交互動上；作品要求參與者重覆這些動作直至疲怠，直至動作達至不自然，並意旨其即將轉變。通過重覆一個動作喚起人們在某些社交場合不適的感覺，而人們更越來越熟習分散注意力及失去聯繫式的對話。
然而動作並非全然空虛，因參與者的「演出」可觸發反應；當參與者持續重覆動作，他可以看到之前的參與者的同樣「演出」片段，就像回饋自己的「演出」一般。此「演出」分佈在人群中、空間與時間上，即成就一場難堪尷尬又親密的異步互動。
整個互動由軟件編排，參與者根據螢幕上的指示「演出」，他們的演出必須經由電腦視覺算法確認他們的動作才可正式開始。此軟件驗証了人類的表達及行徑，容讓他們透過互動而進入群眾。
Lauren McCarthy (USA)
羅蘭．麥卡錫
Lauren McCarthy is an artist based in Los Angeles whose work examines how issues of surveillance, automation, and network culture affect our social relationships. She is the creator of p5.js, an open source platform for learning creative expression through code online. Lauren's work has been exhibited internationally, at places such as Ars Electronica, Fotomuseum Winterthur, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, and the Japan Media Arts Festival. Lauren is an Assistant Professor at UCLA Design Media Arts. She is a Sundance Institute Fellow and was previously a resident at CMU STUDIO for Creative Inquiry, Eyebeam, Autodesk, NYU ITP, and Ars Electronica / QUT TRANSMIT³.
羅蘭．麥卡錫是居於美國洛杉磯的藝術家，作品主要硏究有關監控系統、自動化及網絡文化如何影響人們的社交關係的命題。她是p5.js的創造者，此為通過在線代碼學習創意表達的開源平台。她的作品曾經多個各際藝術節及單位展出過，包括Ars Electronica、Fotomuseum Winterthur、SIGGRAPH、奧納西斯文化中心、IDFA DocLab 以及日本媒體藝術節。羅蘭是洛杉磯加利福尼亞大學分校（設計媒體藝術）的助理教授，同時是Sundance學院的硏究員，之前在多個國際藝術團體作駐組織藝術家，包括CMU STUDIO創意咨詢、Eyebeam、Autodesk、NYU ITP、Ars Eletronica/ QUT TRANSMIT³。
Kyle McDonald
凱爾．麥當納
Kyle McDonald is an artist who works in the open with code. He is a contributor to arts-engineering toolkits like openFrameworks, and spends a significant amount of time building tools that allow artists to use new algorithms in creative ways. His work is very process-oriented, and he has made a habit of sharing ideas and projects in public before they're completed. He enjoys creatively subverting networked communication and computation, exploring glitch and embedded biases, and extending these concepts to reversal of everything from personal identity to work habits. Kyle is a member of F.A.T. Lab, community manager for openFrameworks, adjunct professor at ITP, and has been a resident at the STUDIO for Creative Inquiry at Carnegie Mellon, as well as YCAM in Japan. His work is commissioned by and shown at exhibitions and festivals around the world, including: Ars Electronica, Sonar/OFFF, Eyebeam, Anyang Public Art Project, Cinekid, CLICK Festival, NODE Festival, FITC, and many others. He frequently leads workshops exploring computer vision and interaction.
凱爾．麥當納是一位開源編碼藝術家。他是openFrameworks（藝術及工程工具箱）的貢獻者，以及投入大量時間開創新種運算工具供藝術家發揮創意。他是一個極注重過程的創作人，在作品未完成前已習慣公開及分享其創意及項目。他喜歡有創意地顛覆網絡傳訊及計算機運算，探究故障及嵌入式偏見，並延伸此概念至個人身份及工作慣性的全面逆轉。凱爾是F.A.T Lab的會員，openFrameworks的社區經理、ITP的兼職教授並曾於Creative Inquiry at Carnegie Mellon的工作室、日本的YCAM作駐組織藝術家。他的作品曾於多個國際藝術展及組織參展及受委託，包括Ars Electronica、Sonar/OFFF、Eyebeam、Anyang Public Art Project、Cinekidzxac CLICK Festival、NODE Festival、FITC等。他經常做有關電腦視效及互動作品的工作坊
