#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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Malignant unrestrained power | Lee Yee
The Hong Kong police issued a statement the night before yesterday quoting the Guangdong Provincial Public Security Department’s response to the arrest of the 12 Hongkongers. The short communication was full of loopholes. If these 12 people are still under investigation, how can the authorities be sure that they will be approved by the procuratorate for arrest later? One of the 12 people was the skipper, is he a member of the smuggling organization? If he is indeed part of a smuggling group, why was he escaping to Taiwan? Why was there no mention of the arrest of the skipper? What happened to the speedboat? Did the 12 people buy the boat hence it was confiscated?
It has been more than a month and they still could not spin a better story. The power has become so domineering to the point where they say what they want without regard for whether it is believable or not anymore.
Chinese state media reported that, at the recent Third Central Symposium on Xinjiang Work held in Beijing, Xi Jinping emphasized the need to “uphold efforts to sinicize religion, sinicize Islam and forge the collective consciousness of a common Chinese identity.” Following Xi’s “sinicization of Tibetan Buddhism,” this is another one of his latest sinicization campaigns with requirements explicitly put forward.
Both Tibetan Buddhism and Xinjiang Islam are religions based on beliefs in God or divine inspirations, while in other parts of China, most religious believers just pray to gods and buddhas for blessings. Very few people truly believe in gods, reincarnation, or life after death. If “One China” means China under the dictatorship of the atheist Communist Party, then the “sinicization of religion” denotes a false and bogus religion. A leader who can come up with the idea of sinicization of religion under atheism is enough to show that there is nothing believable about this regime, including the woven tale for the 12 arrested Hongkongers.
In the era of ancient China’s absolute monarchy, although there was no real religious belief, ancient Chinese emperors at least paid respect to ancestors and held ceremonies to worship heaven. Dictatorship began from as early as the Qin dynasty to the Han Dynasty during which Dong Zhongshu proposed the rule to respect the emperor. However, he also proposed to restrict the emperor and respect heaven; the emperor would be called the son of heaven, meaning the heavenly father was watching over. The occurrence of a catastrophic natural disaster would be the wrath of heaven; the emperor would often issue a rescript for penitence, and reflect and review to improve governance.
The atheistic CCP not only does not believe in gods but also disbelieves in heaven. Mao Zedong claimed to be a “monk holding an umbrella,” meaning that he was above the law and above heaven. He also said, “Battling with heaven is endless joy.” Therefore, under the guidance of the idea of “Humans will triumph over the sky,” the Great Leap Forward brought about a situation of “endless suffering” for the Chinese people.
However, the CCP regime before Mao the second at least would not, on the one hand, claim to believe in Marxism-Leninism, and on the other hand, bludgeon itself with such absurd theories as the “sinicization of religion.” Perhaps Mao 2.0 now possesses absolute power such that no one dares to tell the truth, resulting in comments of all illogical nonsense.
Recently, the Chinese education department was so preposterous that it blatantly falsified the Bible. The story of Jesus and the Adulteress from the New Testament was cited in textbooks but the ending of the story was distorted. In the original passage of the Bible, Jesus said to the adulteress, “I, too, do not condemn you; Go and sin no more!” The Chinese textbook, however, presents the story as: “When the crowd disappeared, Jesus stoned the sinner to death saying, ‘I too am a sinner. But if the law could only be executed by men without blemish, the law would be dead.’” Forcing words to justify the Chinese leaders into the mouth of Jesus.
Of course, anyone who enforces the law in any society will not be a flawless person, but in a normal society, at least the law enforcers know that they are either guilty, or that regardless of religion or even non-religion, they believe that “there is a deity watching over them.” In addition to believing that “a deity is watching,” law enforcers are also restrictive in their power by the separation of powers with mutual checks and balances, as well as the supervision of the Fourth Estate. Nearly 300 years ago, the French Enlightenment thinker Montesquieu said, “Every man invested with power is apt to abuse it, and to carry his authority as far as it will go. Power is naturally expansive and has a tendency to turn malignant. As long as there are insufficient restraint and supervision, any power will give rise to corruption. To prevent this abuse, it is necessary from the very nature of things that power should be a check to power.”
The power we face and its extension in Hong Kong may be the most extreme power in human history. It has no restraints nor any checks and balances, and without the constraints of “heaven” from the dark ages of ancient China and the Western Middle Ages. Its “expansion and malignancy” can exceed all human imagination. Therefore, normal people can only completely and absolutely distrust this absolute power.
catastrophic meaning 在 李卓人 Lee Cheuk Yan Facebook 的最讚貼文
📌📍《5月35日》「庚子版」 眾籌活動
集結力量 網上演出 六四前夕 全球直播
"May 35th" Gengzi Edition - Crowd Funding
Join Forces for Global Live Online Performance on the night before June 4th.
🔇🔇「以現在的社會狀況,我們的政治氣候,我擔心這個戲未必有機會再上演﹗」導演陳曙曦說。
🔊🔊"With the forecast of the political climate now, I am very worried that this play will not be any chance to put on stage again" said Chan Chu-hei, the director.
🚨🕯️我們希望集結公民力量,
令全球所有人都可以在「六四」免費網上觀賞《5月35日》,
讓這個故事遍地開花,
讓更多人了解真相、追求公義。
🚨🕯️We target to join the force of citizen
to let us share this Online LIVE theatre production
“May 35th”globally, make this story worldwide,
and let the truth speak for itself, justice be sought after.
‼️➡️眾籌支持方法 Way of Crowdfunding:
1) 請即登入網上平台:https://goget.fund/2Wz5kO9
(暫不能用PayPal 戶口,請用"Visa/ Master" 捐款
Please DO NOT use PayPal Account, but click the icon "Visa / Master")
2) 支票捐款- 抬頭寫「六四舞台」,郵寄到
九龍旺角彌敦道618號好望角大廈8字樓(六四舞台)
By Cheque - Please make the cheque payable to "Stage 64", and mail to 8/F, Good Hope Building, 618 Nathan Road, KLN. (Stage 64)
************************************************
2019年六月,是「六四」的三十周年,六四舞台邀請了著名編劇莊梅岩創作《5月35日》。首演5場及加開的6場門票均全部售罄,一致好評,更獲本屆舞台劇獎六大提名,包括最佳劇本!經歷了大半年的社會運動,面對過暴政與暴力,「六四」對香港人多了另一重意義,在謊言與假新聞氾濫的社會,《5月35日》為悼念亦為警世!
🧐🧐為了蒐集資料,編劇莊梅岩曾到訪內地訪問當年「難屬」,亦因此被神秘人「探訪」和「關注」,令她質疑香港的創作自由可能已經岌岌可危。
🤐🤐眼下的暴政和警暴,「廿三條立法」如箭在弦,六四舞台在香港再有生存的空間嗎?
🤬🤬當網絡上充斥假新聞,官方又不斷篡改歷史事件,究竟「六四屠城」和「反送中運動」在不久的將來會變成什麼樣的故事呢?
我們不知道答案,但只要有機會,我們仍然要演下去﹗因此當社會運動仍在激烈抗爭之際,六四舞台就馬上籌組了《5月35日》(庚子版)。
📆根據中國歷法,2020年是庚子年;翻開中國歷史,庚子年往往是浩劫之年。香港經歷多個月的社會運動,「六四」對步入庚子年的香港人有何意義?六四舞台今年誠邀著名導演陳曙曦,連同全新班底,重新創作《5月35日》 的「庚子版」。
😷😷鑑於疫情持續,政府下令關閉全港劇院,令原訂5月在香港藝術中心的舞台演出被迫取消,劇團為堅守信念,破天荒決定把這個震撼人心的六四故事以網上直播形式,於2020年六四前夕向全球人士同步免費播放(粵語演出,附中英文字幕),並於6月4日全日24小時在網上分享。其錄像版本亦將會製作成電影影片,把演出搬上大銀幕,讓更多人了解真相、追求公義。🖐️🖐️🖐️🖐️🖐️
June 2019 marked the 30th anniversary of the “June Fourth Incident”. Local art group Stage 64 joined hands with renowned playwright Candace Chong Mui-ngam to create May 35th. The first 5 premieres as well as the 6 additional shows were all sold out with great acclaims, followed by 6 nominations in the subsequent Hong Kong Drama Awards, including Best Script!
The social movement in the past 6 months has made Hong Kongers no strangers to tyranny and brutality, and has transcended the meaning of "June Fourth" within us. Especially when we are living in a world full of lies and fake news, the play "May 35th" is for mourning and also a warning!
🧐🧐Candance Chong Mui-ngam has visited the Mainland for screenplay research. There she met up with some interviewees, whose family members were June Fourth Massacre victims. It turned out some mysterious figures paid her a "visit" in return with "unexpected concern". She couldn't help but worrying: Is the creative freedom deprived even in Hong Kong?
🤐🤐Witnessing the escalating brutality against protestors, the eagerness of enacting Basic Law Article 23, how much longer can a play like "May 35th" be staged in Hong Kong?
🤬🤬Worse still are the tremendous fake news on the Internet and the tampering with history. Can you imagine how "June Fourth Incident" and "Anti-Extradition Bill Protest" will be interpreted in the near future?
We have no clue, but! As long as we have this opportunity to express, we will go on. Even when the protest across the city was still intense, Stage 64 started to plan for another "May 35th" , the Gengzi Edition.
📆In the Lunar calender, 2020 is called the year of the Gengzi. Historically speaking, the year of the Gengzi were always catastrophic. After months of social unrest, Stage 64 invited prominent director Chan Chu-hei, to re-create "May 35th" into Gengzi Edition with new cast and crew.
😷😷Then comes the Coronavirus pandemic and the compulsory closure of theatres by the Government. That left us no choice but to cancel the "May 35th" performance, which was originally scheduled to stage at Arts Centre in May. But what if we adhere to our beliefs? Here comes the bold decision-\-\to live stream this astonishing show, globally and for free on the night before June 4th, 2020 (Presented in Cantonese, with Chinese and English subtitles). The live version will then be shared online throughout the day on June 4th. What’s more? The performance will be filmed separately and released in cinemas. Let the truth speak for itself, justice be sought after. 🖐️🖐️🖐️🖐️✋
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
💰籌款目標💰
35萬,但50萬能讓我們做得更多
Crowding Funding Goal
HK$350,000, but we can go further if we get HK$500,000.
🆘製作一齣舞台劇的基本成本相當高,一般要靠數千張數百元的門票收入才能維持收支平衡。在疫情下失去劇院,沒有門票收入,加上題材敏感,《5月35日》要獲得商業贊助機會是「零」。因此,我們只能靠公民發揮力量,解囊相助,協助我們把舞台劇作全球網上直播及製成影片,把故事帶到更遠。
🆘A stage production costs a lot. Generally we need to sell several thousands of tickets to break-even. Considering the circumstances of coronavirus pandemic, we can no longer perform in theatres and therefore no income from box office. In addition, due to the sensitivity of the theme / topic, in spite of our best endeavours, it is impossible for May 35th (Gengzi Edition) to receive any commercial sponsorship. What we need now is everyone exert their power and generosity, elevating May 35th (Gengzi Edition) to online streaming platform and even to cinemas, bringing the story to the rest of the world.
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