{"id":1964,"date":"2020-09-03T20:36:31","date_gmt":"2020-09-03T18:36:31","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=1964"},"modified":"2022-02-24T13:28:55","modified_gmt":"2022-02-24T12:28:55","slug":"modernological-urbanscape","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/modernological-urbanscape\/","title":{"rendered":"Modernological Urbanscape"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\"><strong><strong>Modernological Urbanscape<\/strong><\/strong><\/h1>\n\n\n\n<h2 class=\"caps wp-block-heading\">HUNG Wei-Hsuan<\/h2>\n\n\n\n<div class=\"wp-block-columns singleOeuvreTopRow is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Video<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p><strong>As digital technology has developed, virtual reality now enables us to upload consciousness into the space within the viewing device. The question of \u201cWhere do I exist?\u201d has been blurred by the technology of \u201cdigital twin\u201d that exists in the cloud.<\/strong><\/p>\n\n\n\n<p>This project focuses on the creation of a digital twin for the spatial perception from reality and virtualization. The interpellation of a spatial site provides a material basis for memory to live on, and the traces and marks left by different time periods in the site offer later observers to read the site from different angles. <\/p>\n\n\n\n<p>Through this project, Huang Wei Hsuan has observed the architectural style of different periods and their varying spatial functions. This aspect differs from the overly rationality that underlies the handling of materials when creating a virtual environment in the sense that he hopes to convey his personal feelings and expand the scope of the audience\u2019s self-driven narratives when experiencing the work.<\/p>\n\n\n\n<p><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreInfosRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column infosPratiquesBlock is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-36-1024x576.png\" alt=\"\" class=\"wp-image-3826\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-36-1024x576.png 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-36-300x169.png 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-36-768x432.png 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-36.png 1420w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/HUANGWEIHSUAN_still01-1024x576.jpg\" alt=\"\" class=\"wp-image-1955\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/HUANGWEIHSUAN_still01-1024x576.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/HUANGWEIHSUAN_still01-300x169.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/HUANGWEIHSUAN_still01-768x432.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/HUANGWEIHSUAN_still01-1536x864.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/HUANGWEIHSUAN_still01-2048x1152.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Huang Wei Hsuan<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"577\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-3-1024x577.png\" alt=\"\" class=\"wp-image-3828\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-3-1024x577.png 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-3-300x169.png 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-3-768x432.png 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-3-1536x865.png 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-3.png 1776w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-8-1024x576.png\" alt=\"\" class=\"wp-image-3830\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-8-1024x576.png 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-8-300x169.png 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-8-768x432.png 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-8-1536x864.png 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-8.png 1800w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<p>Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/modernological-urbanscape\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/modernological-urbanscape\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Modernological+Urbanscape&amp;url=https:\/\/chroniques-biennale.org\/en\/modernological-urbanscape\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreArtistsRow is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Huang Wei-Hsuan <sup>(TWN)<\/sup><\/h2><div class=\"artistContactLine\"><a href=\"https:\/\/huangweihsuan.tw\/\" target=\"_blank\">https:\/\/huangweihsuan.tw\/<\/a><\/div><div class=\"artisteContent\"><p>Huang Wei-Hsuan\u2019s works seek to create conversation between audiovisual and projection, aiming to trigger the imagination of audiences. Since 2016 onward, he has started focusing on using digital photography and modeling for the configuration of space that used to exist or only exists in one\u2019s imagination.<\/p>\n<p>The approach allows him to reconstruct the evolving relations between past and present, imagination and reality as well as people and their inhabiting environment. He launched \u201cThe Modernological Project of Immersive Elapsing Images\u201d in 2018 to analyze and test the possibility of converting and representing graphic sequences in past motion images as volume and structure. This attempt explores the dialogue between image and space, how routes in past space merge with memory, and physical movement while analyzing the potentiality of representing and re-experiencing the spaces and scenes in various movies.<\/p>\n<p>He was invited to participate in Centquatre Paris, NTMOFA Digital Arts Exhibition, YIRI ARTS Gallery and several other events. His works were presented in National Theater &amp; Concert Hall and featured in various theatre works. He is currently a full-time media creator based in Taipei Taiwan.<\/p>\n<\/div><\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreCreditsRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>This project is kindly supported by Taiwan Contemporary Culture Lab.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"featured_media":3830,"menu_order":0,"template":"","edition":[20],"type_oeuvre":[28],"class_list":["post-1964","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/1964","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/3830"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=1964"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=1964"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=1964"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}