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被消失的作品:面塊的真相

2015/2/10 — 12:14

(編按:香港大學美術館涉嫌「政治審查」,拒展李天倫作品《面塊的真相》。本文由藝術家撰寫,介紹創作概念,經其授權由《立場新聞》轉載。)

【因地制宜- 兩岸四地藝術交流計劃 2014- 香港站】
【被消失的作品】面塊的真相

虛擬不只是現實的一種再現,它更能夠以另一種方式去演繹現實世界背後潛藏的法則。

廣告

虛擬世界中的電影人物或遊戲角色大多以電腦生成圖像技術 (Computer-Generated Imagery) 構成。這些影像背後其實是由多邊形面塊建構成的三維數位模型。多邊形面塊數目越多,人物的輪廓便越細緻清晰。相反,面塊數量越少輪廓便越抽象。這個三維影像解析度的問題,牽涉到電腦運算、視覺認知和個人經驗。基於我們的觀看習慣,製作人會以較多數量的多邊形去呈現電影或電腦遊戲畫面上最主要的角色,以表達重要內容,令觀眾印象深刻。一些比較次要的細節則用較少多邊形去表達,以節省成本效益。

由於大陸 、香港、台灣和澳門的政制之別,領導人的選舉產生方法和選民基礎也各有不同。因四地選舉辦法的差異,其領導人的當選票數與當地人口並無必然關係。儘管如此,四地人口及領導人的當選票數分別如下:

廣告

大陸-13億6072萬,習近平-2952票
香港-723.4萬,梁振英-689票
台灣-2340萬,馬英九-6,891,139票
澳門-62萬,崔世安-380票

我以面塊數目代表得票數量,再將之組成(三維)立體雕塑,透過這概念把上述的現實社會狀況和虛擬空間法則串連起來,去揭示制度是否能夠真碓地反映民意。

把當選者的得票數目化為多邊形面塊數目,去建構四地領導人的形象,目的在於反思選舉方式、政治制度跟我們對領導人認受性的關係。選票的數目決定了領導人的容貌細緻程度、可辨認程度和認受性,他們的容貌構成是否具備足夠的民意基礎,令他們得以被辨認和接受?這種基於面塊數量而產生的面目差異,體現了民意基礎和認受性相互關係。當選票數越高,領導人在民眾的印象就越清晰明確。

這是一個政治制度的問題,透過虛擬與現實的切換和影像媒體法則去反思現實制度的漏洞和不足。

【Conforming to Vicinity - A Cross-Strait Four Region Artistic Exchange Programme 2014】
【To be disappeared】
Faces of Representative

Virtual reality is not only a representation of reality, it is also an alternative way to interpret hidden rules behind our surroundingworld.

Most movies or computer game characters are generated by Computer-Generated Imagery (CGI) technique. These visual images are actually three dimensional digital models composed of multiple polygon surfaces. The more the number of polygons, the higher the level of detail, and vice versa. The issue on the level of detail involves the relationship between personal visual experience and computer rendering process. According to people’s way of seeing objects, more numbers of polygon are usually used to create the main characters of a movie or electronic/ computer game because audiences would pay more attention to these core characters. Less effort will spend on making the background images and supporting characters so as to save rendering time and lower the production cost.

The four regions: Mainland China, Hong Kong, Taiwan and Macauhave different election methods and voters. The population and the number of votes the leaders got are listed in the following.
Mainland China -1,360,720,000, Xi Jinping -2952 votes
Hong Kong -7,234,800, Leung Chun-ying -689 votes
Taiwan -23,404,243, Ma Ying-jeou -6,891,139 votes
Macau -624,000, Fernando Chui Sai-on -380 votes

I use the number of polygon surfaces which equals to the number of vote received by the elected candidates from the four regions to make four three-dimensional head sculptures. Through this process, the reality of the social situation and virtual space is linked to reveal the uncertainty of political and election system.
The head sculptures of the leaders from the four regions are made up of the number of polygon surfaces which are equal to the number of votes that they got respectively. These sculptures aim at showing the relationship between the election method(s) and the acceptability of the leader(s). The number of votes determines how detail the sculpture of the political leaders are, which are determined by the number of supporting people. Therefore, this method can demonstrate whether one leader can represent the people of his region or not.

This artwork aims at revealing the weaknesses of existing political systems of the four regions, in particular, illustrating the uncertainty of the system through the conversion between virtual and reality.

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