2019
Watercolour, pencil and colour pencil on paper, acrylic panel, wooden roller and waterpipe.


This work was done during Kook’s residency in Confucius Institute, Nuremberg-Erlangen. The artist researched into Nazi Rally Ground in
Nuremberg and Chernobyl Nuclear Power Plant, together with her previous research into the history of Hong Kong, raising the questions about
the so-called “non-place” that were left because of political problems that tied to its era.

The name of the work comes from the nickname of the shield located above fuel channel in Chernobyl reactor 4, the twisted fuel bundle still
attached to the shield are called Elena’s Hair. The work focuses on human-made disaster, rethinking the relationship between individual human
and history. 36 drawings on six pieces of hexagonal wooden rollers illustrated various historical events: a useless race track tells a social
landscape during Japanese occupation of Hong Kong; the swimming pool symbolized people’s beautiful fantasy of a techno-utopia, however
ended with disaster. There is another incident that closely related to the swimming pool. The fire bowl that once stood at the top of both wings
of Zeppelin Tribune in Nazi Rally Ground. After the rally ground was abandoned, one the two huge fire bowls that once looked up by everyone
was moved inside the the so-called “Golden Hall” inside Zeppelin Tribune. Whereas the other one somehow was used as paddling pool
for children in the public swimming pool. After 2008, it was moved to the back of Zeppelin Tribune with whole body still covered with orange and
blue paint.

Everyone is encouraged to create their own story (decisions) by rolling the wooden roller. The installation makes a total of 46,656 different
combination of stories. Isn't human history made up of countless individuals?

2019
Single channel video, no sound, 3mins 45s


This work is also a production during the artists residency in Nuremberg. Heritage the concept in Elena’s Hair, the video work focuses on the
entirely different destinations of the fire bowls. Once the strong symbolic of power, now the fire bowls again stand with each other, separated
with a door. As if each other’s absurd time capsule. The winding path of “object” illustrates the ever changing of human history, represents the
worst of human nature in the capability of destruction, discrimination and lies.

Audio-visual work
11 mins

Gods and Pilgrims from Vvzela KOOK on Vimeo.

Information / Graphic Inllustration
Gathered Inforamtion｜現有情報:


THE CHANGE IN FUNCTION OF KOWLOON WALLED CITY IN THE HISTORY
Hundreds of years ago, the pirates raged in southern coastal cities and borders of China. People who lived there built Walled Village in order to
defense themselves from outsiders. Walled settlement has been a main genre of architecture since ancient. But the Walled Village is a more
extreme presentation of it. Having the function of self-manage through social unit, the military use made prominent when the area is under attack.
The most extreme case must be the Kowloon Walled City, it maximum the concept of walled village as defensive structures and self-manage
social units. What is interesting is, throughout the history, the function of Kowloon Walled city is continuously changing. Some of these changes
are made by politics, but the factor that finally brought up the Kowloon Walled City we know, were the intentionality of the users. The Kowloon
Walled City was textured by the environment, and then it also textures the environment in a more wider range.

Tracing back in Song Dynasty, an outpost was set up by the seaside to manage the trading of salt, called Guan Fu Chang, it covers the trading
of half of the Kowloon peninsula. This was the very initial single purpose of this structure. It had small group of guards and weapon, already had
a military function. Not much material neutrality and plasticity can be seen, the designer – Song Dynasty took full control of the place, and it was
performed in a way it was designed to.

Things began to change in Qing Dynasty, the government realized the up growing importance of this region, given by its geographical advantage,
expanded its capacity of soldiers and officers. During the time British army began to invade China, the hidden possible use of the area was
drawn: The soldiers here took responsibility to fight against the invader; supervising the activity of British Army and information acquisition;
resolve disputes between Hong Kong Island and Kowloon Peninsula. High walls were built up for protection, meanwhile declaring the authority
of this land. In 1898, south of Kowloon was handed to Britain in the treaty The Convention For the Extension of Hong Kong Territory. Meanwhile
Qing Government insisted that Kowloon Walled City being an exclave of Mainland China. In 1899, British forces attacked the Walled City,
leaving behind only 150 residents.

In the following 50 years, Kowloon Walled City slowly became a region that under complicated jurisdiction, after failed attempt to clear people out
several times in 1948, the British adopted a “hands-off” policy in most matters concerning the Walled City. After the large-scale migration in late
1940s, Walled City has slowly forming into a place that insulate humans from an external environment. After decades’ of “improvisation” and
liberation, the walled City finally turned into a giant titan, with 33,000 people living within only 2.6 hectares, 121x 213 meters’ space. When the
popularity grew up, the whole structure instinctively develop upward, extruding the structure above, expanding the life circulation space into
higher level. This practice makes the form of special society possible: Kowloon Walled City was built on a 1:9 slope which resulted in 15 meters
level change along its length. The spaces between the buildings were so close, making the border of a unit ambiguous. One of the scholar I
interviewed described like this: he went into the Walled City to find his schoolmate when he was in primary school. He followed his schoolmate’s
instruction, came to the foot of the building, but cannot find the road that was described. He finally found his way by passing through a family’s
dinning room, which is a half open space, and then climb up the small stairs beside the family. Nowadays he realized that the path he walked
that time, was said to be “secret path”, that not only difficult to be found, but also designed out of human’s normal perception. If someone
closes the door of his living room, then some other people may not be able to get back home.

The unusual structure also brought about the change of transportation and walking, access lanes were mostly less than 1 meter in width, which
allowed inhabitants to jump across from one building to another. The rooftops offered the possibility for continuous movement across the whole
structure and in and out of building circulation gaps. Postmen were specially trained to jump from one building to another to facilitate post
delivery, which would otherwise have been difficult. What Kowloon Walled City became, was unintended consequences and unpredictable by
designer.

MULTISTABILITY AND BACKGROUND RELATIONS

Kowloon Walled City is surrounded by the city, meanwhile it is being the community itself, being a mini-environment, it provided a complete range
of urban services, such as heath services, schools, religious, employment, shopping, etc. and had a truly self-sufficiency society. Even the more
fundamental need for life - water, could be accessed through 77 wells in the city. Moreover, the city had been stealing electricity illegally until it
finally caused fire in 1950s. Even a small society like this, people outside the community were also could be able to benefit from it: In 1970s,
there are about 150 illegal dental clinic in Walled City, whose prices were much cheaper than others. The society and relationship built upon it
called for attention.

The full function but extreme small space forced the multiuse of a single space. A dinner or tea shop would transform into bordello or mah-jong
parlour and then into dormitory. The production table for noodle making would change for dinner and homework, and later on serve as bed for
the whole family, while a plastic toy factory would double as an illegal den for opium users. It maximizes the ability of improvisation and
compatibility, and finally developed into a huge and comprehensive urban system. The designer has less impact to do with it, users here began
to play the leading role. There was a road in Walled City, along it displayed uncountable squatters, many drug stores gathered on this street,
the shop owners will light up a candle, in front of their shops, to make it easier to recognize for the addicts. The inhabitants call this street Kong
Ming Street (street of light). But among the addicts, this street was know as broadcasting station, as they describe drug as a process of charging.
When drug was banned in walled City, these shops mostly turned into noodles shop or fish ball shops.

The issue of governance of the site which had permitted the unfettered development of these few hectares was finally resolved and the decades
of growth ended. The Kowloon Walled City was finally dismantled in 1987. When we look back at all the factors listed, if this structure was not
built in Hong Kong, a seaside place, if it is not designed initially as a political and economical function, it won’t existed at all. If no restriction of
height, as it is close to the Kai Tat Airport, will there be any possibility that it continue grows higher? The process of making it is also the
process of reflection of the whole city and history behind, and interlinked tightly with the human life.

SKETCHES ON OLD KOWLOON WALLED CITY (BASED ON PHOTOS BY GREG GIRARD AND IAN LAMBOT)




During years of demolition, an underground city was built based on the structure of Old Kowloon Walled City. The Underground Kowloon Walled
City was completed secretly in 1995, together with Kowloon Walled City Park. The park has gates open to different directions except for the west
gate, fold legend say that it is because of the saying “go to the west” is consider to be ominous. The truth is west gate is the entrance of the
underground city, hidden behind the artificial rockery.

Unlike Old Walled City, the Underground City has no registration of height; the land underneath had never been explored, making it perfect for
rugged and solid structure.

The Underground Kowloon Walled City is also a completed autarky society: Old Walled City had 77 wells for daily water supply, all of them were
preserved and still in use. Water was pumped to a level near the ground and gravity feeds water to everywhere; the whole city is powered by
gigantic power generator and solar energy system.

Up till 2047, there are 10,954 human being, trans human, and hybrid. 43 illegal cyborg and pure human organ stores, 1 biological science
research center, 5 Schools. The Underground Kowloon Walled City is governed by highly educated people such as Cyborg engineers, biological
scientists, and genetic engineering scientist.

In 2029, Third Polar Cosmo Corporation released the first generation of ASIMOV. Within just a decade, human being were fully taken controlled
by Artificial Intelligence, over one million remaining human are restricted in limited living area.

In 2041, Lazarus Salvation Army was founded in Underground Kowloon Walled City. Aiming at helping out pure blood human refugees who fled
from restricted area.

In 2042, Ghost Army was founded in Underground Walled City. The 1,100- man unit performs land and air based military operations. Ghost Army
is the only human and human-based military force that fights against Artificial Intelligence led by Third Polar Cosmo Corporation.


Map of Underground Kowloon Walled City



Third Polar Cosmo-Corporation
Based in California, the United States. Third Polar Cosmo-Corporation is a leading provider of intelligent vision-guided robotics systems
and services, focuses on the power and automation industries as well as robotics. Third Polar robots are used in high-speed, precision
manufacturing, factory automation, espionage robot and super-soldiers.

Neo Hong Kong Nuclear Generating Station
Built in 2028, operated by Third Polar Cosmo Corporation. Currently the largest nuclear power plant in Southeast Asia, with a net capacity of
27,986MW (megawatts). The first 8 units have a gross capacity of 3,800MW (megawatts) each, 6 more units are under construction. Neo Hong
Kong nuclear Station is the source of a majority of electricity, creates 64% of domestic generation annually, gives main power support for artificial
intelligence industry of Third Polar Cosmo Corporation.

Strategic Hazard & Intervention Espionage Directorate
Supreme Headquarters, international espionage, law-enforcement division of government. Many evidence shows that the division is being
sidelined by Third Polar Cosmo Corporation. It has eight-level ranking structure: technician, administrator, field agent, regional officer, special
officer, regional director, special director, and executive director. Most agents are Superhuman or artificial intelligence. Aiming at discriminating
against any human, cyborg, and robot that oppose Third Polar Industry.

AI Central Record System
Established in 2032. All artificial intelligence are automatically registered in the system after manufacturing. AI Central Record System is also
committed to exercising effective outbound control for Non-Artificial Intelligence and curfew passport apply for Non-Artificial Intelligence.

The most acclaimed product of Third Polar is ASIMOV-974. The ASIMOV Series started in 2017, aiming at speculates about the human nature
and the possibilities of both human enhancement and future human evolution. The first generation of ASIMOV was completed in 2029, was the
first series of artificial intelligence that are as smart as human. Its Internet embedded brain can execute 100 trillion instructions per second.
Altering the architecture of the body results in adjusting its awareness of the world. High – profile armed system, phalanx and see-shoot
automated system make ASIMOV the best choice for warfare.


Map of ThirdPolar Cosmo-Corporation


REFERENCES
Documents in Kowloon Walled City Park
Barrie Shelton/Justyna Karakiewicz/Thomas Kvan , 2013, 香港造城記 從垂直之城到立體之城, 電子工業出版社
陳公哲 編, 1933, 香港指南，商務印書館
Don Ihde, 2008, The designer Fallacy and Technological Imagination
Don Ihde, 1990, Technology and the lifeworld: From Garden to Earth (Iniana Series in the Philosophy of Technology), Indiana University Press
Geoffrey Robley Sayer, 1975, Hong Kong 1862-1919: Years of Discretion, Hong Kong University Press
Brothers from the Walled City, 1982, Directed by Ngai Kai Lam

Work in Progress / installation / sound / neon sign


Project Statement

Outer space has been a dream place for centuries for human kind. The Mars 500 plan pull human even closer to this realm. Party on Mars will
not be only an audacious assumption decades later. But what will astronauts meet in the space - cosmic ray, sensory deprivation, isolation,
hallucination…. These day-to-day stresses can be equally as life-changing and NASA consider behavioural and psychiatric conditions to be one
of the most significant risks to the integrity of the outer space mission – not least as there is now significant evidence that space travel has mind-
altering effects.

Human kind can make remarkable technical revolution in ten years time, but our human brain, hasn't evolved tremendously for thousands of
years. Low entropy brains travels in low entropy universe, are we actually expecting a massive psychological disorder incident?



Project Background

On November 16, 1973, NASA launched the third manned Skylab mission Skylab 4, sent three astronauts on a Satrun IB rocket from the
Kennedy Space center, Florida and lasted 84 days, 1 hour and 16minutes. During the Skylab 4 mission, the crew – Gerry Carr, Ed Gibson, Bill
Pogue, endured long hours, exhaustion and disagreements with mission control resulted in the crew switching off their radio and spending a
day ignoring NASA while watching the Earth’s surface pass by.



Lisa Nowak flew aboard Space Shuttle Discovery during the STS-121 mission in July 2006, spent 12 days, 18 hours and 36 minutes in outer
space. On February 5, 2007, she was arrested in Orlando, Florida, subsequently charged with the attempted kidnapping of U.S Air Force
Captian Colleen Shipman, who was romantically involved with astronaut William Oefelein, who is in a relationship with Nowak.



Gherman Titov, was the second man to orbit the Earth, and the first to spend an entire day in space (17 orbits). On August 6 1961 Titov was
launched aboard Vostok (East) II. On his sixth orbit he was overcome by excitement, and his call sign became a cry of exultation. "I am Eagle! I
am Eagle!", he told mission control. A little later he began to feel dizzy and unwell; prolonged weightlessness meant that he had become the
first man to get space sickness.



Living for months in a tin can, hundreds of miles from home, with few comforts and a stressful job, may bring myriad psychological pressures,
but one additional factor might be the functioning of the brain itself. Studies have found that many basic mental abilities, like attention, task
switching, bodily co-ordination and problem solving seem to work less well in space. The astronauts’ reduced physical exertion is likely to be
a significant factor, as even on Earth heavily restricting activity reduces mental abilities over time. The effect of a virtually gravity-free
environment on blood flow may also be important. Our blood supply has evolved to work best when we experience ground-level gravity,
meaning space travel could affect how efficiently oxygen is supplied to the brain.

Despite the science, some of the most striking discussions on the psychological effects of space travel occurred before the first person went
into orbit. Freudian psychiatrists speculated in a 1959 issue of the American Journal of Psychiatry, two years before Yuri Gagarin’s pioneering
voyage, that the separation from “mother Earth” could lead to pathological “separation anxiety” where “the temptation to escape through
suicide into oblivion may be accompanied by an urge to destroy the space vehicle and the rest of the crew”. Thankfully, this has never
happened, but Nasa reportedly has guidelines for crew members who become dangerously agitated during space flight, which involve a rather
pragmatic combination of duct tape, bungee cords and tranquillisers.

But the reality is that space mission psychology involves a massive scientific investment to try to avoid the mental health consequences of
what many people experience on Earth: stress, poor working conditions and loneliness. Getting to Mars seems easy in comparison.


Project Sketches



Two 6 meters length wall system create a tunnel, with two meters in between. Black curtain cover both sides of the tunnel. In side the tunnel,
hanging numerous 3D printed object：spaceship, rock, space junk… as well as vintage radios, for wirelessly broadcasting background sound
and radio communication dialogue. Each audience should be given a booklet of “Manual On Preventing Space Travel Caused Psychological
Disorder”

The hanged objects together with two sides of mirror, imitates a low entropy universe. With the neon quote on one side of the mirror from
Charles Duke: “The Dust in My Life ”.





REFERENCES
Isolation and hallucinations: the mental health challenges faced by astronauts
I know in my heart she wanted me dead
Gherman Titov

2015.11 柴灣青年廣場
多媒體音樂會
時長：1小時15分
項目概念及策劃︰羅鎧欣
項目經理︰林倩怡
中提琴︰Karoline Vik Hegge
鋼琴︰Finn Magnus Fjell Hjelland
敲擊樂︰羅鎧欣
新媒體藝術︰曲倩雯
音響設計︰黃健

2015.11 Y Studio, 2/F Youth Square
Multimedia Concert
Duration: 1h 15mins
Project Concept & Coordinator︰Heidi Law
Project Manager︰Shirley Lam
Viola︰Karoline Vik Hegge
Piano︰Finn Magnus Fjell Hjelland
Percussion︰Heidi Law
New Media Art︰Vvzela Kook
Sound Design︰Wong Kin

Dialogue of Trees, Hong Kong- Norway Multimedia Concert from vvzela on Vimeo.

都是樹 — 佇立山脈間，靜候車站旁，簇擁森林內，穿透於石牆裡。長在不一樣的國度，看守每片土地。

我們展開一段段旅程 — 繁忙的公路，喧鬧的城市，壯麗的山脈，湛藍的海岸，樸緻的村莊。在陌生土地的路上，我們期待卻孤寂；唯有樹木散發
的原始氣息，稀釋異鄉的寂寞，為旅者帶來歸屬。

相距8587公里的香港、挪威兩地創作單位，以六首當代樂章及互動影像投射，刻畫旅者與樹木的對話，跨媒體展現樹木與人類和城市共生共長的
關係。誠邀觀眾緩下急促的步伐，於音樂廳內一同遊歷不一樣的文化旅程，呼吸自然氣息。

香港敲擊樂手Heidi Law與新媒體創作人Vvzela Kook，聯同挪威中提琴手Karoline Vik Hegge及鋼琴手Finn Magnus Fjell Hjelland組成別樹一幟的
創作團隊，呈獻挪威作曲家Knut Vaage作品Wir Reisen的亞洲首演，以及Tigran Mansurian, Harald Saeverud 及 Luciano Berio等當代音樂作品，
並由Ruud Roelofsen及香港作曲家林儷譜上新曲，以互動影像投射立體展示多彩意境，策劃一場創新的多媒體文化交流際會。

While branches growing through cracks in the wall, their glowing leaves gently exhale fresh scent of summer; with abundance of leaves sheltering
our soil, trees watch over every piece of land we live in.

We commence journey after journey, on busiest freeways, through dazzling cities, across tranquil mountains, along shiny coast, into distant vill－
－ages. Every step further on foreign land is exciting yet lonely for wanderers like us, with only the intimacy of trees bringing us belongingness
and comfort.

Through contemporary chamber music intertwined with interactive visual projections, musicians and artists from Hong Kong and Norway will be
taking the audience on a magical cultural journey in listening to dialogue of trees.

Hong Kong based Percussionist Heidi Law, New Media Artist Vvzela Kook, along with Norwegian Violist Karoline Vik Hegge and Pianist Finn
Magnus Fjell Hjelland, are going to give a multimedia concert presenting new music with new media art. Program includes Asian premiere of
Norwegian composer Knut Vaage's Wir Reisen; works of Tigran Mansurian, Harald Saeverud and Luciano Berio; also commissioned pieces from
Ruud Roelofsen and Hong Kong composer Lam Lai.

Concert review on Dialogue of Trees: Hong Kong - Norway on RTHK 4
by Leon Chu and Dennis Wu.

2015.09 空中校園計畫，環球貿易廣場，第二期
聲音燈光秀
時長：2分50秒
視覺：Vvzela
聲音：Vvzela KOOK

2015.09 Open Sky Campus Project, ICC Tower Light and Music Show, Phase II
audio-visual work
Duration: 02'50
See：Vvzela
Hear: Vvzela KOOK

All In One from vvzela on Vimeo.

All things in life develop along a spiral trajectory - All varieties of shapes and forms that are generated eventually merge into one.

2015.03 香港藝術節賽馬會當代舞蹈平台
新媒體舞蹈劇場
時長：25分鐘
編舞／演出：盤偉信
聲音：Runaway snd Brotsjór by Ólafur Arnalds; the Fall of Autumn, Your Teeth in My Flesh and Meil by Heinali
音樂總監：姚恩豪
視覺：Vvzela
香港藝術節製作

2015.03 Contemporary Dace Series, Hong Kong Arts Festival
New Media Dance Theater
Duration: 25'
Choreographer/dancer:Wayson Poon
Music:Runaway snd Brotsjór by Ólafur Arnalds; the Fall of Autumn, Your Teeth in My Flesh and Meil by Heinali
Music Directer:Raymond Yin
Visual: Vvzela
Producer by Hong Kong Art Festival, 2015



Based on the choreographer’s life and work experience in different countries and regions, deepened the international vision and local cultural
features of the work to redesign the dialogue between our script and modern Hong Kong society. Changed the stage from the Black Label
Theatre to a medium size theatre space and redesigned on-site performer and audience relations. Emphasized on the dynamic texture between
visual elements and body movements and the narrative method and presentation of the work.

Fleeing by Night discusses the situation in which people abandon the current city they live in for a new one, but sometimes want to flee from the
second one again after living there for a while. The act of travelling from one familiar environment to another one is just like fleeing by night, in
which people pursue the possibility of a new life carrying their opinion, attitude and feelings towards their old life.

In each familiar environment, there exist certain issues that have always been there. While “fleeing” is an option, one will have to face the issues
and tries to find his location after completing the action of “fleeing”. During the process of flee, how does one think about his past, current and
future life? What kind of attitude is generated during this process? What’s really important for him? Are there any unfilled responsibilities? Will
there be other responsibilities for the future?

The work also introduces the concept about how one “fails to depart” from a certain place, which leads to a discussion about “giving up” or
“insisting on” an object and thoughts about the attitude represented by a flowing river carrying withered flowers away. It also reminds us how p
eople can be manipulated or controlled by specific conditions in a space and that we could use our own special quality and ability to react to the
space. Only by doing this can people calm down and use their intrinsic power to deal with the difficulties they might run into during different
phases of life.

2014.11 重慶寅子小劇場
新媒體舞蹈劇場
時長：55分鐘
編舞／演出：盤偉信
合作藝術家：吳珏輝／王家明
聲音：Runaway snd Brotsjór by Ólafur Arnalds; the Fall of Autumn, Your Teeth in My Flesh and Meil by Heinali
音樂總監：姚恩豪
視覺：張宇／Vvzela
製作人：胡音

2014.11 YINZI Theater,Chong Qing
New Media Dance Theater
Duration: 55'
Choreographer/dancer:Wayson Poon
Cooperate Artists: Juehui Wu / Jiaming Wang
Music:Runaway snd Brotsjór by Ólafur Arnalds; the Fall of Autumn, Your Teeth in My Flesh and Meil by Heinali
Music Directer:Raymond Yin
Visual: Zhang Yu／Vvzela
Producer: Hu Yin



Fleeing by Night is a cross media solo dance work based on the script of a Chinese Kunqu opera work of the same name. It deconstructs the
connection between traditional Chinese culture and contemporary society by revisiting a classic masterpiece of Chinese literature. In the story,
the hero Lin Chong had to flee to Mt. Liangshan due to personal misfortune and persecution in society and political environment. On his way to
Mt. Liangshan, his unjust sufferings flashed back in his head, and he felt helpless, angry and worried about the future. When creating this cross
media solo dance theatre work, Fleeing by Night, the creative team have chosen the contemporary city life as their theme, and discussed how
modern people view and treat their situation in different countries and cultures. This is also an attempt to inspire a positive attitude when facing
the highs and lows of life.

Lin Chong's escape is a decisive departure; a metaphor for contemporary urban life. Lin Chong is heading for Liangshan; and where could you
go?

Combined new media art to the work to explore the possibility of the coexistence of contemporary dance performance and new media in theatre
and the narrative methods of cross media theatre works. Our experimentation introduced interactive media into the work to modify the order of
time and space of stage. We’ve also explored new directions of visual elements, music structure, hardware and software implementation.

Fleeing by Night discusses the situation in which people abandon the current city they live in for a new one, but sometimes want to flee from the
second one again after living there for a while. The act of travelling from one familiar environment to another one is just like fleeing by night, in
which people pursue the possibility of a new life carrying their opinion, attitude and feelings towards their old life.

In each familiar environment, there exist certain issues that have always been there. While “fleeing” is an option, one will have to face the issues
and tries to find his location after completing the action of “fleeing”. During the process of flee, how does one think about his past, current and
future life? What kind of attitude is generated during this process? What’s really important for him? Are there any unfilled responsibilities? Will
there be other responsibilities for the future?

The work also introduces the concept about how one “fails to depart” from a certain place, which leads to a discussion about “giving up” or
“insisting on” an object and thoughts about the attitude represented by a flowing river carrying withered flowers away. It also reminds us how p
eople can be manipulated or controlled by specific conditions in a space and that we could use our own special quality and ability to react to the
space. Only by doing this can people calm down and use their intrinsic power to deal with the difficulties they might run into during different
phases of life.

2014.12
新媒體舞蹈劇場
時長：22分18秒
聲音／視覺／燈光：Vvzela
編舞／舞者：盤偉信

2014.12
Multimedia Dance Theatre
Duration: 22'18s
Sound/visual/light：Vvzela
Choreographer&Dancer: Wayson Poon

Ephemera from vvzela on Vimeo.

2014.09
聲音視覺作品
時長：22分18秒
聲音／視覺：Vvzela

2014.09
audio-visual work
Duration: 22'18s
See/hear：Vvzela

vvzela(full) 720 from vvzela on Vimeo.

performing at Hong Kong Arts Center,Sonic Anchor #18
Vvzela Qu’s set could not have been more different. It was twenty minutes of blissful pure forms. Qu is true a formalist: well-crafted turns, wide
palette of tones that travelled the EQ spectrum, carefully timed waves of swell – many features of her playing suggested a natural sense of s
tructure and balance. At the most intense sections, Qu’s sound was reminiscent of the lush soundscape that is a signature of her former mentor
Dajuin Yao, yet it is at the quieter moments that Qu’s highly personal and hauntingly beautiful voice really emerged.

By Samson Young, from Sonic Anchor #18

2014.04 香港城市大學邵逸夫創意媒體學院 GALLERY360
聲音視覺作品
時長：6分30秒
視覺：Vvzela
聲音：jfi

2014.04 GALLERY360, Run Run Shaw Creative Media, CityU of Hong Kong
audio-visual work
Duration: 06'30
See：Vvzela
Hear: jfi

ANATOMY(360 degree mapping) from vvzela on Vimeo.

This work is supervised by Tobias Gremmler

2014.05 香港城市大學邵逸夫創意媒體學院
聲音燈光現場演出
時長：8分20秒
燈光設計與編程：Allen FUNG／Vvzela
聲音：jfi

2014.05 Run Run Shaw Creative Media, CityU of Hong Kong
sound-light live performance
Duration: 08'20
light design and programming: Allen FUNG/ Vvzela
Hear: jfi

Kill the Pulse(a sound-light live performance) from vvzela on Vimeo.

2013.12 香港城市大學邵逸夫創意媒體學院
視覺聲音現場演出
時長：25分
聲音／視覺：Vvzela

2013.12 Run Run Shaw Creative Media, CityU of Hong Kong
audio-visual live performance
Duration: 25"
See/Hear: Vvzela

DOOR from vvzela on Vimeo.

This performance is supervised by Samson Young. Some images come from network

2013 香港城市大學邵逸夫創意媒體學院
聲音裝置
尺寸：42cmX38cmX12cm

2013.12 Run Run Shaw Creative Media, CityU of Hong Kong
sound installation
size: 42cmX38cmX12cm

Crazy Box from vvzela on Vimeo.

Circuit, which is reckoned to be neutral and cold, can be extreme fun and warm.
The vintage box, yellowed keyboard and tiny electronic components, bring everything back into a virtual steampunk age.
Audience can modulate the sound generated by these tiny eletronic components with extended controllers.

2013
多屏幕聲音視覺作品
時長：3分53秒

2013
multi-screen audio-visual work
Duration: 03'53"

Ferry Wheel At Night | 夜行觀覽車 from vvzela on Vimeo.

2013
多屏幕聲音視覺作品
時長：5分45秒

2013
multi-screen audio-visual work
Duration: 05'45"

Psycho: 6 Symptoms from vvzela on Vimeo.

Psychological Dysfunction refers a breakdown in cognitive, emotional, or behavioral functioning.(V.Mark Durand)

People's mental activity often changes with the external environment, normal and abnormal is relative, mutual evolution, mutual migration,
and there is no absolute normal or abnormal. Even if the people with healthy mentality mental activities may temporarily appear different
levels, duration of varying lengths disorders in a certain situation or a specific period of time.

I combined the computer generating graphic and shooting in creating this multi-screen audio-visual work. Mainly focusing on changes in each
screen and dynamic flow between six screens, also designed to allow viewers to produce such "temporary exception" through the synesthetic
sensory stimulation.


"心理功能失調（Psychological Dysfunction）是指認知、情緒或行為功能上的衰變。包括幻覺，與現實脫節的思維過程（常見於精神分裂症以及
其他重度精神障礙）。" (馬克杜蘭德《異常心理學》)

人們的心理活動常隨著外界環境的變化而變化，正常與異常也是相對的，且相互演變、相互移行，沒有絕對的正常和異常。即使心理健康的人，
在一定場合或特定的時間內，心理活動也會出現程度不同、持續時間長短不一的失調。

這件多屏幕影像作品採用電腦生成和實拍結合的方法，注重六個屏幕之間的變化、流動，與音頻隨視頻的變化產生的立體聲的共振感，以達到“短
暫的異常”。

2012
聲音視覺作品
時長：5分45秒

2012
audio-visual work
Duration: 05'45"

Parallel from vvzela on Vimeo.

Audio&Visual work "Parallel" is created based on the theory of "Multiverse", or"Parallel universe". It starts with grids interlined like spider web
which is accompanied by misty sound squeezing the audience into a confined space. As the sound calms down, an abstract space comes
near creating a broader space. After clouds passing by, the video color reverses from black to white,which transforms the audience into an
opposite world. Now, are you still the same person who was staring at the black world?

This work was shown on Frischzelle Festival, Cologne for the first time, with sound performance by Sven Hahne. Both audio and visual are
live performed. Visual was composed in QuartzComposer and Modul8, live performed with Modul8.

视觉作品《平行》基于平行宇宙(Multiverse、Parallel universes)，或者叫多重宇宙论的设想进行创作，以交织的蜘蛛网般的网格开始，伴以混
沌的声音，就像被困在狭小的空间里。随着声音的平静,"蜘蛛网"背后出现了更大的空间—一个抽象的空间站渐渐靠近。一团云雾过后，视频颜色
反转，显现出全白的世界，黑白世界在此交换。而刚才观望黑色世界的你，是否与现在注视着纯白世界的你是同一个人? 此作品于 2012 年德国
科隆Frischelle艺术节首次演出，与Sven Hahne的电子声音合作。 视频与声音皆为现场演出。作品视频用QuartzComposer与Modul8做成，并
用Modul8现场演出。

2013
策展人：姚大鈞 史文華
科爾蓋特大學，紐約

Co-curated by Dajuin Yao and Wenhua Shi
Colgate University and NYC


RPM:Sound Art China 專輯封面 designed by Dajuin Yao

中國聲音藝術的首次全方位展覽＞含空間聲音裝置、現場演出、文獻整理出版、聲音論述座談四大區塊。中港台三十餘位藝術家，學者
Christoph Cox等參加。
系列活動前兩站美國Colgate大學、紐約市電子音樂協會／實驗跨媒体中心成功啟動，接著巡迴香港、上海、倫敦等等
by Dajuin Yao




Showing audio-visual work "Parallel" in planetarium | 作品“Parallel”星相館演出現場 2013.03


Mapping interface of planetarium ｜星相館投影儀mapping界面


from left to right： Joe Eakin，Wenhua Shi，Xu Cheng， Wang Changcun, Samson Young, Xie Zhongqi, Vvzela, Dajuin Yao


紐約市電子音樂協會／實驗跨媒体中心演出現場：











04.2013

2013
媒體劇場演出
時長：16分
曲倩雯 王志鵬 熊振凱 翁巍 湯曉丹 施政

2013
media theater performance
Duration: 16'
Vvzela KOOK, Wack WANG, Chengkai HSIUNG, Wei WENG, Daisy TANG, Zheng SHI


Issue and suggestions of memory error, sensory disorder, glitch aethetics, man/machine confrontation, discipline vs. rebellion, cyberpunk
fetish of the main characters, the clone robot and his handler, seem to flash by the voewer's mind during this dramatic media performance
work. Yet, whether there are truly any such narrativity and deeper meanings behind the stage visuals, sounds, and pyrotechnics remains
to be found out.

The NEW ASDICON Group is composed of members of the Open Media Lab, China Academy of Art. The group specialized in new media
theatrical performances utilizing cutting edge technology sunch as interactvie body sensors, motion graphics, real-time audio-visual，
generative art, and man- machine interface. They have performed often as a group and as individual artists inside and outside China, and
have drawn attention from the international media art circles.

智能克隆人與其操控者之間的記憶錯亂、官能失控、誤發美學、人機對立、歸訓vs反抗、cyberpunk癖戀等議題與暗示不斷在觀者腦海中浮現。
然而此劇在一切電光火石聲影震撼之外，是否真有任何敘事成分或深層含義，全在虛實真假之間。

"NEW ASDICON"小組有開放媒體工作室的成員組成。擅長互動新媒體劇場演出，長期研發身體感應互動、動態影響與即興聲音、生成藝術、
人機界面等新媒體前沿技術。小組集體以及個別成員的國內外演出廣受好評，並受到國內外媒體高度關注。

2012.09 科隆 杜塞爾多夫
2012.12 北京 上海 杭州

2012.09 Koln, Dusseldolf
2012.12 Beijing Shanghai Hangzhou


The media artists and musicians Sven Hahne and Matthias Muche initiated Frischzelle as a festival for improvisation and composition.
Their aim was to experiment with various forms of interaction between classical instruments and electronic sound production, as well as with
dance, literature and audio-visual performance.

In particular, Frischzelle focuses on using computer technology for transforming sound and image, integration of diverse media and the
connection between the human body and machines in the form of interfaces and sensor technology.




Echo Ho, Wu Na(巫娜)，Sven Hahne @杜塞尔多夫演出场地｜ Venue of Dusseldorf


@科隆演出場地｜Venue of Koln


2012.09.20
Drum: Fabian JUNG
Reed: Florian Walter
Visual: Vvzela KOOK
Duration: 18'00"





2012.09.21
Cello: Elisabeth FUGEMANN
Sax: Leo Huhn
Visual: Vvzela
Duration: 16'00"







2012.09.22
Sound: Sven Hahne
Visual: Vvzela KOOK
Duration: 32'00"

2012 Frischzelle Festival 9.22 sound:Sven Hahne Visual:Vvzela from vvzela on Vimeo.

2012.09.23
Pinao: Simmon Nabatov
Gu qin: Wu Na
Visual: Vvzela KOOK
Duration: 16'00"

Frischzelle Festival 2012 Simon Nabatov&Wu Na&Vvzela from vvzela on Vimeo.

Matthias Muche


2012.12 Frischzelle in China Academy of Art, Hangzhou, CHINA













Dajuin YAO, Sven HAHNE, Juehui WU, Echo HO, Vvzela KOOK, Mattias MUCHE, after performing in China Academy of Art

ASDICON小組成立於2011年，成員湯曉丹，王志鵬，曲倩雯，盧袁炯，李論，翁巍。聚焦於新媒體藝術現場與媒體策劃。
作品把對於軟件和硬件德關注融合到現場表演中，將身體這一重要媒介融匯到作品中，並致力於各種表現方式德整合，作品形式以媒體劇場為主。
主要作品ASDICON1.0 《機械感應》，ASDICON2.0《他應該很快樂》，《虛擬喚術士》。

2011 杭州聲納4.2
媒體劇場作品
時長：12分
湯曉丹 王志鵬 曲倩雯 盧袁炯 李論 翁巍

2011 Hangzhou Sonart 4.2
a mediatheater work
Duration: 12'00"
Daisy TANG, Wack WANG, Vvzela KOOK, Yuanjiong LU,Lun LEE, Wei WENG

ASDICON1.0 Machinery Induction from vvzela on Vimeo.

2011年6月3日晚，ASDICON于中国美术学院露天舞台首次演出。Asdicon将焦点放在通过arduino和各种传感器（光敏，红外，湿敏，超声破测
距传感器）来形成电子声音，并通过身体表演和身体行为来表达声音。
我们在arduino IDE中写出对传感器的控制程序，上传至arduino硬件，与max通信，来完成电子声的发声。四个人，四种不同的以传感器为基础
的发生装置，加以身体行为，完成一场声音演出。


LU: 红外感应器的测距功能代替的正是眼睛感受物体的功能,研究机械物理感知与人本身关系的可能性是我作品中探索的主要目的。 改装后的护目
镜完全遮住了双眼，此时人的触觉视觉被弱化，尤其在一个封闭的黑暗的环境里，但与此同时，听觉被强化。此时的我只能依靠感应器去去感受
周围的物和事，必须专注声音的变化去体会周遭的改变，声音并不是作品的关键，但却犹如数据输出的终端的显示器或者说扬声器一般，将我此
时此刻周遭的一切通过我的感知从而发生的变化用音律的节奏这一直观的听觉感受所表达。 下一步的发展和推进我将更多的关注人和机器作为一
个独立的整体后我能做什么，而不是单纯的做声音的变化。



Wack Wang: 将三个红外感应器分别放在身体的左手掌，右胸口以及右脚掌。红外感应器位置的选择是考虑让艺术家自身处于一种不自然的状态，
也就是单手掌朝向身体外侧，单脚着地。Max中输出的音频设置的非常刺耳和暴力。为了避免这种声音的发出，艺术家只能保持身体上的平衡和
稳定，这需要艺术家精神上保持高度集中。 这种看似自虐的方式，实际上是对身体语言的强制性表达。当身体不平衡时，以求平衡的身体会在生
理上强制性的做出调整，而这一系列动作会触发感应器的噪音，使得艺术家尽快达到身体上的稳定，这里也产生了一个疑问，是这种随着肢体上
的不确定状态而发出声音，还是声音制约了艺术家肢体上的随意性？
Lee: 在人体与机械的互动之中，似乎人体与机械的角色互换了，人体只是一味作着机械的重复循环动作，而机械则像富有生命力一般地感应着
"机械的"人体并通过和其他机械的合作来回应对人体的感知而发出声音。这个过程中的主体究竟是谁，是做者机械回环往复动作的的人，还是有
感应力的机械？



Vvzela:在四个发声装置中，激光三脚架的发声方式略不同于其他。它采取一种更主动的发声方式，人们可以完全控制声音的发出。身体遮住镭射
光线，光敏感受不到光的照射，max中的数值作出相应反应，发出声音。

声音的音色调变是基于Max/MSP。 置重点于肢体与声音的互动，加入声音的播放，当传感器数值到达一定范围，触发播放。至于音色方面，每个
人有区分，有的是那种偏躁的声音，有的是很干净的锯齿波，还有的是纯粹加入了delay的正旋波的声音。再利用后台调音。 作品通过肢体与机
械装置之间的呼应所产生的声音来进行肢体行为。通过人与附加在人自身上的的互动，从而发出不和谐声音，来刺激人自身的反应。 现代社会，
机械功能的强大以及对人类生活方式的逐渐改变甚至是生理上的替代。作为机器主宰的人类是否已经躺入了自己建造的"金"字塔呢？



2011 杭州聲納4.3
媒體劇場作品
時長：15分
湯曉丹 王志鵬 曲倩雯 盧袁炯 翁巍

2011 Hangzhou Sonart 4.3
a mediatheater work
Duration: 15'00"
Daisy TANG, Wack WANG, Vvzela KOOK, Yuanjiong LU,Wei WENG

ASDICON2.0 Happy Shall He Be from vvzela on Vimeo.

The naked performer is wrapped tightly in transparent plastic wrap, kneeling at the center of the stage quietly. Over his head floats a calm fish.
A looming transparent band is seen, one end of which is connected to the fish's abdomen and the other tangled around the performer's head
and neck.

With a sharp sound, the flying fish begins to circle around him slowly and unties the 'bandage'. He seems to enjoy the short and limited
freedom; however, after a while, he, who has already gotten used to being wrapped starts to feel anxious, even manic, and struggles to find
that untied band, trying to return to his original state.

The flying fish filled with helium is another protagonist. The receiver module fixed on the fish contains an Xbee and a Flyduino (supported by
DFRobot of Shanghai), connected to a servo motor that controls the tail. The transmitter module is controlled by a group member backstage.
Have uploaded the code, an Arduino Uno is connected with a hand grip. The signal transmits from the Xbee terminal on the remote control to
the receiving terminal on the flying fish. The working principle of this control system is to send the motion signal of the hand grip through
wireless transmission, enabling the swaying of the steering engine arms so as to trigger the swaying of the tail and the "swimming" of the fish.

Modulated sound samples and looping noise shape the main atmosphere. The latter half is the climax, with aleatory but intense choreography.
Most of the sound sources are everyday sound recording. Software used include: Max/MSP, GRMTools and Ableton Live.

Except for the spotlight at the beginning of the piece, all light comes from 3 iPhones hand held by two assistant performers in white. They
change their positions and body angles in relation to the naked performer, whose shadow is enlarged and reduced from time to time. At the
same time, frequency of the strobe light leads the audience deeper into the performance. This irregular projection mode produces a strong
visual impact, making the audience dizzy.

It seems that the performer can break free but cannot get rid of the tie completely, which makes him miss more that surviving system he has felt
accustomed to. The 'flying fish' now is a hidden control performance and is indirect. Therefore, the question is, that, who controls whom,
between human beings and machines? The spirit of performance is concerned with the contradictions between controlling and being controlled,
the relationship between individuals and man-made machines (man-made systems), and universal servility.


裸体的表演者被保鲜膜从头到脚紧紧缠绕,安静的跪在舞台的中央。他头顶不远的上方,静静的停留着一只飞鱼，一条透明的带子若隐若现，一头连
接着鱼的腹部，一头缠满了表演者的头和脖子。 随着尖利的声响，飞鱼开始围着他慢慢飞行，解开"绷带"。他仿佛享受着短暂的局限的自由，然而
不久，已经熟悉被包裹的人开始渐渐感到不安，甚至狂躁，极力挣扎的去找寻那根解开的条带，试图回归到原来的状态。

充满氦气的飞鱼是整个表演的另外一位主角，飞鱼的身上装有接受信号的 xbee 与 Flyduino(由上海 DFRobot 生产)，xbee 连接至控制尾巴摆动的
伺服器。飞鱼由后台的一位成员操控, 预先完成上载代码的 Arduino Uno 连接手柄,信号通过遥控器端的 xbee 发射至飞鱼身上的 xbee 接收端。整
个控制系统是将手柄的移动信号通过无线传输,带动舵机臂摆动，从而带动尾巴的摆动和鱼的"游动"。

采样的处理以及背景噪声的循环产生出这个表演的主要气氛，表演的后半段是节目的高潮，内容是随机但激烈的编排。用到的软件是 Audition，
Max/Msp, GRMTools。现场用 live 进行即时编排播放。

整个剧场除开始的聚光灯外，所有光源都是由小舞台下方的两位白衣人手中的 iPhone app 提供，通过与裸体表演者距离与角度的变化，人的影子
被灯光无限的放大，又不时的缩小，同时也由灯光的频闪频率带领观众不断深入表演。 这种不规则的投影方式给现场强烈的视觉冲击，使人眩晕。

貌似能挣脱捆绑，但又无法完全摆脱束缚，使他更加的怀念已经习惯生存的那种体制。这时的"飞鱼"是一种隐性控制的表现，是间接的，从而带出
一个问题: 人和机器之间到底是谁在控制谁? 演出的精神包括控制与被控制的矛盾性, 主要是个体与人造机器(人造体制)的关系问题的表现,奴性的普
遍。






2011 UFO 媒體劇場
媒體劇場作品
時長：8分
湯曉丹 王志鵬 曲倩雯 盧袁炯 翁巍

2011 UFO Media Theater
a media theater work
Duration: 8'00"
Daisy TANG, Wack WANG, Vvzela KOOK, Yuanjiong LU, Wei WENG



2011 UFO 萬能機器人劇場
媒體劇場作品
時長：10分
湯曉丹 王志鵬 曲倩雯 盧袁炯 翁巍

2011 R.U.R THEATER
a media theater work
Duration: 10'00"
Daisy TANG, Wack WANG, Vvzela KOOK, Yuanjiong LU, Wei WENG



2013
媒體劇場演出
時長：16分
曲倩雯 王志鵬 熊振凱 翁巍 湯曉丹 施政

2013
media theater performance
Duration: 16'
Vvzela KOOK, Wack WANG, Chengkai HSIUNG, Wei WENG, Daisy TANG, Zheng SHI


Issue and suggestions of memory error, sensory disorder, glitch aethetics, man/machine confrontation, discipline vs. rebellion, cyberpunk
fetish of the main characters, the clone robot and his handler, seem to flash by the voewer's mind during this dramatic media performance
work. Yet, whether there are truly any such narrativity and deeper meanings behind the stage visuals, sounds, and pyrotechnics remains
to be found out.

The NEW ASDICON Group is composed of members of the Open Media Lab, China Academy of Art. The group specialized in new media
theatrical performances utilizing cutting edge technology sunch as interactvie body sensors, motion graphics, real-time audio-visual，
generative art, and man- machine interface. They have performed often as a group and as individual artists inside and outside China, and
have drawn attention from the international media art circles.

智能克隆人與其操控者之間的記憶錯亂、官能失控、誤發美學、人機對立、歸訓vs反抗、cyberpunk癖戀等議題與暗示不斷在觀者腦海中浮現。
然而此劇在一切電光火石聲影震撼之外，是否真有任何敘事成分或深層含義，全在虛實真假之間。

"NEW ASDICON"小組有開放媒體工作室的成員組成。擅長互動新媒體劇場演出，長期研發身體感應互動、動態影響與即興聲音、生成藝術、
人機界面等新媒體前沿技術。小組集體以及個別成員的國內外演出廣受好評，並受到國內外媒體高度關注。