林欣怡 // SENSORY LAB 清大感官實驗室

//Soft:Doc v 軟紀錄片影研會

黑碼.聲據 影研會

Black Code/Code Noir
Evidence of Things Unseen but Heard

2023.04

// 主持人—林欣怡 國立清華大學藝術與設計學系副教授
// 放映導演—Louis Henderson
// 放映影片|《黑碼》(Black Code/Code Noir )
《無影聲據》(Evidence of things unseen but heard)
// 時間|2023/04/27(四)19:00–20:40
//地點|國立清華大學水木書苑

…reusing of source code as re-source code,
and to bring out code’s power
as a form of animistic fetish. 
重新使用原始碼作為資源回收碼
並以此力量作為ㄧ種泛靈神物形式展現。

LH.jpeg

路易斯.韓德森 Louis Henderson

Director

路易斯.韓德森是一名導演,試圖尋找新方式與人合作。透過考古學方法,探討並質疑當今在種族資本主義和歐洲殖民計劃那未曾消逝的歷史下所給定的世界情勢。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。自2017年,韓德森為藝術團體「The Living and the Dead Ensemble」一員。

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.

// Louis Henderson – LUX     // Louis Henderson – IF

BlackCode/CodeNoir

2015 | 20’50” |English|Black & White|Stereo|16:9| HD video

BlackCode/CodeNoir unites temporally and geographically disparate elements into a critical reflection on two recent events: the murders of Michael Brown and Kajieme Powell by police officers in USA 2014. Archaeologically, the film argues that behind this present situation is a sedimented history of slavery preserved by the Black Code laws of the colonies in the Americas. These codes have transformed into the algorithms that configure police Big Data and the necropolitical control of African Americans today. Yet how can we read in this present? How can we unwrite the sorcery of this code as a hack? Through a historical détournement the film suggests the Haitian Revolution as the first instance of a hacking of the Black Code and thus as a past symbol for a future hope.

References: 
https://lux.org.uk/work/black-codecode-noir/

黑碼

2015 |20’50” |英語|黑白和彩色|立體聲|16:9| HD video

《黑碼》結合時間、地理兩種相異元素,對2014年美國警察槍殺非裔美國青年邁克爾.布朗與黑人青年鮑威爾兩起事件進行批判性反思。從考古學的角度,本片認為此現狀來自於存留在美洲殖民地的《黑人法典》(Black Code, 1866年密西西比州首先公佈)中奴役黑人的歷史積澱。而黑人法典在當今已轉化成黑碼演算法配置著警察大數據,以及對非裔美國人「死亡政治」(necropolitical)的控制。此刻我們如何解讀此黑碼?我們如何駭入破寫當代的黑碼魔咒?透過異軌/反轉歷史,《黑碼》暗示海地革命是對《黑人法典》進行攻擊的第一個實例,並以此作為未來希望的歷史象徵。

資料來源:https://lux.org.uk/work/black-codecode-noir/

Evidence of Things Unseen but Heard

2018 |19’48”|English|Colour|Stereo|16:9|HD video

Evidence of Things Unseen but Heard is an audiovisual collage conducted as an archaeological survey into the music scene of the city of Bristol, specifically plotting: “The Bristol Sound”. The beginning is the neighbourhood of St. Paul’s in Bristol, or perhaps it is the sugar plantations of the Caribbean that led to the wealth of Bristol through centuries of trade of enslaved Africans, or somewhere in the middle of the Atlantic Ocean, which operates as the connecting volume between these geographies and times. The predominately Caribbean community of St. Paul’s protested in April 1980 against the brutality of the police forces in particular and against the racist institutions and conditions of economic oppression of Margaret Thatcher’s government more broadly. The centuries of colonial violence echo back, entangled with the nights of unrest resulting from a complex security apparatus activated through computerised police surveillance and newly implemented Stop and Search laws across Bristol, and other parts of England.

This audiovisual collage argues that such measures of social control used against the St. Paul’s community were first developed on the slave plantation in the Caribbean. Rippling and reverberating through time are the sonic acts that unleashed rhythms of defiance, against the Police/Plantation state. The Reggae Sound System is imagined as an alternative public sphere with Dub as its technological invention, suggesting, as Fred Moten has described, that “
Sound gives us back the visuality that ocularcentrism had repressed.

 

References: https://lux.org.uk/work/black-codecode-noir/

無影聲據

2018 | 19’48” |英語|彩色|立體聲|16:9| HD video

《無影聲據》是一部影音拼貼作品,透過考古方法調查布里斯托市的地下音樂文化,並尤其鎖定「布里斯托之聲」。影片交錯了聖保羅社區、經歷了幾個世紀的非奴隸貿易區、為布里斯托帶來富裕的加勒比地區的蔗糖園、甚至是大西洋中央一帶。1980年4月,以加勒比海社區為主的聖保羅人抗議警方的暴行,同時也抗議柴契爾夫人政府下的種族主義制度和經濟壓迫條件。數世紀以來的殖民暴力與無數夜間的動盪交織回響,這些動盪是由一套電腦化的警察監視系統和橫跨於布里斯托市和英國其他地區新實施的《截停和搜查法》雙雙構成的複雜維安機制所肇始。

本片主張對聖保羅社區實施的社會控制最初是在加勒比海的奴隸蔗糖園上發展而來。回蕩於時空中的是解放反抗節奏的「聲躁」,抵抗著警察/殖地的政權。雷鬼聲音系统伴隨著「混搭/迴響」(Dub),被想像成一個替代的公共領域,一如弗雷德.莫頓所述「聲音把視覺中心主義壓抑的視覺性還給我們。

(資料來源:https://lux.org.uk/work/evidence-of-things-unseen-but-heard

// Screening Director: Louis Henderson
// Moderator: Hsin-I, LIN, Associate Professor of Art and Design Department, National Tsing Hua University
// Time: 19:00-20:30, April 27, 2023 (Thursday)
// Venue: National Tsing Hua University  NTHU Books (no online broadcast available)
// This screening will feature two works by Louis Henderson: “Black Code/Code Noir” and “Evidence of Things Unseen but Heard.”
// No prior registration is required for this event, but due to the pandemic, attendees are required to wear masks.

// 放映導演:Louis Henderson
// 主持人:林欣怡 國立清華大學藝設系副教授
// 時間:2023.4.27(四)19:00–20:40
// 地點: 國立清華大學 水木書苑(不設線上轉播)
// 本次映演將放映路易斯.韓德森《黑碼》(Black Code/Code Noir )、《無影聲據》(Evidence of things unseen but heard)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

19:00~19:20 Opening: Introduce
19:20~19:45  Black Code/Code Noir
19:50~20:15  Evidence of things unseen but heard
20:20~20:40 The screening will be followed by a Q&A with participants moderated by Prof. Hsin-I LIN

19:00~19:20 入場介紹
19:20~19:45 黑碼
19:50~20:15 無影聲據
20:20~20:40 映後討論

主辦單位|國立清華大學 Soft:Doc Lab
協辦單位|國家科學及技術委員會.清大水木書苑
Organizers|Soft:Doc Lab NTHU, Intercultural Cinema Studies NTHU
Co-organizers|National Science and Technology Council, NTHU Books