The Sprite / 雷*靈, 影像互動裝置, 19’50”, 2021
《精靈》是一部以東京無形禁區為主的作品，同時也是對科技空間權威與文明關係的抽象批判。
在這座看起來像博物館、天文台或某種神秘研究設施的建築物內，有一些 “精靈” 作為話語以外的火花漂浮在周圍。這些 “精靈” 會受到安裝在現場畫面螢幕前的感應器檢測到的電磁波數值影響，而四處彈跳。在作品裡牽涉到東京機場飛行高度與建物設施、東京灣的地質年代史和氣候變遷歷史與曾經滅絕生物等情節。
最終，當伴隨著這些的科幻話語，如果建築空間是一種3D 軟體的建築視角觀點，其中不確定的材料假設性的被使用，那麼建築空間的虛擬行為如何影響真實環境？
伊阪柊
影像創作藝術家，目前為東京藝術大學博士生。擅長構思並實踐製作，通過影像製作，使用3D模擬並根據每個地方的異常風土製作道具來干預影像形成在環境特徵中的過程。展覽包括 2021東京Kodama畫廊、2020東京Token藝術中心 、2019 台北Synthetic Mediart 藝術節和 2021 東京數位媒體藝術中心(ICC)。博士研究主題為 “透過虛擬質量中的介入創造過程對環境動態進行分析和表述”.
The Sprite, 19’50”, 2021
There is a large area of Obstacle Limitation Surface that stretches from Tokyo Bay to the center of Tokyo. It restricts the height and direction of planes taking off and landing at Haneda Airport, as well as the height at which high-rise buildings and drones can be flown. Some of the obstacle limitation surfaces are lifted when radio towers and other buildings that serve as infrastructure are constructed. When a new flight route is added, the new restricted surface is extended, causing new anxiety and risk communication to the skyscrapers directly below. As a result, the obstacle limitation surface seems to be expanding and contracting, and playing some suspicious and uncertain bargaining game, unseen by the people who live there.
Walls, floors, and ceilings with textures and collision surfaces are fleshed out in this invisible legal space, and we wander through it. Inside the building, which looks like a museum, an observatory, or some kind of mysterious research facility, there are "sprites" floating around as sparks of something other than discourses. They are bouncing around as they are affected by the numerical values of the electromagnetic waves detected by the sensors installed in front of the screen.
Both the sprites as an animation technique in the game and the sprites as an electrical discharge into outer space are named after the spirits or fairies they are used to resemble. And here, they play an uncertain role in mediating the passenger's speculations and anxieties that arise when electronic devices are not turned off during takeoff and landing. This video is a screen recording of a single day, recorded during a month of continuous sensing at a location directly under the newly added airway. As such, it looks like a 3DCG simulation of space but is capsulizing a specific time and space.
It includes the geological chronological history of Tokyo Bay and the history of climate change. There used to be many deltas around Tokyo Bay where cattle were grazed since around a thousand years ago. Tennoz island is one of them, and the site of the new radio tower mentioned above, which is now landlocked, was once a large delta. In the past, Tokyo Bay’s climate was comparatively cold and sometimes covered with ice floes. The bay was home to a large marine mammal called the Steller's sea cow. This creature eventually lost its home in the warming ocean and moved its habitat to the north, where it eventually became extinct due to human hunting activities. Long before that, there was a semi-aquatic mammal called Paleoparadoxia, which resembled a hippopotamus. This was a time when Tokyo Bay had expanded further and reached into the mountainous area. They may have lived in warm waters with a unique sense of time, but they were forced to adapt to a climate that would soon begin to turn cold. Whether they adapted to the cold sea, became terrestrial creatures like cattle, or simply became extinct is unknown, but at least today artificialized Tennoz island is not a place where large mammals live. The only thing that remains is a legend that an artificial mask resembling a god with cow horns flowed from somewhere was caught by fishers in the Edo period around 250 years ago.
This horn was eventually reshaped as the horn of a newly added territory on the obstacle limitation surface that covers the airspace rather than the sea. It resembles an awkward and reserved corner room like a horn, the mysterious last room of that space. What is the building material of this architectural object made of in the first place? The building material is prolonged use of muons, which mediate anxiety, speculation, and expectation, intervening in the unexplained gaps of the phenomenon of the Elves induced by The Sprite radiating into space. Along with such a science-fiction discourse, if the architectural space is an architectural perspective on a 3D software where uncertain materials are supposed to be used, how does the simulated behavior of the architectural space affect the environment?
Shu Isaka (JP)
Videographer. Conceived and practiced a production method that intervenes in the process of forming environmental representations through video-making by using 3DCG simulation and making props based on abnormal terroir of each place. Also planning and implemented "The Intersection Of Universes", a project that attempts to create a temporary document in the epistemological trench between the planetary-scale urban environment and digital technology as infrastructure. Recent exhibitions include "Distorted Abduction" (2021, Kodama Gallery, Tokyo), "Periodic Lull" (2020, Token Art Center, Tokyo), Synthetic Mediart2019 (2019, Taipei) and NTT InterCommunication Center (ICC) 2021.
The doctoral dissertation is "Analysis and Representation of Environmental Dynamics through an Interventional Creative Process in the Quality of Virtuality".