#Congratulations! Director Hsin-Chien Huang's latest VR works, Samsara and The Starry Sand Beach, were nominated for the 78th Venice International Film Festival!
The 78th Venice International Film Festival (VIFF) announced the shortlisted nominees for the category of VR Film. Taiwanese new media artist, Distinguished Professor of NTNU, Hsin-Chien Huang, winner of the BEST VR Experience in 2017 with his work La Camera Insabbiata, will again contest for the Leone d’oro this year with two of his latest, sci-fi inspired works, Samsara and The Starry Sand Beach. While the Taiwanese athletes are striving for the Gold Medals at the Tokyo Olympics as we speak, director Hsin-Chien Huang dazzles the jury of VIFF with his visually-stunning and thought-provoking works — bringing cutting-edge Taiwanese VR films onto the international stage and letting world-wide audience sees Taiwan!
Before being selected for the 78th Venice International Film Festival, Samsara episode 1. has already grabbed the Jury Award at SXSW and Best VR Story at the Cannes XR Competition. This futuristic VR experience teleports the audience onto a journey that spans millions of years. Samsara is a Sanskrit word meaning “ the world ”. In Buddhism, it means what we perceive as the world is actually an endless cycle of karma (cause and effect), a cycle of life, death and rebirth in the six realms of existence. In this fascinating VR work, the audience is reincarnated into the bodies of different persons and creatures, experiencing the universe in their new bodies and in search for the ultimate spiritual transcendence.
Samsara depicts an apocalyptical story in the near future where human greed has depleted the earth’s resource. Catastrophic wars to fight for resource resulted in global destruction. Finally, the remaining humans had to leave the Earth and go on a search in space for a new place to live.
Nevertheless, their desperate, long quest for a new homeland… could it be just a loop in space and time? The cycle of greedy domination and total destruction that then necessitates the search for a new home…. may have hopelessly repeated itself over and over again? The constant evolutionary process and so-called progress, without transformation in consciousness and spiritual advancement, is nothing more than a Möbius strip that leads nowhere, perhaps…?
Samsara is an experiment based on the theory of Embodied Cognition. Through interactivity and VR, the audience gets to live inside the bodies of different persons and creatures, experiencing their feelings from within. Perhaps It is when we can perceive the world in different bodies that we may truly appreciate the thoughts of others and empathize with them. An experience that will also help us better comprehend our own existence and learn to live in harmony with all.
Samsara explores a complex of deeply interconnected issues of ecology, technology, natural resource and war, etc. It's a story about a journey humans are forced to take on, after having destroyed the earth with nuclear disasters. The survivors seek a new planet, in the boundless, interstellar space, to carry on their lives. Gradually they evolve into a new life form artificially. Yet, many years passed and they’ve come to realize that they would never make it to the new planet they’ve been dreaming of. In fact, they have simply been returning to the Earth, in different life forms, time after time.
Director Huang applies the concepts of embodied cognition, offering a unique way to contemplate about the nature of life. As the audience are transported into different bodies each time, they gain a brand new perspective to experience the world views presented in Samsara.
Samsara was produced under the guidance of Taiwan Creative Content Agency (TAICCA) and Kaohsiung Film Archive VR(VR FILM LAB), it’s a sate-of-the-art VR production made 100% in Taiwan. In the VR experience, viewers are transformed into various kinds of animals to interact with the scenes, including species unique and indigenous to Taiwan, such as Taiwan Blue Magpie and Formosan Black Bear.
Samsara Ep.1 features the latest somatosensory technology, including 4D views shooting techniques by the Industrial Technology Research Institute and TAICCA. A digital shooting system comprised of a high-sensitivity 4 million-pixel, full-color CCD sensor and 48 4DV-EX-Z cameras made it possible for Samsara Ep.1 to be taken from an omnidirectional view and shot without any blind spots, creating the ultimate immersive experience.
THE STARRY SAND BEACH, directed by Hsin-Chien Huang and produced in cooperation with Lucid Reality (France) and Oready 瑞意創科 Oready Innovation Lab (Taiwan), is a scientific fairy tale about a unique ecological wonder in Taiwan and Japan, the shiny starry sand beaches. Foraminifera, from the Latin word “foramen” meaning hole, is a single-celled organism that builds a shell with multiple chambers which intercommunicate with one another through holes. On the Qimei Island, Taiwan and the Yaeyama Islands, Japan, beaches have been formed by a specific species of foraminifera with star-shaped shells made of calcium carbonate. Like the real stars in the legends, grains of the starry sand have also been preserving the earth’s memories for millions of years.
THE STARRY SAND BEACH is a real-time 3D interactive VR adventure into the natural and mythological landscape of the starry sand beaches on Qimei Island in Penghu Archipelago, Xing Sha Wan in Kenting National Park and Taketomi Island in the far south of Japan. The experience is full of aesthetically-amazing elements and enriched with cultural and religious significance like Shintoism in Japan. A beautiful, haunting legend tells the story of the starry sand…
The final winners will be presented at the award ceremony held on Sep11. With great anticipation and hopes, Hsin-Chien Huang is expected to bring home again the grand prize for Taiwan!
https://www.labiennale.org/en/news/selection-complete-works-venice-vr-expanded-0
#黃心健 #HsinChienHuang
#samsara #chalkroom
#LaCameraInsabbiata
#VeniceInternationalFilmFestival #VIFF
#Thestarrysandbeach
#LucidReality
#OreadyInnovationLab
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總部位於米蘭的國際知名藝術雜誌 Mousse在第 74 期發表對於台灣山海、歷史與藝術創作之間,如何交互連結的的綜觀,並映照出人類社會當下的普世行為。文章來自定居台北的 Robin Peckham ( Taipei Dangdai台北當代聯合總監),揉合「在現場」與「文化不同源」的視角,在海洋史的向度上延展及連結思考。
「為了讀懂藝術家辯證台灣山海關係的作品,或是透過台灣來讀懂藝術與山海,我想到了兩種廣泛的分類及比喻:一種是發散、多向的思維,另一種是純物質的;一種是文化層面,另一種是生物性的;一種看向南方與東方,回溯政治策略與古航海家的路線,另一種則看進地球的深處,充分檢驗岩層的堅硬與海水的濕度。」
本篇論述了下列藝術家:
Meuko Meuko | NAXS corp. | #黃嘉俊 | #劉芸怡 | #倪灝 | #蔡佳葳 | #許家維 | #洪子建 | #區秀詒 | #張永達 | #蘇郁心 | #蘇匯宇 Su Hui-Yu | #吳其育 | 姚瑞中 Yao Jui chung | #羅智信 | #楊順發 | #盧昱瑞 | #林銓居 | #吳季璁 | #CemelesaiTakivalet #達給伐歷 | #AruwaiKaumaka #武玉玲
「如果說這篇文章道出了任何一種普世性,那即是以欲望為溫床、萌生於生態自然中的意識。山與海並不主動提供故事的素材,而是山海作為根本之物,成為被述說、被詮釋的對象。」
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▍This Piece of Land, These Bits of Sea ▍
The 74th issue of Milan-based, internationally-renowned art journal Mousse
Magazine features a survey on the interrelationships of Taiwan’s land- and seascapes, history and artistic practices, while shedding light on current global human conditions. The article by Taipei-based Robin Peckham, Taipei Dangdai co-director, sets out from the realm of maritime history, intersecting the perspectives of the in-situ with culturally diverse lineages to bridge and extend such reflections.
"In attempting to read and understand works (like these) that engage the land-sea dialectic over and through Taiwan, I have come across two broad categories. One is discursive where the other is material; one is cultural where the other is biological. One looks south and east, following policy and retracing the routes of ancient seafarers, while the other looks down, testing out the hardness of rock and the wetness of water."
The article discusses works from the following artists:
Meuko Meuko | NAXS corp. | #HuangChiachun | #YunyiLiu | #NiHao | #CharweiTsai | #HsuChiaWei | #JamesTHong | #AuSowYee | #ChangYungTa | #SuYuHsin | #SuHuiYu | #WuChiYu | #YaoJuiChung |
#LuoJrShin | #YangShunFa | #LuYuJui | #LinChuanChu | #WuChiTsung | #CemelesaiTakivalet | #AruwaiKaumaka
“If there is a universalism to be discovered here, it is in the ecological nature of the consciousness that is created in this matrix of desires. Mountains and seas do not provide source matter for stories but rather become the very substrate of what can be said.“
台灣美術雙年展 Taiwan Biennial2020
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