Editing part of me - Jhouyu HSIEH

Editing part of me, and some unspeakable state. 

編輯某一部分的自己、某種難以言明的狀態

Video, mixed-media installation, text 錄像、裝置以及文本

2019

Dimensions Variable

關於自我追尋：

About self-seeking…

The reality of Taiwan reminds me of the 3D Dragon Incident (ポケモン(ポリゴン) Incident) in 1997, also known as the Pokémon Animation Event (ポケモンショック), which refers to the animation 38th episode broadcast on TV TOKYO on December 16, 1997., because the picture flashed too frequently, causing some viewers to feel uncomfortable and fainted, and caused 685 people to be sent to hospital for treatment. It becoming the world's largest epileptic seizures TV show in the history. Since then, the 38th episode of "Pokémon" has been permanently banned, and the 3D dragon in "Pokémon" has never appeared in TV animation.

I was inspired by this, it is like an unspeakable state of struggle in fear and discomfort. I painted a landscape using the color of the flag of the Republic of China (ROC) regime, re-created as a landscape image that induces acute photoallergic epilepsy (Photosensitive epilepsy, PSE for short); and using deconstruction and re-assemble of the archives as methods, using the customary series " Tai-wan fan-she t'u" which depict real life in Taiwan in the mid-18th century as the framework to deconstructing photographs, paintings and manuscripts from the government archives of the civil administration. I try to forming an alternative narrative landscape, embodying the imaginary landscape, serial image and text production process. Trying to perform kind of subconscious mind, outline kind of readable narrative machine, and some unspeakable state of war in the state of self-censorship.

台灣的現實感受讓我想起了1997年的3D龍事件（ポケモン（ポリゴン）事件），亦稱神奇寶貝動畫事件（ポケモンショック），是指1997年12月16日在東京電視臺播出的動畫《神奇寶貝》第38集中，由於後半段畫面閃動過於頻繁，導致部分觀眾感到不適及暈倒，並造成685人送醫院治療，成為全球史上引發癲癇突發症狀最多人數的電視節目。此後《神奇寶貝》第38集被永久禁播，《神奇寶貝》裡的3D龍再也沒有出現在電視動畫中。

以此為靈感，像是一種掙扎在恐懼與不適裡某種難以言喻的狀態，我以中華民國政權的國旗－青天白日滿地紅，為概念繪製了一幅風景畫，將其重新製作為引誘發生類似癲癇的急性光過敏症（Photosensitive epilepsy，光敏感性癲癇，簡稱PSE）的風景影像；並以檔案的解構(deconstruction)與重組(re-assemble)為方法，以十八世紀中期描繪臺灣真實生活的風俗系列《番社采風圖》做為文本的架構，解構來自民政時期政府檔案的照片、畫以及手稿等，組成另類的敘事風景，將想像的風景具體化，串聯影像和文本的生產過程，試圖在自我審查的狀態裡，進行某種潛意識意念、勾勒出某種可閱讀的敘事機器、和某種難以言明的戰爭狀態。