The term "Pervert in Silence"; from the Internet, means how perversion in the silence of speech control and censorship can be used as a new way of the uprising, a line of resistance, in the midst of a long history of failure. By using the exceptions of similar perversions and mental faculties that are superficially conforming to the rules, an inner variation to break through the limits of the exceptions, using the conforming state as a means of voice and resistance, merging with the silence, and using that outer skin that seals us in to stand out in our own shape.
The exhibition attempts to use machinima as a form and tool of discursive creation for online ethnography, historical writing, and field research, opening up the possibility of writing and changing digital history through machinima, a kind of narrative that borrows the fulcrum of the game (cultural) framework and comes from the comparative vision of the player (controlled) outside the official (controller), non-subjective, and non-major narrative of the game. viewpoint. In this way, Poyuan continues to think about Machinima as a tool for the production of resistance media and external narratives in the digital world. To open up the consideration of Machinima as an attitude of resistance in the post-Internet era.
Exhibition Introduction
The term "Pervert in Silence"; from the Internet, means how perversion in the silence of speech control and censorship can be used as a new way of the uprising, a line of resistance, in the midst of a long history of failure. By using the exceptions of similar perversions and mental faculties that are superficially conforming to the rules, an inner variation to break through the limits of the exceptions, using the conforming state as a means of voice and resistance, merging with the silence, and using that outer skin that seals us in to stand out in our own shape.
The exhibition attempts to use machinima as a form and tool of discursive creation for online ethnography, historical writing, and field research, opening up the possibility of writing and changing digital history through machinima, a kind of narrative that borrows the fulcrum of the game (cultural) framework and comes from the comparative vision of the player (controlled) outside the official (controller), non-subjective, and non-major narrative of the game. viewpoint. In this way, Poyuan continues to think about Machinima as a tool for the production of resistance media and external narratives in the digital world. To open up the consideration of Machinima as an attitude of resistance in the post-Internet era.
About the Artist
Juan Poyuan, an artist, gamer and Internet addict, takes digital archaeology as the core concept of his creative process, and has been focusing on digital games and online spaces for a long time. Poyuan ‘s creation source combining online games, online communities, machine-made videos, game engines, 3D software, history, memory, aesthetics and technical characteristics to create a new, contemporary visual experience, technical thinking, sculpture, video and other ways of viewing, presenting new perspectives and ways of thinking to reflect on and question the meta-set-up behind this post-Internet era.
About the Artist
Juan Poyuan, an artist, gamer and Internet addict, takes digital archaeology as the core concept of his creative process, and has been focusing on digital games and online spaces for a long time. Poyuan ‘s creation source combining online games, online communities, machine-made videos, game engines, 3D software, history, memory, aesthetics and technical characteristics to create a new, contemporary visual experience, technical thinking, sculpture, video and other ways of viewing, presenting new perspectives and ways of thinking to reflect on and question the meta-set-up behind this post-Internet era.
About the Works
man of straw
"Man of Straw"’constructs an ever-changing and visualized censorship image, the Straw Man, by collecting and investigating the symbols of Chinese server censorship and the tool (3D model) that covers the unqualified objects in the game space - the Scarecrow - and creating a archive and a diagram to connect all the "abnormal" gestures
About the Works
man of straw
"Man of Straw"’constructs an ever-changing and visualized censorship image, the Straw Man, by collecting and investigating the symbols of Chinese server censorship and the tool (3D model) that covers the unqualified objects in the game space - the Scarecrow - and creating a archive and a diagram to connect all the "abnormal" gestures
Fr(l)esh Bread
Fr(l)esh Fruit
Dead Stone
"Fr(l)esh Bread", "Fr(l)esh Fruit" and "Dead Stone" are digital archaeological studies of environmental objects in the online game space as a concept of digital field. Through collecting and investigating the symbols of Chinese server censorship and covering the unqualified objects with wrapping tools (3D models) - bread, fruit, stone - in the game space, and uncovering these sunken, stigmatized and buried objects through physical simulation experiments.
Fr(l)esh Bread
Fr(l)esh Fruit
Dead Stone
"Fr(l)esh Bread", "Fr(l)esh Fruit" and "Dead Stone" are digital archaeological studies of environmental objects in the online game space as a concept of digital field. Through collecting and investigating the symbols of Chinese server censorship and covering the unqualified objects with wrapping tools (3D models) - bread, fruit, stone - in the game space, and uncovering these sunken, stigmatized and buried objects through physical simulation experiments.
Intrusion
Intrusion" is based on the invasion of the Taiwanese server by Chinese Internet users (players) of the game "World of Warcraft" (2007~2011). The video content uses character models representing Chinese censorship as symbols, and uses the game engine and simulated cluster movement algorithms to create a large number of aggregated, unconscious and twitchy character models. Try to touch the meaning of digital ruins, abandoned network space, and unoccupied server state.
Intrusion
Intrusion" is based on the invasion of the Taiwanese server by Chinese Internet users (players) of the game "World of Warcraft" (2007~2011). The video content uses character models representing Chinese censorship as symbols, and uses the game engine and simulated cluster movement algorithms to create a large number of aggregated, unconscious and twitchy character models. Try to touch the meaning of digital ruins, abandoned network space, and unoccupied server state.
