// Louis Henderson
// Soft：Doc // LH, SOLID, LETTERS, VOYANT 堅固・書信・通靈者
© Louis Henderson, Lettres du Voyant, 2013
// Soft：Doc // 軟紀錄片
// LH, SOLID, LETTERS, VOYANT — 堅固・書信・通靈者 影研會
// 放映導演：Louis Henderson
// 放映導演：Louis Henderson
// 主持人：林欣怡 國立陽明交通大學應用藝術研究所副教授
// 時間：12/07（二）16：35–17：50
地點： 國立陽明交通大學人社一館 R314（不設線上轉播）
// 本次映演將呈現路易斯．亨德森《通靈者書信》（Lettres du Voyant）、《一切堅固》（All that is Solid）兩部作品。
// 活動不需事先報名，但考量疫情，請與會者務必配戴口罩。
// 通靈者書信（Lettres du Voyant）
2013 | 00:40:00 | 英文 | 彩色 | 立體聲 | 16:9 | HD video
「奪回從我們身上偷走的黃金，這是我們行動的目標。」
《通靈者書信》是一部關於迦納通靈術和當代科技的「劇情紀錄片」（documentary-fiction），試圖揭示一種混合了巫毒術、名為「Sakawa」的網路詐騙真相。《通靈者書信》將詐騙者的故事追溯至迦納的獨立時期，視「Sakawa」為一種反新殖民的抵抗形式，這部電影以穿過數位化礦道的網路旅行為手段，將觀眾帶領至電影中的每個現場，例如：金礦、電子垃圾場、巫毒儀式或迪斯可舞會。劇中一名角色透過朗讀他寄給導演的書信，述說關於迦納、黃金和技術的殖民歷史。
“To take back the gold that was stolen from us – this is the object of our actions.”
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 “Sakawa” – internet scams mixed with voodoo magic. Tracing back the scammers’ 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’s 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’s author – letters that speak about the colonial history of Ghana, of gold, of technology.
// 一切堅固（All that is Solid）
2014 | 00:15:43 | 英文 | 黑白和彩色 | 立體聲 | 16:9 | HD video
「一切堅固的東西都煙消雲散了，一切神聖的東西都被褻瀆了，人們終於不得不清醒地直面他們生活的真實狀況，和他們相互的關係。」 — 卡爾．馬克思
隨著科技在過度開發的世界中向前推進，大量成堆的舊電腦被棄置和回收，送往西非海岸，最終被扔進了迦納阿克拉市的「Agbogbloshie」垃圾場。年輕人回收剛抵達的電子垃圾，他們破壞並焚燒塑料外殼以提取其中的貴金屬。最終，這些金屬被變賣、熔化並重新加工為新的商品——這是一個奇怪的回收系統，是一種藉非洲人在歐洲的材料中尋找礦物資源，而產生的一種逆反新殖民主義的採掘。
“All 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.” — Karl Marx
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 – 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.
Louis Henderson
1983, United Kingdom
路易斯．亨德森是一名導演，他目前正試圖找尋與人們合作的新途徑，透過考古學方法，質問當今由種族資本主義和歐洲殖民計劃源遠流長的歷史所定義的全球狀況。2007年畢業於倫敦傳媒學院，並於2016年獲得歐洲視覺藝術學院的藝術研究高等文憑。2017年起，亨德森於藝術家團體「The Living and the Dead Ensemble」工作。
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.
主辦單位｜國立陽明交通大學文化研究國際中心、台灣聯合大學系統文化研究國際中心、亞際文化研究國際碩士學位學程（台灣聯合大系統）
共同主辦｜國立陽明交通大學感官實驗室．跨文化電影研究
Organizers｜International 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)
Co-organizers｜Sensory Lab NYCU, Intercultural Cinema Studies NYCU