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"Wild Flowers" by Liu Dao "Dragonfly over Moganshan" by Liu Dao "Pixel Pixie" by Liu Dao "China Vibe" by Liu Dao "Suzhou Falls" by Liu Dao
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"Pixel Pixie" by Liu Dao <Click to enlarge>
TITLE "Pixel Pixie" (小仙女)
ARTIST Liu Dao 六岛
MEDIA LCD screen, GSM module, PC desktop, serial server, adobe flash interface
EDITION Unique
DATE Made in island6, Shanghai 2011
SIZE Variable
TECH SPECS INPUT 100-240V AC
EXPOSURE exhibited in "HK Art Fair 2011"
CREDITS Aima (performance) • Loo Ching Ling 吕晶琳 (video) • Thomas Charvériat (art direction & technical guidance) • Tony Argueta (post-production) • Pete Bradt (choreographer) • Clare Jacobson (production assistant) • Zhang Leihua 张雷华 (production coordination)
BLURB

Pixel Pixie is an SMS-activated video narrative made for viewers at HK Art Fair 2011.
Presented within the confines of pages on an LCD screen, model Aima Hunon plays the mischievous pixie. Like in a true Classical myth, her actions and thoughts are left to the will of the gods, but, in this cutting-edge, comic book flavored version, the gods are played by the guests of HK Art Fair, who are invited to write their own narration with their mobile phones.
As the pixie lounges nymph-style to ponder, viewers can submit their own interpretations of her state of mind through SMS text messages. Whatever is typed and sent to the accompanying cell phone number appears in a thought-bubble above and remains for the next cycle of visitors to see, pairing the image with a context created by the global community of art lovers passing through Hong Kong. Multiple figures appear on successive pages to accompany new messages allowing many to be viewed at once and host dialog between individual observers
The interactive artwork takes Victorian intellectual Max Müller's theory that myths evolve out of limitations in language and relates it to the "70-character-culture" (Chinese language SMS text messages are limited to 70 characters) of today. The world sends hundreds of billions (and by some estimates, trillions) of SMS text messages per year, often choosing input efficiency over elaboration, and these commonly adopted abbreviations and symbols can currently be transmitted and universally appreciated with almost folkloric recognition.
"Pixel Pixie" also derives meaning from work by E .B. Tylor, a contemporary scholar of Müller who introduced the concept of "survivals", which aimed to explain similarities in present-day and ancient customs through cultural evolution. These "survivals" are essentially the Victorian version of modern memes, the viral and ephemeral information that flies through millions of computers and smartphones in a day, before refracting, dispersing, and giving birth to something new further on in time. "Pixel Pixie" subsists on memes in the form of text messages -quantifiable units of information passed from one location to the next- but also becomes a meme, itself, in the model of modern "internet memes", exposing cultural jokes and observations made about contemporary society, and even more intriguingly, about the art-ecosystem of HK Art Fair.
Many internet memes, including "lolcatz" and "Courage Wolf", like "Pixel Pixie", are based in the familiar graphic style of comic books with eye catching images and bold text. Inviting internet users to create their own captions and explanations, these memes make the viewer the author and, like the mythologies of antiquity and comics of the modern age, help to subtly transmit social values and trends through relatable humor. In a time when audiences expect to influence as much as they are influenced, everyone becomes a storyteller and art like "Pixel Pixie" serves as a blank page on which they may write. Thus, the daily environment and surrounding artworks of the HK Art Fair will manifest through impressions left on the piece by the participating crowd.
Alongside these notions, "Pixel Pixie" brings participants right back to the beginnings of culture and animism, when objects and natural phenomenon were perceived to have humanlike souls. The pixie onscreen is simply information on a computer chip, not alive, yet she has the behavior of model Aima and the thoughts of the viewers embedded into her being. When we begin to project psychological states onto the image, we are reminded that, biologically, we're no different from humans at the beginning of civilization. [Brittney O'Neill & Pete Bradt]

小仙女
"小仙女"是一个专为2011香港艺术博览会观众准备的短信形式视频短片。
在LCD屏幕显示的页面中,模特Aima Hunon正扮演着淘气的小仙女。如同真正的古典神话一样,她的一举一动、一言一思都遵循神的旨意。但是,在这一漫画风味浓厚的高科技版本中,神就是香港艺术博览会的在场观众,他们可以用手机抒写神的手谕。
当小仙女躺下沉思时,观众可以通过文字短信发送他们对于她此刻心境的诠释。所有发送到相关手机号的信息都会在上方的一个思想泡泡中显示出来,和全球艺术爱好者汇聚香港的画面相映成趣,供下一批观众欣赏。在接下来的几页中,会有更多的小仙女和新信息一起出现,这样观众可以同时看到很多信息,并且可以和其他观众展开交流。
这一互动式艺术作品是依据维多利亚时期智者马克思·缪勒的理论"神话是由语言的局限性造成的"并结合当今的"70字文化"创作产生的。每年世界上总共有数千亿(据有些人估计应该是数万亿)文字短信发送,通常是长话短说,而这些常用的缩略词和符号现在几乎已经如民俗般得到国际社会的认可。
中文文字短信使用单一码格式,每条仅限70个汉字。英文短信每条上限是160个单词。
"小仙女"的涵义还取自缪勒学派的一位当代学者E.B.泰勒的作品。泰勒引入了一种"残存"理念,通过文化演变来解释当今世界文化和古代风俗的相似之处。这些"残存"正是维多利亚风格的现代文化要素,是每天在上百万台电脑和智能手机之间往返的电子信息。它们随后发生变化,传播开去,而最后产生新的元素。"小仙女"的生命以短信息的形式依靠文化要素而得以延续,因为每天有大量的信息从一个地方传到另外一个地方。同时,"小仙女"本身也成为一种文化要素,一种现代的"网络文化",用以传递文化笑话、人们对当代世界的评价、乃至人们对香港艺术博览会艺术生态系统本身的一种评价。
很多网络文化包括"囧"和"Courage Wolf",就如"小仙女"一样,是依据人们耳熟能详的漫画形象和文字创造而来的。通过邀请网络用户赋予注解,使观众成了作者,而这些文化信息也成了当代神话,通过幽默形式帮助传播社会价值取向。在当今这个观众期待着更多话语权的时代,每个人都是一个说书人,在"小仙女"这样的空白页面上书写自己的感触。因此,香港艺术博览会的日常环境和周边艺术作品将通过观众的参与而得到展现。
除此以外,"小仙女"还将参与者带回了文化和万物有灵之初。当时人们认为物体和自然现象都有像人一样的灵魂。屏幕上的小仙女只是计算机芯片上的一个信息,并没有生命,但是她也拥有模特Aima的行为举止,拥有观众赋予的思想精神。当我们开始将精神投射到她身上时,我们意识到,我们自己在生理上与文明伊始时的人类并无差别。

STATUS Reserved for "HK Art Fair 2011"
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island6 is a philanthropic project founded by artists and managed by devoted creative staff. The spirit & driving force behind all of island6's works and art-forward exhibitions is collaboration.
六岛是由艺术家自发创立, 由创作人员管理的公益艺术机构。其精神是为艺术家提供平台并支持各项协作项目。