Photo-based New Media Works by
Tamas Waliczky
以 照片為 基礎 的 新媒體 作品
Ingrid Hoelz Tamas Waliczky，家 – 實務現實主義之旅 Tamas Waliczky, Homes – A Journey into Pragmatic Realism
Miklós Peternák 甚麼是個人的，甚麼不是 Tamás Waliczky作品中照片的作用 What is Personal and What Is Not The Role of Photographs in Some of the Works of Tamás Waliczky
Tamas Waliczky， 家 – 務實 現實主義之旅 Ingrid Hoelzl
家 Homes. Lumenvisum Gallery, Hong Kong, 2015
為了《家》這個作品，Tamas Waliczky和他
面，我們就如跟着製作團隊進行他們的定格拍
的五個研究助理在以風光明媚聞名的大澳漁
攝之旅（停下來，拍照，走到下一景點），這過
村內，採集七間棚屋的住戶數以千計的照片。
程可稱作遊走攝影。與記時攝影不同，遊走攝
《家》顯示了村內一種與別不同的棚屋：單層
影着重的不是時間的變化，而是視點的變化，
的樓房，向着大 街的一面白天打開作店面使
從而影響事物的外觀。
用，把街道與私人空間融合在一起。這些照片
正 如 W a l i c z k y 所 解 說，使 用照 片 作
（使用標準的佳能D50相機拍攝）之後變成了
記 錄 需 要 依 循 一 定 規 則，以 便 圖 像 軟 件
一個互動式的三維動畫，在2015 年首次在香
AgiSoft PhotoScan）能夠通過比較物件
港的光影作坊展出。
在二維影像內的不同位置，計算出三維空間。
這項目集合紀 錄和教育性質，把大 澳的
越複雜的物件(如線條細緻的神像)，便需要更
傳統文化視覺性存檔，用數碼科技保存並以虛
多的照片。照片需要有準確對焦及光線要一
擬的形式向大眾展示，確保 就算將來這些棚
致，否則軟件不能 對比從不同角度拍攝的物
屋與及裏面的居民不復存在，他們的生活模式
件。軟件然後生成點雲，並連接這些點，產生
也可保留。這項目獲香港大學教育資助委員會
三角形（即三維多邊形）。原來的照片便會繪
和利銘澤黃瑤璧慈善基金資助。我對這項目感
製在這個三維線框之上，從而把從照片製成的
興趣的原因不是因為其歷史價值或它着重的
抽象空間與裏面的所有物件以寫實的手法再
生活模式，而是Waliczky選擇明確表達的攝
現。稍後我再談現實的問題。
影和三維動畫之間的關係。事實上，這裝置只
單獨的圖像可以用剛才描述的方法製作
由兩幅數碼屏幕組成，分別放在畫廊的兩面相
詳細的三 維圖像，但要 製 成三 維 動畫，便必
對的牆上，觀眾視線水平之上，讓觀眾可使用
須簡化細節，例如減少多邊形，意味把它們放
軌 跡球探索其中兩個家庭的三維模型。屏幕
大，令圖像更粗糙。就如JPEG壓縮令圖像視
背後的牆壁變成了一種背景讓人們可欣賞屋
覺模糊化（B u o n a ri和Lib e rati 2 0 0 9），
外面的空間，其餘兩面牆展示出每間屋的小型
在人眼無法判斷複雜的多邊形結構和簡單長
相片，固定在畫廊的牆上。有了這個清 晰 的設
方形(例如一道門)的分別的情況下，減少多邊
置，Waliczky把整個畫廊空間轉化成三維立
形。這 方法要經不斷嘗 試，複 雜的物件需要
體環境，不但再現兩個不同的空間，還把這兩
用更詳細的多邊形 結構繪製，效果才更真實
個空間再現實化。
(Waliczky的長遠計劃是把不同的物件存檔。
沿着這些照片牆行走，很容易理解這些
在這種情況下，詳細的多邊形可以保留，因為
疏落的圖像覆蓋了這兩個位置的整個三維空
單獨物件只需較少電腦處理能力來實時呈現。)
間；相同的東西以略為不同的角度和不同的位 置出現，有的在牆壁上較高位置，有的靠近地
現實的問題
產生如 Jameson (1990)提出的「認知地圖」。 攝影寫實主義的教條包含巴贊所提出的
直接攝影」提倡用攝影機捕捉不經預先安排
從照片到模型的「現實轉移」 （2 0 0 9） ，不管
的現實，拍攝前後或中途都不能干預被拍攝的
如何模糊不清，照片就成為了模型，他把這過
對象。《家》似乎跟從這原則，把被拍攝的家
程與宗教拉上關係（羅倫巴特則稱之為魔術 。
居仔細掃描，攝影師在被拍攝的物件前走動，
在三維圖像中，這種現實轉移是在三維模型
不主動移動物件以獲得更「完美」的影像。但
和照片之間發生：模型就是照片（魔術般的自
若遇到觀看的角度被阻隔，藝術家和他的助手
動 攝影 與 數碼 化電 腦計算掛 鈎，實際上，特
便會仿造隱藏的部分（即相機捕捉不到但是
別是在 這 種情況下，涉及花很多小時 製作的
仍然存在的一面），這算不算把影像的「不完
手動」造型）在《家》這作品中，以攝影作為三
美現實」改造？
維模型的原形，傳輸是雙向的：從照片到模型
對於Waliczky 來說，平衡速度（運作）與
真正的位置），並從有紋理映射照片的三維
質量（現實）最為重要。我在他的工作室訪問他
模型到照片。但動畫的互動部分又怎樣？實時
時，他認為早期美國電腦遊戲側重於視覺相
瀏覽把媒體技術從定格圖畫帶到活動和互動
似度（比如樹葉在風中擺動） ，日本電腦遊戲則
或身臨其 境的影像，滿足了巴贊提 倡的現實
着重 動作 相似度，要求軟件馬上感應玩家的
性的慾望，也提供了對無盡的渴望，不受時間
動作。他的動畫是兩者之間，是務實的現實主
空間所限的沒邊界的圖像，這不是最佳的現
義，既「忠實」表現現實，也提供一個順暢的虛
實嗎？從Waliczk y延伸，對遊戲玩家最重要
擬旅程，讓使用者遊歷這兩個家居住宅。這個
的 – 也對他的互動三維動畫的使用者最關鍵
虛擬旅程由一個有特定高度（約1 70 厘米）、
的 – 是虛擬世界中導覽指令的即時反應；視
重量和容量的所謂「身體」提供，是一個「行動
覺真實性的缺陷可被容忍，只要虛擬世界反應
的三腳架」，每當遇到阻礙如桌或牆壁便會停
是即時性的……
下，這「身體」所經歷的旅程是否較在兩面照 片牆之間走動的幻想之旅更真實？跟那三維動 畫不同，我們不是從不同位置和角度瀏覽一個
藝 術 家的痕 跡：意 外、自拍 像 或
連貫的整體，而是只有零碎的視點，即從整體
媒體反思？
空間切割出的不同照片。這種雙重的割裂在顯 示的模式下更為明顯：就如模擬攝影時代的小
瀏覽三維動畫的過程中，可發現幾個藝術家和
型照片，中間隔着畫廊白色的牆壁，就像攝影
他的團隊的「痕跡」：在一個電視屏幕的倒映
拼貼之間的間距。與三維動畫的全景觀相比，
看到其中一個助手，在抽水馬桶中也看到拍攝
在照片牆之間走動的人自己填補想象的空隙，
者。這些都不是自拍像（鏡子是自我表現的一
個突出工具和模式），不過它們是否如攝影師
複雜 (Latour/Woolgar 1986)：照片全面捕
Atg e t 試圖記錄老巴黎時將自己模糊的面目
捉室內環境後，自動轉換成三維空間，但隨後
拍進照片中的簡單意外呢？我的閱讀是這些痕
製作隊選擇加添或刪減若干細節，在某些物
跡別有所指，是想向大家宣佈「我們曾到此一 遊」，就如日常攝影般，目的是宣示圖像的真 實性，抗衡三維模型的虛假。同時亦提供媒體
件作紋理映 射，還決定把意外自拍的影像保 留而不是全部刪除。這樣，這些影像變成了一 種宣示：有關整個項目的紀錄性質(這不是遊
反思的一面，突出工作鏈的另一端：攝影師在 現場的存在。在其中一個《家》之中，可看到書 架上釘着藝術家的名片，是他之前拜訪屋主詢 問參加這項目時留下的。正如之前提及到，屋 內的物件沒有被移動或移除，因此這名片是證 據的一部分 – 有點像在量子物理學中，探測者 能夠影響所探測的情況。屋內其他個人文件都 被模糊化以保障屋主私隱，因為這項目不是有 關個別棚屋和裏面的居民，這些空間代表的是 典型的大澳家庭。 雖然反射和名片都是攝影師捕捉瞬間時 產生的意外細節，他們也選擇讓它在三維模 型中出現，把這種無意中的自拍變成表現自我 的機會，強調這些圖像的紀實性，提示這項複 雜和費時的項目的第一步，是攝影師的現場拍 攝。這樣一來，這些「痕跡」反而暴露出《家》的 人工化，當中涉及把真實空間變成照片，然後 化為點雲像，最後變成紋理映射的三維動畫。 這例子說明指向性與三維電腦動畫不是 對立的，建 構性也與攝影 不相違。 《家》的導 覽圖像屬 指向性，因為作品不只是近似真實 環 境，而是 建 基 於照片記 錄。但他們的 指向 性 比 經典攝影理論更複 雜，在這些論述中， 照片被認 為是描繪的 對象的直接視 覺化學 印記 (Krauss 1977)。而這作品的關係鏈更
戲，而是用細緻的捕捉和模型數碼重建真實的 空間），也關乎整個創作過程：攝影捕捉、攝影 測量、三維建模和導覽，是媒體反思作為程序 反思。
Tamas Waliczky, Homes – A Journey into Pragmatic Realism by Ingrid Hoelzl
For Homes, Tamas Waliczky and his
Yewpick Lee Charitable Foundation. But
five research assistants have taken
it was not the digital heritage aspect of
thousands of photos at seven family
the project or its valuation of a popular
homes in the Tai O fishing village,
lifestyle that made me interested in
which is famous for its picturesque stilt-
the project. It was its relation between
houses. Homes shows a different kind of
photography and 3D animation, and the
house found in the same village: single-
peculiar way Waliczky chose to make
storey houses whose front consists of
this relation explicit in his installation.
shutters that are opened during the day,
In fact, the installation consists not
transforming street- and private space
merely of two digital screens – fixed
into a continuum. These photographs
at eye-level onto opposite walls – that
(taken with a standard Canon D50) were
allow the viewer to interactively explore
subsequently turned into an interactive
a 3D model of two of these homes by
3D animation, shown for the first time at
manipulating a trackball. The walls
Lumenvisum, Hong Kong in 2015.
behind the screens are turned into a
The
project
is
documentary
and
kind of prospect, featuring views of the
educational in nature: it is a visual
outside space, and the remaining two
inventory of traditional lifestyle in Tai O,
walls feature a selection of small-scale
a digital heritage project that seeks to
photographic prints of each location,
make this lifestyle accessible in virtual
directly fixed onto the gallery wall.
form and to preserve it for the future
With this sober setup, Waliczky has,
when these family houses – and the
in fact, turned the entire gallery space
people that inhabit them – no longer
into a 3D-environment that not only
exist. As such, it was funded by the
represents two different spaces, but
Hong Kong University Grants Council
that is a spatial re-actualisation of both
and the Drs Richard Charles & Esther
at once.
Walking
along
these
photowalls,
representation
of
the
photographed
one quickly understands that these
space and the objects contained within
sparsely hung images cover, in fact, the
it, with photographic realism. I will come
entire 3D space of the two locations;
back to the question of realism.
with the same objects appearing from
Whereas a single image could work
slightly different angles and in different
with
positions – high up on the walls, close
map thus obtained, for an interactive
to the ground, etc. It is as if we followed
3D animation, one actually needs to
the team on their stop-motion journey
downscale the details, i.e., to reduce the
(stop, take a photo, move to the next
polygons, which means making them
viewpoint) in what might be called
larger and the representation coarser.
peripathetic photography. Contrary to
Similar to JPEG compression, where the
chronophotography, it is not the change
aim is “visual losslessness” (Buonari and
over time that counts here, but the
Liberati 2009), one reduces the polygons
change of perspective, and thus, of the
for objects where the human eye cannot
objects’ appearance.
distinguish between a complex polygon
the
astonishingly
detailed
3D
As Waliczky explains, there are rules
structure and a simple rectangle (as in the
for the photographic recording, so that
case of a door, for instance). This is based
the photogrammetry software (AgiSoft
on trial and error: more complex objects
PhotoScan) that calculates the position
generally need a more detailed polygonal
of the objects in 3-dimensional space
structure in order to be credible, i.e., to
by comparing their different positions in
appear realistic. (Waliczky’s long-term
the 2-dimensional images can recognise
plan is to have separate objects in an
the objects and generate a realistic
archive; in this case, detailed polygons
rendering: the viewpoint must always
could be retained, as less processing
be different; and the more complex
power is needed to render single objects
the
in real-time).
object
(an
ornate
devotionary
statue, for instance), the more photos are needed. The photos need to be in sharp focus, and the lighting needs to
The question of realism
be consistent; otherwise, the software cannot correctly correlate different views
“Straight photography” advocates the
of the same object. The software then
unstaged
generates a point cloud and connects
manipulation before, during, or after
those points, resulting in triangles (i.e.,
taking an image. Homes seems to
3D polygons). The original photos are
follow the same logic in its meticulous
then texturemapped on top of this 3D
photoscanning of the locations, where
wireframe; thus, re-infusing this abstract
the photographers try to walk around
capturing
of
reality:
no
objects, never rearranging anything
resemblance: the software responding
to get a “better view”. But if there is
immediately to the movement of the
occlusion, the artist and his assistants
player. His animation is a compromise
“model” something, meaning that the
between both: a pragmatic realism, both
hidden part of an object (that could
“faithful” documentation and a smooth
not be captured by the camera, but
virtual
was nonetheless there) is added to
family homes. But is this virtual journey
the image. Staging, then, to perfect
enabled by a so-called “body” with a
photography’s imperfect realism?
given height (about 170 cm), gravity
journey
through
these
two
For Waliczky, it is all about the need
and volume – a “walking tripod” with a
to balance speed (of navigation) with
rotating camera mounted on it – that is
quality (realism). In our interview at his
stopped when this “body” encounters
studio, he argues that whereas in the
obstructing objects such as tables or
early years, American computer games
walls – more real than the imaginary
focused more on visual resemblance
journey that we may embark on while
(think of, say, leaves moving in the
walking along the two photowalls?
wind),
games
Contrary to the 3D animation, we do not
focused on what we could call kinetic
navigate a coherent whole from different
Japanese
computer
家 Homes. Lumenvisum Gallery, Hong Kong, 2015
positions and angles, but we are given
interactive
only fragments of fragmentary views,
Doesn’t
i.e., a selection of photographs that have
provide the ultimate realism, following
been cut out from the coherent whole
technical media’s teleology from still to
of the photographed space. This double
moving to interactive/immersive image,
fragmentation is highlighted by the
which satisfies not so much a desire
chosen mode of display: small photo-
for realism, as Bazin would have it, but
prints recalling the era of analogue
a desire for endlessness, of an image
vernacular photography with the white
without borders, neither in space nor in
gallery wall in between operating as
time? In fact, following Waliczky, what is
a “spacing” similar to the spacings of
crucial for gamers – and thus also for the
photomontage. But contrary to the 3D
players of his interactive 3D animation –
animation’s total image, here it is the de-
is the immediate reaction of the virtual
ambulating viewer herself who bridges
world to navigational inputs; deficiencies
the gaps in her imagination, generating
in visual realism are tolerated, so long as
what Jameson has called “cognitive
the virtual world reacts to the player in
mapping” (1990).
real-time...
part
the
of
the
real-time
animation? navigability
The dogma of photographic realism consists of what André Bazin has called the “transfer of reality” (2009), from the photograph to the model. No matter how blurry or fuzzy the photograph, the
The artist’s traces: accident, self-portraiture or mediumreflexivity?
photograph IS the model, in a procedure that he relates to religion (and Roland
There are several “traces” of the artist
Barthes to magic). In 3D graphics, this
and his team that one discovers as
transfer of reality is the one between
one navigates the 3D animation: the
the 3D model and the photograph: the
reflection of one of the assistants in a
model IS the photograph (the magic of
TV screen, and in a toilet bowl, caught
photographic automatism correlating
while photographing these very same
with the magic of digital computation,
objects. These are not self-portraits (in
which, in fact, and particularly in this
the mirror, a prominent tool and mode
case, involves many hours of “manual”
of
modeling). In Homes, with photography
But are they simple accidents, like the
as the basis of the 3D model, the transfer
reflection of Atget’s blurred face in
goes both ways: from photograph to
one of his street photographs of the
model (the real location), and from 3D
Old Paris that he sought to document?
model
photos
I would like to argue that they are
to photograph. But what about the
something else: statements of the kind:
with
texturemapped
photographic
self-representation).
“we have been there”, that we also find
Homes, where real spaces are turned
in vernacular photography, but here
into photos, point clouds and finally
with the aim to support the documentary
photomapped 3D animations.
status of these images, to counter their
What
this
exemplifies
is
that
artificiality as 3D digital models. And
indexicality is not antagonistic to 3D
they are something else: an expression
computer animation, nor constructivity
of
highlighting
to photography. The navigable images
the other end of the work chain: the
medium
reflexivity,
of Homes are indexical in the sense that
presence of the photographer on site.
they not only resemble these locations,
In one of the two Homes, one can also
but
spot a business card of the artist pinned
recordings. But their indexicality is more
to the bookshelf – given at a previous
complex than classical photo theory
visit when asking for permission to
would have it, where photographs are
carry out the project. As mentioned
considered as the direct opto-chemical
earlier, no objects have been moved
traces of the objects they depict (Krauss
or removed, so this business card is
1977). What we have here is a more
part of the documentary evidence –
complex chain of reference (Latour/
a bit like in quantum physics, where
Woolgar 1986): the photomechanical
the measurement alters the measured
capture (of an interior in its quasi-
situation. Other personal documents are
totality) is automatically transformed
blurred for anonymity’s sake, since the
into a 3D space, but then the team
project is not so much about individual
chose to add more detail to this object,
houses and their individual inhabitants,
remove detail from that object, add
represented by these interiors, but
texturemaps onto another one, etc. –
about typical family houses.
and to keep their accidental reflections,
Now, even though the reflections
are
instead
based
of
on
photographic
systematically
removing
and the business card were, in fact,
them. Thus, reflections that directly
unintentional details at the moment of
point to their cause, the photographing
capture, choosing to keep them in the
photographer,
3D model transforms this unintentional
concerning the documentary nature of
self-photography into an intentional
the entire project (this is not a game,
self-representation
that
this is a digital reconstruction of a real
the
status
documentary
emphasises of
become
statements:
these
space based on painstaking capturing
images, requiring the photographer to
and modelling), and concerning the
be present on site as the first step in
entire process of creation: capture,
a complex and time-consuming work
photogrammetry, 3D modeling – and
process, so that, paradoxically, these
navigation:
traces also expose the artificiality of
process reflexivity.
medium
reflexivity
as
作 者 簡 介 Author bio Ingrid Hoelzl 是香港城市大學創意媒體學 院的助理教授，著有兩本有關攝影的書，包括 最近面世、與Rémi Marie合著的Softimage:
Towards a New Theory of the Digital Image (2015)。她曾撰寫不少有關數碼文化 下 影 像 的 地 位 的 文 章，在 不 少 期 包 括
Photographies, History of Photography, Leonardo, Digital Creativity 和 Visual Studies等出版。她正與 Rémi Marie合寫下 一本著作，有關從後人民主義的角度下看圖像 在機器視點下的命運。
Ingrid Hoelzl is Assistant Professor at the School of Creative Media, City
參考 文 獻 References
University of Hong Kong. She is the author of two books on photography,
Bazin, André (2009), “Ontology of the Photographic Image”, 3–12 in What is Cinema?
including, most recently, Softimage:
Translated by Timothy Barnard. Montreal:
Towards a New Theory of the Digital
caboose.
Image (2015), co-authored with Rémi
Buonora, Paolo and Franco Liberati (2008), “A
Marie. Her articles on the status of the
Format for Digital Preservation of Images: A
image in digital culture have appeared in
Study on JPEG 2000 File Robustness”, D-Lib Magazine 14, ⅞. http://www.dlib.org/dlib/july08/ buonora/07buonora.html. Accessed 1 May 2013. Jameson, Fredric (1990), “Cognitive Mapping”.
Photographies, History of Photography, Leonardo, Digital Creativity, and Visual Studies. With Rémi Marie, she is currently
347-360 in Cary Nelson and Lawrence Grossberg
working on a new book addressing
(eds), Marxism and the Interpretation of Culture.
the fate of the image in the age of
Urbana and Chicago: University of Illinois Press. Krauss, Rosalind (1977), “Notes on the Index: Seventies Art in America”, October 3 (Spring, 1977): 68-81. Latour, Bruno and Steve Woolgar (1986), Laboratory Life: The Construction of Scientific Facts. Princeton: Princeton University Press (2nd edition).
machine vision from the perspective of posthumanism.
甚 麼 是 個 人 的 ，甚 麼 不是 Tamás Waliczky作品 中照片的作用 Miklós Peternák 我們當時稱之為 攝影的這個範疇，或者可說 第一批技術影像，在三十年前，即1 9 8 0 年代 開始發生基本和不可預知的轉變，即Tamás Waliczky出道那時候開始。 Wa l i c z k y 作品的出現，與 有些人稱之 為後攝影，有些人稱作攝影中介的時代 (這只 是其中兩個現今流行的 稱號 ) 的轉變吻合。 這 轉 變的主旨是，通 過 聚透 鏡 調節的光，不 再在特定的物料上留下因化學變化產生的印 記，因而把不規則圖案 轉化成有意義的表面 Flusser），而是在記憶卡、芯片或其它存儲 設備的輔助下，光的圖案被儲存作 數 據和訊 息。以前的照片，通過沖印使我們可看到光映 射在特定的物料上展現，而在數碼影像中只能 以間接方式顯示：有 許多工具如軟件和硬件 可以「沖印」影像。我們將這些工具統稱作電 腦，而圖片則稱為數碼影像來提醒自己，當我
照片 Pictures (1988)
們說我們已「拍了張照」，其實是把光化為個
照 片 19 8 8
別訊息然後儲存，這訊息可被拆解成數字。特 定的機器自動和方便地把這一組獨特訊息標
隨着約翰施特勞斯的圓舞曲作品第410號響
籤並加上序號，以確保我們不會與下一個文件
起，我們踏上私人照片之旅，其中很多家庭照
混淆。
片，以ATARI 520+電腦的256種顏色轉成電
我 們 的 手 永 遠 不會 被 沖 印 室 的 液 體 弄
腦 檔，在今 天看來色 彩 幾 乎 帶點 迷 幻。我們
濕 – 可能要解釋這改變，用感官的方法可能是
觀看每張照片，或者說，從通過計算機變焦、
最清楚的。
特寫、提取和變形觀看一張張照片。從牆上的 照片開始，隨着華爾滋舞曲的節奏，又回到原 處。照片就是播放器，保留着照片中被攝的物 件在拍攝當時的形象，但這旅程卻是 倒 式 的，從現時開始回到童年。是倒 的自傳或重 組的家庭相冊，同時也是一種聲明、新申論、 宣示、序曲、及時行樂和死亡象徵 – 忠實於華 爾滋舞曲的情調。當然，它也是一個旅程的中 站。這是一個展覽，展示畫家、攝影師、電影定 格、畫架上的畫，但畫畫的不再是人手。相反， 是機器控制人手，即數碼圖像：雖然超8米厘 投影機所顯示的圖像清晰可見，我們正處於新 媒體的桌面上。從開始到結束，過程都是由光 標控制。 告別一個即將結束的時期，一個消失的 影像世界正完全被以前從未經歷過的新態度 改變。
照片 Pictures. Apt Art exhibition, Hong Kong, 2011
景 觀 19 9 7年
與白正正是Waliczky稱為《景觀》這作品的 主題。我不是指它的形式或它的技術數據（黑
19世紀混合 赭褐色和紫色調的照片，很快 便
與白 ，而是不止於此，是德語稱之為Gestalt
變 成 2 0 世 紀 初 的 黑白照，通 過 哲學 性 的 化
(整體)的東西，換言之，不是指各式出現在框
學反 應，體現了對 客 觀性 的信念，這信念植
內的元素（如教堂、樹木、馬和模擬雨滴），而
根於19世紀的實證主義，過渡到20世紀。這
是黑與白本身成為重點，指示配置簡單圖像的
信念力求把世界展現成黑白色，通過清楚 劃
時間和空間性。
分 的 對立，化 為可 認知 和可 記 錄 的現實。文
Peter Weibel 有一美麗的早 期短篇錄
檔的顏色是黑白的，我們知道黑 與白不是 顏
像作品，我只能依稀記得（我寧願保持這種記
色。黑白的紀錄片看來似乎更真實 – 至少直
憶，所以沒有在互聯網上搜尋這作品），其中
到1990年代都是如此，對某些人（比如我）
一名男子跳入水中，令水花四濺。在那一刻，
自小看到的照片 都是黑白的，到現在仍把黑
畫面凝結，變成了抽象的雕塑，以黑白的形式
白等同真實。即使到了1970年代，彩色照片
出現。又或者匈牙利優秀藝術家Gyula Pauer
仍 然 較 罕見，除 非 是油 畫。電 視、初 期 的 視
的概念派作品，展示了一個人正躍入水中，只
頻 影像、大多數 報刊與及影院張貼的電影廣
見到兩條凸出在水面指向天空的腿。這個黑白
告通常都是黑白的。很難向互聯網出現後出
作品的標題是：一張照片表面的照片。對我們
生的年輕 人解釋這情況，直到他們在沖印房
來說，表面就是照片開放的介面，通過它我們
中 親 眼看 到 照 片 在白色 感 光 紙 上 顯 影 的 過
可以看到曾經存在的一刻，今天我們定義為時
程。當然，即 使 如 此，也 不能 肯 定他 們 對 解
間和空間平面一瞬間的接合。《景觀》內的水
釋的 對 象的理 解，是 否和作解 釋的人一樣。
滴（或者說數碼影像元素希望產生的這種錯
今天，黑白已是過去式 – 絕不是代表懷舊，
覺）強行開放、放鬆、舒展，並重新放置這凝結
如棕色的19世紀照片與黑白照片相比時那樣。
的平面，當中滑梯、教堂、十字架仍可見。但由
相反，黑白是沉悶和勞累的象徵。它是被看作
所造的「前景」的「空氣」與及時間性和新畫面
歷史的過去 – 能夠辨認，但不太具啟發性。
的移動元素，我們看到的，是世界還在黑白年
黑白照片並非 顯 示 這一 切（這光、這 些人與
代時的風景。
物）曾在某時某地存在過。與今天我們已習慣 了的顏色和高解像影像相比，黑白照片代表了 一種虛構，換句話說，與它在2 0 世紀的論述 完全相反。 這與我們的當前主題有何關係？在我看 來，或者更準確地說，根據我的目光，這種黑
焦點 Focus. ZKM, Karlsruhe, Germany, 1998 焦點 Focus (1998)
焦點 聚 焦中 19 9 8
Tamás Waliczky在他的網站客觀地描 述，作品開首出現的影像是模擬的街景，包括 街道兩旁的房屋與中間面向鏡頭的人群。但調
為了記錄適當的畫面，攝影師根據三個互有關
整畫面某些部分的清 晰 程度的任務則交由觀
連的元素，選擇鏡頭（攝影目標），決定曝光
眾負責，在介面協助下完成。Waliczky 的朋友
時間和快門大小。後兩個元素所涉及的數值，
及認識的人在800張照片中獨立或三五成群
在攝影史上比較後期才出現，在1870年代和
地出現，點擊這些人像令畫面變得清 晰，再點
1 8 8 0 年 代 期 間 才 發 明「即 時 攝 影」（ 如
擊便退出這空間，看到 Waliczky 拍攝的這些
Ottomar Anschütz 1887年發明的1/1000秒
人的照片。作者再一次展示自己的照片冊，但
快門）。數碼相機仍未自動化的兩組數字（這
與「照片」不同，這些照片的人物來自更大的家
數字是指一秒的若干分之幾，1、2、4、8、15、
庭，是地球村的村民。對焦和選擇光圈的動作
30、60、125、250、500、1000 等等，以及
來自攝影傳統上兩個操作，在這作品中佔據突
光圈數值的大小：1.4、2.8、4、5.6、8、11、16等
出和戲劇性的位置。這作品把自從自動化攝影
等），是那個時期攝影技術發展的結果。後一
普及以來被遺忘了的構圖動作，為攝影賦予新
組數字在《焦點》聚焦中 的使用者介面中出
功能，好像為攝影在不斷變化的影像世界漩渦
現在影像之下，在標誌距離的那組數字之上。
中加上個人的註腳。
快 拍 照 片 的 微 動 作 2 0 14
家 2 0 12 / 2 0 15
正如作品的名稱所指，這裝置由六張數碼快拍
我常想為何當我們在很短時間內先後看到兩
照片組成。對我來說，作品用說教的方式 – 說
張略為不同的照片時，會產生動感的錯覺(早
教在這裏是一個良好、非批判性的詞語 – 顯
期電影)，而把兩張照片左右並排放在一起，我
示了這批快拍照與業餘或私人攝影師在過去
們大腦便會產生三維（立體）的錯覺，讓我們
一個多世紀拍的快拍照有多大的分別。這項目
理解眼前的圖像。雖然我們可用電腦和gif動
可題為「我們應該如何在 21世紀看待照片？」
畫製造上述兩種幻覺，基本情況依然如此。三
的數碼攝影課程的教材。這作品在作者創作的
維空間的立體感，或電腦製造的虛擬空間是兩
儀器上(換句話說，是電腦)，展示一系列串連
種不同種類的映射。前者需要用介面把兩個圖
成5分鐘37秒片段的圖像，我可以在過程中任
像或兩組圖像分開，而後者則有時序性，如互
何時候暫停、快退或快進影像。因此，我可以
動的動態影像，能呈現多方向分支、多角度、能
很容易地辨別Waliczky表達每張照片可能的
移近或縮小等功能。《家》屬於後一個類型，
角度的行動。如何能令被串連起來的圖片通過
具有各種表現形式，也可向不同方向發展。
精心挑選的元素移動？如何能令靜止的影像
大澳漁村是香港一個稀有景點，也保存着
動」起來，就如 Gusztáv Hámos以照片電
一個正消失的生活方式。從外面看，它就像一
影為題作演講以及出版的著作《動與不動：這
個露天鄉村博物館（一個skansen – 身處村
就是問題》中提出的基本公式般？在這作品的
內這博物館幾乎是無形的。這作品的工作人員
六張照片，作者選擇用不同方法讓 觀 眾重看
與當地人接洽後，選擇把某些房屋的內部以三
或者把照片的內容展示出來。這也可視 為一
維數碼展現，這是一種現代的快拍，是把眾多
種獨特的編目方法，申明若我這樣做（例如把
實際快拍照結合的印記。為了建構與原物幾乎
個別鳥籠快速地連續展示），那麼看來是靜止
相同的高解像模型，屋內每一個元素，例如每
的影像便會以這種方式動起來。若我以稍微不
件物件，都必須從至少三個不同角度拍攝。因
同的方式做的話（把各個步驟一起處理），那
此，就有可能徹底和以實證主義的態度記錄和
麼照片中的相似之處便會平均分配，動畫的各
永久保存一個隨機選擇的室內空間。
種技巧如搖鏡、像素化、重複剪接等，變成分
我們通常保存的是典型和尋常的東
析單一圖片的方法，一種新的圖像意識正在發
西 – 被遺忘的多是隨機和獨特的。十九世紀
展中。
的露天博物館建立在這一原則之上，博覽會中 的偽民族志的景點也是如此。分類學的本質 是殘酷的：它擅於分門別類，但不利於異於尋 常的東西。虛擬模型通常也是這樣的，繪製的
通常不是獨特的細節，而是相同的、易於管理
反 映 2 0 14
的結構，因為它必須在硬件和軟件兩隻巨獸之 間游走，不會徘徊在細節之中，因這只會減慢
在花園裏的原型。在http://www.waliczky.
視像化和其使用者，兩者都習慣立竿見影的效
net這 網 站，每 個項目的 意念 和版權 都屬於
果。在三維空間中，我們往往側重於快速移動
Waliczky Tamás & Szepesi Anna，而Anna
的元素（例如玩電腦遊戲時），或者我們正在
Szepesi是Waliczky的妻子不是一個秘密。
尋找的東西（如虛擬博物館），很少見到空間
作品「隱藏」的內容是一個家庭式三聯畫。我
本身就是內容。就算是，也是一個有代表性或
們看到三個如鏡子的人形剪影，他們身體的
神聖的空間，而不是21世紀初的一個小漁村的
輪廓化為照片中央的人影鏡子，他們同時也出
生活空間。
現。旋轉、鮮花、快樂家庭，三層的畫面，誰的
在Waliczky的作品中，在私人領域展開
輪廓會出現在誰的照片中，甚麼時候出現？我
虛 擬 旅程是 一 個反複出現的主 題。《照片》
們可以問，箇中有沒有系統？剪影本身也在旋
中的 影像曾經 是 個人 空間，《焦 點》也有這
轉，但維持在畫面的同一位置。數碼的影像吻
樣的一 個領域，正如業 餘態度（amateur這
合得天衣無縫，但這並不奇怪，因為我們能夠
個詞的詞源，意思是做他/她喜歡的事的人）
精確地控制每一個像素。循環、旋轉、繞圈，
總 是 他 作 品 主 題 的 一 部 分。我 們 可 離 題 一
跳華爾茲，但沒有音樂。我們面前的是看似簡
點，把《照片》中最後站在地毯上的小孩，與
單的視覺背景，在這現實中，我們很難找到方
花園 – 21世紀業餘電影》中的主角比較，但
向。這引發圖像創作深層原型（或者本體論？）
我現在放下這樣做。在視覺世界的根本轉變，
的反思。古時候剪影的來源是人影的投射。最
技術性圖像的出現之前，不可能研究沒有根據 的私人空間。Umberto Eco的 1 比 1 比例地圖 的出現 – 雖然有些瑕疵 – 在虛擬空間中變 得可能。要進行這種研究，需要很多數據與及 大量已作數據存儲的照片(不知為何我們稱之 為數碼照片)。今天，我們經常拍攝這樣的照片 做筆記。
反映 Reflections. New Budapest Gallery, Hungary, 2015
早期的圖像(油畫或浮雕—根據所選，即使用 普林尼的方法)是從人影的投射繪圖的，在這 作品中被用作鏡子。鏡 是我們看見自己的工 具 – 否則我們只能在其他人的面貌認出自己。 花園中三聯的鏡像是張家庭照 – 在畫廊裏展 出讓陌生人觀看：是倒向的親密？這作品可能 的詮 釋，不在於了解私人元素的細節或解構 圖中的人物，也不是因為從觀者的角度，這資 料只是附帶性的，因為在作品的鏡子中，任何 人、任何家庭、任何花園也會認得自己。正因在 這個展露的過程中，盛開的金鏈花(高解像的) 和剪影中的樹枝變得感性地刺激，兩個方面也 反映 Reflections (2014)
是(即人像的環境中可看見的東西，與及反空 間中被人影掩蓋而以虛構鏡子的方式出現的
The fundamental and unpredictable
那方面。)正是這個重複的結構讓他們可在同
transformation
一空間內同時出現，但同時不是在自己身旁，
photography at the time, or the first
因為現實這並不可能。從自己身影的改變，我
of
what
we
called
technical image, commenced precisely when (thirty years ago) the first works
們認出當前時間的過程與及時間邊界的存在。
of Tamás Waliczky began to appear in
我們內在的圖像，是其他人看到的世界的一部
public, namely in the second half of the
分。我們形像的影像所造成的邊界，在我們和
1980s.
投射的對象之間形成，是向着那對象而發表。
Thus, the evolution of Waliczky’s oeuvre runs parallel to the decisive turn which is referred to by some as the post-photographic condition, or as photomediation by others, to mention only two versions of the possible attempts at categorisation currently in circulation. The gist of the transformation is that a unique pattern of light regulated through a convergent lens no longer leaves a mark causing chemical changes on
a
material
previously
prepared
according to a given recipe, thereby
What is Personal and What Is Not The Role of Photographs in Some of the Works of Tamás Waliczky by Miklós Peternák
transforming the irregular pattern into
numerical forms. The given machine
a meaningful surface (Flusser). Rather,
automatically and conveniently labels
with the aid of some card, chip, or other
this exact and unique set of information,
memory device, it is stored as data, as
adding its own serial number in order to
information. While in the case of the
ensure that we will not confuse it with
photograph as it used to be known,
the next file.
through developing we were able to see
Never again will our hands get wet in
the unique map of light directly on the
the photo lab – as a sensory experience,
special surface of the image-object, in
perhaps this is the best way to describe
the case of the digital image this is only
this difference most clearly.
possible in an indirect fashion: numerous tools are at our disposal, i.e., pieces of software and hardware with which to
Pictures 1988
“develop” an image. We refer to these
To the melody of Johann Strauss’ waltz
means with the comprehensive term
opus 410 we embark on a journey of
computer, while we refer to the pictures
private photographs, many of them
as digital to remind ourselves that while
family photographs, that have been
we say we have taken a “picture”, we
transformed with the use of the 256
are storing in a file light that has been
colours of an ATARI 520+ computer:
transformed
of
rendering an effect that today seems
information and can be broken up into
almost psychedelic. We travel from
into
discrete
units
picture to picture, or rather, from one
Landscape 1997
picture into another picture, by way of a string of computer zoom, close-
The ochre-brownish colour mingled with
ups, extraction and morphing. The
violet tones of 19th-century photographs
movement begins with pictures on the
changed fairly quickly, at the beginning
wall and, in harmony with the nature
of the 20th century, to black-and-white,
of the waltz, returns here. The pictures
embodying
are the players, and they preserve
metaphysical chemical transformation,
the representations of the subjects in
of the faith in objectivity, a faith rooted
the pictures fixed to the time of their
in 19th-century positivism, into the 20th
production, but it is as if the journey
century. This faith sought to present
were taking place going backwards
the world as black and white, as a unity
in
of
time,
beginning
in
the
present
clearly
the
survival,
partitioned
through
opposites,
a
as
childhood.
cognizable and documentable reality.
A rewound autobiographic-photo, a
The document’s colours are black and
reorganised family album, at the same
white, which, as we know, are not colours.
time a statement, a new assertion,
A documentary film shot in black and
declaration, overture, carpe diem and
white seems much more authentic – at
memento mori all in one – faithful to
least this was the case until the 1990s, and
the characteristic mood of a Walzer.
it remains the case for people (like me)
Of course it is also a medial journey.
who were socialised with the idea that a
It presents an exhibition, the role of
photograph is black and white. Even in
the painter, the photographer, the film
the 1970s, colour pictures were a rarity,
frames, a picture on an easel, but the
unless they were paintings. Television,
gesture of the hand is no longer painting
the first video images, the majority of
the picture. Rather, the machine moves
newspapers, and advertisements for
the hand itself, its digital image: the
films posted on cinema billboards and
figure of the hand separating from the
cabinets were black and white, and
hand shows that although the image of
this was commonplace. It is difficult to
the Super8 projector is clearly visible,
explain this to youngsters born after
we are now on the desktop of the new
the appearance of the World Wide
medium. From beginning to end, the
Web, until they see with their own eyes
processes are controlled by the cursor.
the process of a picture emerging on a
and
traveling
back
into
Farewell to a period that is coming
white, light-sensitive exposed sheet of
to a close, a disappearing image-world
paper in the developing room, a photo
which is being completely transformed
lab. And of course, even then it is not
by a new attitude that has never before
certain that the person to whom it is
been experienced.
explained understands the process in
exactly the same way as the person who
the colour and high resolution images to
is explaining it. Today, black and white
which we have grown accustomed today,
is a sign for the past – and by no means
they represent a kind of fiction, in other
a nostalgic-sentimental sign, like the
words, exactly the opposite of what they
brown 19th-century pictures once were
represented in much of the discourse of
when compared with the black-and-
the 20th century.
white images. Rather, they are a sign of
In what sense is all this relevant to
an act of impending boredom requiring
our current subject? In my view, or, to
exertion. This is the past understood
be more precise, according to my gaze,
as history – perhaps recognisable, but
this black-and-whiteness is the subject
not
Black-and-white
of Waliczky’s work entitled Landscape. I
suggests not that all this (this light, these
really
inspiring.
am thinking not of its form or its technical
figures in the picture) existed at some
data (black-and-white), but of more than
time and somewhere. Compared with
that, of something that in German one
風景 Landscape. Bury Art Gallery, England, 2010
風景 Landscape (1996)
refers to as Gestalt, in other words, not
temporality, and the movement of new
the elements of the picture appearing in
picture elements, we see the landscape
individual frames (church, trees, horse
that probably existed when the world
and raindrop simulations), but this black-
was in its black-and-white age.
and-whiteness itself, which becomes an emphasised,
indicative
configuration.
The timeliness and spatiality of simple images.
Focus, Focusing 1998 The photographer, in order to record the
Peter Weibel has a beautiful, short,
appropriate picture, works according
early video work, which I can only faintly
to the well-selected values of three
recall (I would prefer to preserve this
parameters, which are interrelated. The
memory as it is, so I have not looked for
photographer selects the camera lens
the video on the internet), in which a man
(the photographic objective), decides
jumps into water with a great splash. At
the length of time for which the sensitised
that very moment, the picture freezes
surface of the picture should be exposed
and the splashing water becomes a non-
to light, and determines the size of the
figurative sculpture, and all this is in black-
aperture through which this should
and-white. Or one might think of the
occur. The mechanical ordering of the
Conceptualist work of the outstanding
latter two parameters with standardised
Hungarian artist, Gyula Pauer, again
values occurred in a relatively late period
showing a figure jumping into water
in the history of photography, during the
where only the two legs pointing upwards
1870s and 1880s, with the appearance of
towards the sky are sticking out of the
“instantaneous photography” (e.g., the
surface. The title of this black-and-white
1/1000 second shutter speed is linked
picture is: a photograph of the surface
to Ottomar Anschütz, 1887). The two
of a photograph. The surface for us is
sequences of numbers still used in digital
the open interface of the photograph,
cameras that are not fully automated
through which we can see the once-
(the numbers refer to the fractions of
existing duration that today is undefined
seconds on the time range, 1, 2, 4, 8, 15,
with the aid of a rather brief conjunction
30, 60, 125, 250, 500, 1000… etc., as
of the planes of time and space. The
well as the aperture, the opening for the
water drops of Landscape (or the digital
light: 1.4, 2.8, 4, 5.6, 8, 11, 16, etc.) are the
picture-fragment-elements wishing to
result of this period of development. The
produce this illusion) force open, loosen
latter of the two number sequences is
up, stretch, and re-spatialise this frozen
visible in the viewer’s interface of Focus
plane, in which a slide, a church, and a
(Focusing), underneath the picture and
crucifixion are still visible. But because of
above the number sequence signifying
the “air” of the created “foreground”, the
the distance.
In an objective description on his website, Tamás Waliczky states that
Micromovements in Snapshots 2014
the beginning frame of Focus is a street simulation, with houses on either side,
The installation is based on six digital shots,
and people who look into the camera at
snapshots, as the title itself suggests. For
the centre, but the task of adjusting the
me, in a rather didactic manner – in a
sharpness of certain segments of the
good, non-critical sense of the word – it
image and thereby bringing the faces
shows how very different this snapshot
into focus and making them visible is
is from that of the amateur, the private
left to the viewer, who does so with
photographer, who took snapshots over
the help of an interface. Friends and
the course of a century. The work would
acquaintances from various countries,
be a good example to include in a course
alone and in groups, are represented
on digital photography, entitled “How
in some 800 photographs. Clicking
should we look at photographs in the 21st
on them sharpens the image – and
century?” As I watch the visual material,
with an additional click it is possible
which can be presented as a stream of
to exit this space and view the given
images lasting 5 minutes and 37 seconds
person in a photograph taken by Tamás Waliczky. Again, we are confronted with a photo album, but not as we saw in the case of Pictures. The characters here are members of a larger family, of the global village. The act of focusing and
the
become
selection two
of
an
operations
快拍照片的微動作 Micromovements in Snapshots. New Budapest Gallery, Hungary, 2015
aperture from
the
former photographic tradition that are endowed here with a prominent and dramaturgical quality. Thus, the work revives
the
compositional
gestures
that, since the advent of everyday automated digital snapshots, have been forgotten. It gives photography a new function, as if appending a personal medium-archaeological
footnote
to
the possibilities of fashioning that are disappearing in the whirlpool of the changing world of images.
快拍照片的微動作 Micromovements in Snapshots (2014)
on a device that the author himself used
at the sensory experience of how,
when working on this project (in other
when we look at two, slightly different
words, a computer), I am able to pause it
photographic images in quick succession,
at any time and rewind or fast forward it.
we experience the illusion of motion
Thus, I can easily discern the actions with
(elemental cinema), while if we look at
which Waliczky expresses the possible
the two pictures separately with our
perspective domains that are part of
two eyes, side-by-side, our brain creates
the individual pictures. How can the
a spatial, 3D (stereo) illusion in order to
picture be set into motion through the
enable us to understand what we have
arrangement of well-selected elements
seen. Although with computers and
in a sequence? How does a “still” image
gif animations a combination of these
become an image of “motion”, recalling
can also be created, the fundamental
the basic formula by Gusztáv Hámos,
situation remains the same. The three-
who gave lectures on Photo-films and
dimensional sense of spatial illusion, or
published books: “To Move, or Not to
the
Move: That is the Question”? In all six
of a given space are different kinds of
cases, the author selects a different
mappings. For the former, it is necessary
manner for re-watching them, or for
to separate the two images or two sets
unfolding the “picture content”. This can
of images with an interface developed
also be regarded as a unique cataloguing
for the eyes, while we can reveal the
initiative, declaring that if I do this (e.g., I
latter in time, like an interactive moving
show the bird cages individually in quick
picture
succession), then what appears to be still
multidirectional embranchment, motion,
moves in this manner. If I do it in a slightly
and approaching and distancing as
different manner (I place various steps
inherent features. Homes belongs to the
on top of one another), then I will average
latter type, which, of course, with the
out the similarities in an entirely different
various modes of presentation, can take
manner. The panning, the pixilation, and
on shades in various directions.
virtual,
computer
endowed
with
representation
a
dynamic,
the technique of repetitive editing known
The fishing village of Tai O is one of Hong
from animations become the analytic
Kong’s curiosities and also a surviving
method of a single file. A new image-
example of a vanishing lifestyle. From
consciousness is evolving.
the outside, it is almost like an open-air village museum (a skansen) – while from the inside it is almost invisible. Conferring
Homes 2012/2015
with the locals, the authors selected the interiors of certain houses to create a
Whenever it occurs to me to think
three-dimensional digital representation,
about it, I am compelled to wonder
a modern snapshot, an imprint which
厜 Homes. Goethe Institut, Hong Kong, 2013
厜 Homes (2012, 2015)
appears as a synoptic agglomeration of numerous actual snapshots. In order to build the high-resolution model, which is almost identical with the original, every element, for instance every object, had to be photographed from at least
is also generally like this: it is drawn not
three different angles. Thus, it became
to unique details, but to the identical,
possible to record and eternalise, with
easily
singular thoroughness and in a manner
must function between the Scylla and
that seemed to fulfil the aspirations of
Charybdis of hardware and software. It
the positivist mind frame, an incidental,
does not linger over details. That would
random
only slow down the visualisation and
state
of
an
interior
space
selected by chance.
manageable
structures,
as
it
its user, which are both accustomed
What we usually store is the typical,
to quick results. In 3D spaces, we often
the characteristic – and what usually
focus on rapidly moving elements (e.g.,
falls through the cracks is the random,
when
the unique. Nineteenth-century open-
we are looking for something (virtual
air museums were built on this principle,
museums), but rarely is it the space itself
as
that we examine. Rarely is the space
were
attractions
the of
pseudo-ethnographic Universal
playing
computer
games),
or
expositions.
itself the content. And even if it is, it is a
The nature of taxonomy is ruthless: it
representational or sacred space, not the
creates schemes, and does not favour
living space of a fishing village from the
occasional anomalies. The virtual model
early 21st century.
The virtual tour in private spheres is
The “hidden” content of reflections
a recurring theme in the work of Tamás
here is a family-triptych. We see three
Waliczky. It can be linked to what were
figures as silhouettes defined as mirrors,
once the personal spaces of Pictures,
in which the characters, who otherwise
but Focusing also has a domain of this
loan their figures to the boundaries of the
kind, much as the amateur attitude (the
figures in the middle ground functioning
etymological source of the word: s/
as a mirror, themselves sometimes also
he who likes what s/he does) is always
appear. Rotation, flowers, domestic idyll
a part of his subject. One could digress
– threefold picture, whose silhouette
and consider the picture of the small
will appear in whose, when? Is there
child at the end of Pictures, who appears
a system behind this? – we could
on the carpet – comparing it with the
ask. The silhouettes also rotate, but
protagonist of The Garden – 21st-Century
topographically they all remain in the
Amateur Film, but I will refrain from doing
same place. The digital fits are exact,
so for now. The study of private spaces
which is not surprising, as we are able
before the radical transformation of the
to control each pixel precisely. Loop,
visual world, before the appearance
rotation, circumvolution, waltz, but there
of technical images, without sources
is no music. A visual wallpaper is projected
is in reality an impossible endeavour.
in front of us which is seemingly simple,
The materialisation of Umberto Eco’s 1:1
but within which, in reality, it is hard to
scale map – true, with some blemishes
get our bearings. It leads to the deep
– became possible in the virtual space.
archetypical (or maybe ontological?)
A tremendously large amount of data
layers of image-making. The ancient
and large numbers of snapshots stored
origin of the silhouette is the projected
as data, which for some reason we
shadow. The first image (painting or
call digital photographs, are needed.
relief – based on the selection of the
Today we often take notes by taking
source, even if we consider only Pliny)
photographs like this.
is the drawing of the outline of a figure’s shadow, which here is given a mirror function. The mirror in which we see
Reflections 2014
ourselves – otherwise we would only be able to recognise ourselves in the face of
Archetypes in the garden. Under the
another person. The trinity of the mirror-
concept and copyright of every work on
phase as a family idyll in a garden – which
the website http://www.waliczky.net we
we expose to the gaze of strangers on
find the names Waliczky Tamás & Szepesi
the gallery wall: inverted intimacy? The
Anna. It is not a secret that the co-author,
possible meanings of the work reside not
Anna Szepesi, is Tamás Waliczky’s wife.
in the knowledge of the details of private
elements, in the deciphering of the depicted persons, and not just because from the viewers’ perspective, this would only be incidental information, as in the mirrors of the work, any person, any family, any garden could recognise itself. Mostly because with this exposure the blossoming laburnum (in high resolution) and the branches appearing on the silhouettes become sensually exciting, as do the two directions (that which is visible in the environments of the human figures on the one hand, and the antispace that is concealed by them and shown by the fiction of the mirror on the other). And it is this repetitive structure that makes it possible for them to be present beside each other in the same place, and at the same time, while also
作 者 簡 介 Author bio
not being present beside each other, for this is not actually possible in reality. We recognise, reflected in our own changes
M i k l ó s P e t e r n á k 曾修讀 歷史和
of figure, the process and time of our
藝 術史，1 9 8 0 年代 製 作 電 影 和 錄 像 作
present and presence and the borders
品，並發 表了眾多關 於 藝 術 和 媒體 歷 史
of its time. The other picture inherent in
的 文章。現任 職 匈牙利 藝 術 大學 跨 媒體
us, the picture that others see as part of their world. The border that the image of our image forms between us and those
學 系 主 任，並 且 是 C 3 文化 與 傳 訊 中 心 主任，http://www.c3.hu。
for whom the projection is presented, to whom it is addressed.
Miklós Peternák studied history and history of art, has produced films and videos during the 1980’s and published numerous texts on art and media history. Head of the Intermedia Department at the Hungarian University of Fine Arts, director of C3: Center for Culture and Communication, http://www.c3.hu.
作品目錄 List of works 照 片 Pictures (1988)
反 映 Reflections (2014)
設計與動畫 Design and animation: Tamas Waliczky (作品內的圖片是用Caesar Computer Software Studio 繪製 The “Pictures” were made with the help of the Caesar Computer Software Studio) 內部軟件 In-house software: Art Director, Art Expander, Film Director, Scroll Up I, II, Expshow 工作室主任 Studio director: András Császás 特別鳴謝 Special thanks to: Nándor Czeiner, Anna Szepesi, Vilmos Thernesz, György Pálos 軟件支援 Software support: Zoltán Császár, Nándor Czeiner, Emil Venyercsán
概念、圖像及錄像 Concept, images, video: Tamas Waliczky 攝影、演出 Photography, acting: Tamas Waliczky, Anna Szepesi, Annamária Waliczky 藝術顧問 Artistic adviser: Anna Szepesi
版權所有 Copyright © 1988 Tamas Waliczky & Anna Szepesi
風 景 Landscape (1996) 概念 Conception: Tamas Waliczky & Anna Szepesi 導演 Direction: Tamas Waliczky 電腦動畫助手 Computer animation assistant: Christina Zartmann 助手 Assistant: Manuela Abel 音樂演奏 Music performed by: Alex Kammerlocher 製作單位 Produced by: ZKM Institut für Bildmedien, Karlsruhe
版權所有 Copyright © 2014 Tamas Waliczky & Anna Szepesi
家 Homes (2012, 2015) 研究計劃主持人 Project Investigator: Tamas Waliczky 意念及概念 Idea & concept: Anna Szepesi, Tamas Waliczky 藝術總監 Artistic Supervisor: Anna Szepesi 聯合調查 Co-Investigator: Jane Prophet 攝影 Photography: Tamas Waliczky, Tong Yee Tak, Anna Szepesi 三維模型及紋理貼圖 3D models & texture map: 唐懿德 Tong Yee Tak, 李單吾丹 Li Danwudan, 文駿業 Man Chun Yip, 陳心怡 Chen Xinyi, 張子南 Zhang Zinan 版權所有 Copyright © 2015 Tamas Waliczky & Anna Szepesi 項目資助 Sponsors:
版權所有 Copyright © 1997 Tamas Waliczky & Anna Szepesi
焦 點 Focus (1998) 概念 Conception: Tamas Waliczky & Anna Szepesi 設計與概念 Design: Tamas Waliczky 電腦程式 Programming: Wolfgang Münch & Tamas Waliczky 版權所有 Copyright © 1998 Tamas Waliczky & Anna Szepesi
快 拍 照 片 的 微 動 作 Micromovements in Snapshots (2014) 概念、攝影及動畫 Concept, photography, animation: Tamas Waliczky 藝術顧問 Artistic adviser: Anna Szepesi 版權所有 Copyright © 2014 Tamas Waliczky & Anna Szepesi
香港城市大學創意媒體學院 School of Creative Media, City University of Hong Kong 大學教育資助委員會優配研究金 General Research Fund (GRF), Research Grants Council (RGC) of HK 利銘澤黃瑤璧慈善基金 Drs Richard Charles & Esther Yewpick Lee Charitable Foundation 英文翻譯 English translation: Zsuzsa Szegedy-Maszák 英文校對 English proofreading: Adele Eisenstein 中文翻譯 Chinese translation: 鍾德勝 Simon Chung 中文校對 Chinese proofreading: 吳彥真 Fion Ng 設計 Design: 林嘉雯 Kaman Lam 藝術顧問 Artistic adviser: Anna Szepesi
藝 術 家 簡 介 About the Artist Tamás Waliczky，新媒體藝術家，1959 年生於匈牙利，九歲開始創作動畫，曾 任職畫家、插畫師及攝影師。自 1983 年開始鑽研電腦影像創作，憑着卓越才華，先 後獲邀到德國 ZKM 新媒體藝術中心及日本歧阜情報科學藝術大學院大學任駐場藝 術家，並於多所學院教學及研究，當中包括德國美茵茨應用科學大學、及德國薩爾美 術學院。2010 年 9月起於香港城市大學創意媒體學院擔任教授。
Waliczky自1980 年代開始便與妻子 AnnaSzepesi 合作，她通常在他的作 品中擔任藝術顧問的工作。
Waliczky 屢 奪 國 際 獎 項，當中包 括奧 地 利電子 藝 術中心 頒發之電子 藝 術 大獎 最高殊榮「金尼卡獎」 。他亦是世界 各地媒體藝術節及國際展覽場館的常客， 曾於 IMAGINA、SIGGRAPH、里昂雙年展、東京 ICC 畫廊、德國 MultiMediale
Karlsruhe、英國 Photo98、西班牙西維爾雙年展及香港歌德學院展出。作品為多 國博物館收藏，包括巴黎龐比度中心、墨爾本澳洲影畫中心及布達佩斯路德威格藝 術館等。
Tamás Waliczky, born in 1959, is a new media artist from Hungary. He started out by creating animations at the age of nine. Then he worked as painter, illustrator and photographer. He began working with computers in 1983. He was artist-in-residence at the ZKM Institute for Visual Media in 1992 and at the IAMAS in Gifu, Japan in 1998-99. He has taken up various professorships at Fachhochschule Mainz, HBK Saar and currently School of Creative Media, City University of Hong Kong since September 2010. Waliczky works together with his wife Anna Szepesi since the early eighties. Anna is usually the artistic adviser in most of his works. Waliczky’s works have won numerous international awards, including the Golden Nica of Prix Ars Electronica, Linz, shown at major festivals and venues worldwide, including IMAGINA and SIGGRAPH, Biennale de Lyon, ICC Gallery Tokyo, Multimediale Karlsruhe, Photo 98, the Biennial of Seville SKMBT_C452_16041718300
and Goethe-Institut Hong Kong, and are in various public collections including the Centre Georges Pompidou (Paris), the Australian Centre for the Moving Image (Melbourne) and the Ludwig Museum (Budapest).
網頁 web-site: http://www.waliczky.com Vimeo: https://vimeo.com/user12361024/videos Issuu: http://issuu.com/tamasw