{"id":5313,"date":"2021-12-04T12:16:09","date_gmt":"2021-12-04T04:16:09","guid":{"rendered":"https:\/\/iaa.nycu.edu.tw\/?p=5313"},"modified":"2025-04-21T14:30:10","modified_gmt":"2025-04-21T06:30:10","slug":"%e6%84%9f%e5%ae%98%e5%af%a6%e9%a9%97%e5%ae%a4-soft-doc-%e6%bc%94%e8%ac%9b%ef%bc%8e%e5%bd%b1%e7%a0%94%e6%9c%83","status":"publish","type":"post","link":"https:\/\/iaa.nycu.edu.tw\/?p=5313","title":{"rendered":"\/\/ \u611f\u5b98\u5be6\u9a57\u5ba4 \/\/ Soft : Doc \u6f14\u8b1b\uff0e\u5f71\u7814\u6703"},"content":{"rendered":"

\/\/ Soft\uff1aDoc \/\/ Soft\uff1aScreen<\/span><\/strong>
\n\/\/\u8edf\u7d00\u9304\u7247\/\/\u8edf\u87a2\u5e55 \/\/ \u5f71\u7814\u6703<\/span><\/strong><\/p>\n

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\n\u8207\u8edf\u7d00\u9304\u7247\u7684\u6587\u5316\u8de8\u78bc
\nZone of Entanglement: Sound-haptic Space, interwoven Threads of Cloud and the Cultural Inter-coding of Soft-documentary<\/h2>\n

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\n\/\/ Speaker \uff1a Prof. Lin, Hsin-I \/ Institute of Applied Arts, NYCU<\/span><\/h2>\n<\/div>\n<\/div>\n
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\u6642\u9593\uff1a12\/07\uff08\u4e8c\uff0914\uff1a20 \u201416\uff1a20<\/span>
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As cinema becomes a hybrid interface between new media, databases, montage narratives, and the double discrete of \u201cmedia language-cultural geography\u201d, how does \u201ccultural inter-coding\u201d become the intrinsic language of new media as cinema, how does it differentiate itself from intercultural cinema, and how can it be constantly exchanged, translated and shaped by the politics of language translation, forming an interactive interface of culture and becoming an alternative format of intercultural cinema. Afterward, the two interwoven visual languages of soft cinema and soft montage are extended into a \u201csoft-documentary\u201d, illustrating how, in the context of globalization, the \u201ccultural inter-coding\u201d becomes a multiplicity of archival strings in a hybrid \u201centangled zone\u201d of cloud archives, and extends into an arbitrary space of memory, translation, and \u201cSoft-Scene\u201d.<\/p>\n

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\/\/ Soft\uff1aDoc \u2014 LH, SOLID, LETTERS, VOYANT \u2014 \u5805\u56fa\u30fb\u66f8\u4fe1\u30fb\u901a\u9748\u8005 \u5f71\u7814\u6703
\n\/\/ \u653e\u6620\u5c0e\u6f14\uff1aLouis Henderson<\/span>
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\/\/ \u901a\u9748\u8005\u66f8\u4fe1\uff08Lettres du Voyant\uff09<\/strong><\/span>
\n2013 | 00:40:00 | \u82f1\u6587 | \u5f69\u8272 | \u7acb\u9ad4\u8072 | 16:9 | HD video<\/p>\n

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\u201cTo take back the gold that was stolen from us \u2013 this is the object of our actions.\u201d<\/i><\/p>\n

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Lettres du Voyant is a documentary-fiction about spiritism and technology in contemporary Ghana that attempts to uncover some truths about a mysterious practice called \u201cSakawa\u201d \u2013 internet scams mixed with voodoo magic. Tracing back the scammers\u2019 stories to the times of Ghanaian independence, the film proposes Sakawa as a form of anti-neocolonial resistance. The film takes the form of a voyage through a network of digitised mine shafts that lead the viewer to each of the film\u2019s locations ; a gold mine, an e-waste dump, a voodoo ritual or a discotheque for example. A character recounts a story through reading a series of letters that he has written to the film\u2019s author \u2013 letters that speak about the colonial history of Ghana, of gold, of technology.<\/p>\n<\/div>\n<\/div>\n

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\/\/ \u4e00\u5207\u5805\u56fa\uff08All that is Solid\uff09<\/strong><\/span>
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\u201cAll that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.\u201d \u2014 Karl Marx<\/i><\/p>\n

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As technological progress pushes forward in the overdeveloped world, enormous piles of obsolete computers are thrown away and recycled. Pushed out of sight and sent to the coast of West Africa these computers end up in waste grounds such as Agbogbloshie in Accra, Ghana. On arrival the e-waste is recuperated by young men, who break and burn the plastic casings in order to extract the precious metals contained within. Eventually the metals are sold, melted and reformed into new objects to be sold \u2013 it is a strange system of recycling, a kind of reverse neocolonial mining, whereby the African is searching for mineral resources in the materials of Europe.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Louis Henderson
\n1983, United Kingdom<\/h3>\n<\/div>\n<\/div>\n
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\/\/ Louis Henderson – LUX \u00a0<\/a>\/\/ Louis Henderson – IFFR<\/span><\/h2>\n<\/div>\n<\/div>\n
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Louis Henderson is a filmmaker who is currently trying to find new ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. The working method is archaeological. Henderson graduated from the London College of Communication (2007) and has a Superior Diploma in Research in Art from the European School of Visual Arts (2016). Since 2017, Henderson has been working within the artist group The Living and the Dead Ensemble.<\/span><\/p>\n<\/div>\n<\/div>\n

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Organizers\uff5cInternational Center for Cultural Studies, National Yang Ming Chiao Tung University, Taiwan, International Institute for Cultural Studies, University System of Taiwan (IICS-UST), International Masters Program in Inter-Asia Cultural Studies, University System of Taiwan (IACS-UST)<\/p>\n

Co-organizers\uff5cSensory Lab NYCU, Intercultural Cinema Studies NYCU<\/p>\n

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