發問時間: 社會與文化語言 · 7 年前

請問各位有誰能為我翻譯一下呢?!

請問各位有誰能為我翻譯一下呢?!

盡量不要用奇摩和goole翻譯~

感謝

During the early part of my career my work examined the relationships between the viewer and the artwork in terms of spatial representation and narrative. The duality between transparency/glass, reflection/mirror and absence/presence became a recurrent theme. In my experimental video installations I use visuals and sounds as Proustian triggers.

The intention is to initiate a dialogue or conversation with the viewer through the visual information that I have provided. I deliberately bombard the viewer with a collection of visual image layers to be read, as a narrative within itself. This packaging of the collected visual information is often in parallel with various media systems, drawings, texts, sculptures and animations. These images are reflections from stories, songs and rhymes of childhood, that are then woven with a deep concern for the character's life.

Traces of the character’s presences in the form of objects and videos, are left at various points and from these, together with drawings and other elements in the installation, a ghost narrative can be pieced together.

1 個解答

評分
  • 蕙安
    Lv 5
    7 年前
    最佳解答

    在我早期的工作經歷中,我的工作是研究觀賞者與藝術作品在空間表現與空間敘事上的相互關係。透明度與玻璃、反射與鏡面,以及缺乏與存在的二元性,成為一再重複出現的主題。在我的實驗影像裝置中,我採用視覺和聲音作為普魯斯特(意識流)的啟動器。

    實驗目的是透過我已經提供的視覺資訊,與觀賞者展開一段交談或對話。我刻意轟炸式地讓觀賞者觀看大量的視覺圖層,以作為這個實驗本身的敘事。所收集的視覺資訊,其包裝風格有許多都與各式各樣的媒體系統、繪圖、文字、雕塑與動畫相類似。這些圖像反映出來的是孩提時代的故事、歌謠與詩詞,為角色的生命織入了深刻的關懷。

    在這些對象與影像的型態中,角色的存在軌跡留存在各種不同的觀點上,並由此進一步結合這個裝置內的圖畫及其他元素,將鬼魅敘事一點一點拼湊出來。

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