【Eco as A Verb】 35th Asolo Art Film Festival Focal Theme Video Exhibition 【生態作為動詞】第35屆義大利阿索洛國際藝術電影節主題影展

【Eco as A Verb】 
35th Asolo Art Film Festival Focal Theme Video Exhibition
Curator: Yunnia Yang

Time: 2016. 09.10 (Sat.)  18:00 / 09.17(Sat.) 16:30 / 09.18(Sun.) 14:00

Venue: Duse Theater, Asolo, Italy 

【生態作為動詞】 
第35屆義大利阿索洛國際藝術電影節主題影展
策展人:楊衍畇

“Eco As A Verb” means to regard “Ecology” as a Verb, an Action to do it, instead of understanding it. Most people know to love the planet and raise the environmental awareness, but there are big steps from awareness to actions. The green documentaries or contemporary videos here are nor to initiate another environmental activism, but to suggest that after watching these films each viewer may think what he can do by his own for the good sake of our environment to improve the current situation. There is no need to make any alliance, but to be touched, then just do it! Although the notion “Eco as a Verb” is proposed in the 35th Asolo Art Film Festival, we truly hope it can work in practice all over the world. The focal theme project“Eco As A Verb” includes five categories: “Eco Creativity”, “Eco Apocalypse”, “Eco-Human Chain”, “Eco Mythology”, and “Special Focus: Dancecology”

【Eco As A Verb】意為「生態作為動詞」，多半人都知道要環保愛地球，但知行之間天差地遠，這些喚起生態意識的紀錄片或當代錄像，並非是要掀起另一番環保社運，而是從每位觀影者從觀影的感動中思考自己能為我們的大環境做到甚麼可以小小改善現狀的愛護生態行動，無需串聯、只需感動與行動，儘管這項「生態即動詞」的想法在本屆義大利影展提出，卻希望能漸漸擴及全世界。生態主題影展包含「生態創意」、「生態啟示錄」、「生態鏈」、「生態神話」與「特別聚焦:舞蹈生態系」五大類生態子題。

Eco Creativity 

Facing to the exhaustion of resources, the endangerment of environment, how the human beings proud of creativity could overturn such a poor living condition？”Angel Azul” shows a submarine museum as a shelter for coral reefs to live gracefully. “Second Wind” is a sad metaphor of the post-apocalyptic survival happiness that it still could be found the memories and the imaginations about the natural beauty in such a deserted land. The positive thinking is the survival attitude we contemporaries shall keep. In “Rubbing the City: Beautiful Dirty Bubble”, the artist Tsuei Kuang-Yu transforms bus pollution into beautiful bubbles as the alchemic power of art.　

生態創意

面臨資源耗盡、生態浩劫，以創意自豪的人類又能如何翻轉生存劣勢？如海底美術館的「蔚藍天使」為珊瑚礁找到棲身處優雅續命，「二手風」傷感地隱喻末日後倖存的幸福是在一片無情荒地仍能找到對絕美自然的回憶與想像。正向能量的轉念是當代人類必持的生存態度，好比「城市按摩:美麗的髒泡泡」藝術家以創作施展煉金術將公車廢氣轉化成美麗泡泡。

Eco Apocalypse

For utopian perspective, human beings always trap themselves into a kind of swamp endangering the whole ecology without any awareness. “Renew: the future not future” , “ Arcadia”, “Inverso Mundus” all imply the same context that human beings cannot compensate their faults for the sake of pursuing progress and comfort. Therefore, “Renew” is nor a new birth, but a fear and regret to the living being of the future. With the long shots, “Arcadia” discloses the cruel truth of the arcadia that human beings imagine. Seemingly absurd “Inverso Mundus” implies the strength of natural counterattack. As human beings think themselves as a high-level creature, misusing domination, regardless of the seriously devastated nature, the price for this bad manner is far to imagine.

生態啟示錄

人類對烏托邦願景總是不自覺地陷入一種危害生態的泥沼中，「再生/未來非未來」、「阿卡迪亞」、「顛倒世界」三部影片的情境設定皆是人類為求進步舒適所犯過錯已無法補救，因此「再生」並非是新生，是對未來生命存在的恐懼與悔恨，隨著「阿卡迪亞」長鏡頭揭露了人類所想像桃花源的殘酷真實，看似荒謬的「顛倒世界」暗示生態反撲的力量，若是人類過於自視高等、濫用權力，不顧嚴重被扭曲糟蹋的生態，這惡果的代價可是難以想像。


Eco-Human Chain

“Ecology” in Greek means “House”, a man and his internal/external house. A family living together in harmony can nurture a human being and enrich his life. If with the attitude of possession and exploitation, this house will be destroyed by his own eventually. Eight films will give us the reflections on the relations between human civilization and ecological ethics.

生態鏈

“Ecology”希臘字源有「家」涵義，人與內外在的家、家人和諧共處，會滋養自身豐富生命，若抱持佔有剝削心態，最終這個家反被自我摧毀，想再重建家園已悔不當初，八部影像作品將重新省思人類文明與生態倫理的關係。

Eco Mythology

By means of myths interpreting human rationality and sensibility, reality and fantasy, human beings will also lead a mysterious conversation encountering nature and civilization and turn into a new myth. “ Imago Typhonis” reflects the worries of globalization that the featured cultures are constantly simplified to the universal codes. To delete or twist the cultural features is a death for that cultural ecology. “Insatiable” is a metaphor about the night market culture in Taiwan. A powerful consuming giant creature floats in front of us just like the mirage of Loch Ness Monster. As if everyone to indulge in carnal pleasure without restraint, this inner serpent will swallow the self and exhaust the ecology. “Death is Life” is about a life myth that human beings have a sense of awareness about the rebirth sign born of the natural change encountering the death, to love and imagine life endlessly.

生態神話

透過神話詮釋人類的理性與感性、現實與狂想，人類亦會與所遭逢的自然與文明進行一段神祕對話，轉化成新的神話。「風暴意象」反映著特色文化不斷簡化為普遍性符碼的全球化隱憂現象，抹除或扭曲文化特色對該文化生態無異是一種死亡。「未央」則是以台灣夜市文化隱喻為生猛有力、卻吞食消耗的龐然大物，猶如尼斯水怪奇觀式浮現眼前，仿彿人人過度縱慾享樂，內在的蟒蛇不但吞噬自己亦耗盡生態。「雖死猶生」是指人類面對死亡具有一種覺察周遭生態變化的再生符號，以愛與想像無止息地創造生命神話。

Special Focus:Dancecology

Fusing the notion of ecology into the contemporary choreography, Dancecology from Taiwan is one of the kind. Founded in 2009, the artistic director Peng Hsiao-Yin employs the concept of “Circulation and Coexistence” from ecological system to create organic movements, in the form of interdisciplinary arts to invite all the audience to experience the aesthetics coexistent with environment and space. For the 30th edition in 2011 , Dancecolgy presented “ Dancing of Time”, which spread out the energy of dancing all over Asolo. Just like an aesthetic reflection of a plant’s growing strength and nature itself. This works was favored by film audience and local inhabitants. In the 35th anniversary , Dancecolgy would like to dedicate to the metaphor of life color with the new work “ Flowing Landscape” as the opening / closing performances and “Whisper in Town" series, in memory of the spiritual leader of Asolo Art Film Festival –Attilio Zamperoni. Besides, since 2012 Dancecolgy explores the filmic language of Dance Video, continues to bring the ecological concern into videos. This edition will present six Dance Videos of Dancecolgy.

特別聚焦:舞蹈生態系

將生態思維融入當代舞蹈的編創概念，台灣首推舞蹈生態系創意團隊 (Dancecology )，成立於2009年的新型態複合式展演團體， 藝術總監彭筱茵運用生態系中「循環、共生」的概念， 創造特殊有機律動，透過跨領域藝術的形式， 期望和觀眾一起體驗與環境、空間共生的美學。2011年第30屆阿索洛影像藝術節所呈現的「時光蔓舞」將舞蹈的能量遍布古城，猶如植物生長的力量與自然自成一個的美感相映，深獲影展觀眾與當地居民喜愛。今年第35 屆紀念周年，舞蹈生態系將生命色彩的隱喻體現在新作「流色山水」作為影展開閉幕表演。此外，自2012 年舞團創作延伸到舞蹈影像，持續將生態關懷意念融入在影像中，本屆影展亦將呈現舞團六部舞蹈影像作品。

【Eco as A Verb】Trailer
【生態作為動詞】 預告片
https://www.youtube.com/watch?v=ot8bdMZS7jY

A. Eco Creativity / 生態創意

1. Angel Azul ( 蔚藍天使)
Marcy Cravat｜USA｜2014｜72min 

Angel Azul explores the artistic journey of Jason deCaires Taylor, an innovative artist who combines creativity with an important environmental solution; the creation of artificial coral reefs from statues he's cast from live models. When algae overtakes the reefs however, experts provide the facts about the perilous situation coral reefs currently face and solutions necessary to save them. Peter Coyote generously provides insightful narration that leaves viewers pondering our connection to this valuable and beautiful ecosystem.

本作探索以創意解決環境困境的藝術家Jason deCaires Taylor創作之旅, 由真人翻模的雕塑形成人造珊瑚礁。每當受到水藻侵襲，專家提供珊瑚礁瀕臨危險的事實與解救方法。影片引領觀眾思索人類與這美麗珍貴生態系統的關係。

2. Second Wind( 二手風)
Sergey Tsyss｜Russia｜2012｜ 5min 50 sec 

Second Wind is a short film that attempts to solve a difficult problem - to show the tragic destiny of the planet in small form. Maybe this is why the film has no words in it, but only the main character’s cry of despair. This person is forced to live in the vacuum of the dead nature, but like a reckless poet, he reads his naive poem every day to the dry wind and flowers made of cans. There are neither words nor rhymes in this poem – there is only wind, the second wind.

本片企圖解決一個難題-以微形式顯現行星的悲劇命運，或許這是為何影片無言，僅有主角的絕望吶喊，他被迫活在一個死寂自然的孤立狀態，而就像一位魯莽的詩人，每日對乾燥微風與罐頭花朵朗讀其純真詩句，這首詩既無語詞亦無韻味，只有陣風，二手風。

3. Rubbing the City: Beautiful Dirty Bubble
Tsui Kuang-Yu｜Taiwan｜2012｜7 min56sec
城市按摩:美麗的髒泡泡｜崔廣宇

“ For this video, I first created a bubble machine that runs on the exhaust of buses. The goal was to transform these passenger-carrying city buses, tourist buses, or trucks into mobile bubble machines that criss-cross the city, coating the dirty city air with the beauty of imaginative possibilities. Similar to the various objects that fill our daily lives, I am optimistic that through this transformation and whitewash, this imperfection can in fact become a street bubble show reverie. At the same time, through this symbolic contrast, I try to ask: Behind this sugar-coated rhetoric of modern day life, what is it that ultimately shapes and drives our lives? And do we have the ability to imagine or even create a relationship between this system of life and ourselves?”

在這個行動紀錄裡，我製作一個利用汽車排氣來驅動的泡泡機，目標是要把一輛輛載著乘客的公車變成了靠著廢氣運轉的行動泡泡機，透過車輛在城市中的來回穿梭、摩擦出一個包覆著骯髒空氣的美麗假想。就如同充斥著我們日常生活的其它事物一般，我樂觀地將這不完美轉化、粉飾成為一場夢幻的街頭泡泡秀，同時透過這個象徵性的對比在提問著，我們眼前這個被漂亮說詞所包覆的當代生活背後，到底是什麼在塑造和驅動著我們的生活？而我們是否還有能力去想像，甚至創造自己與這些生活系統的關係。

B. Eco Apocalypse(生態啟示錄)

1. Renew: the future not future
Zhang Xu Zhan｜Taiwan｜2010｜5 min
再生:未來非未來 ｜張徐展

What do we need in the future? Human beings continue to renew their city for the beautiful future or just want to pursuit the never satisfied desires. The black liquid paint monsters were the implication of the future ecology. The huge trees refuse to breath and provoke the high acidic waste and erosion effect the whole biosphere. The greedy human nature is hard to change. The world is a large-scale building under the ecological vicious cycle and we can predict that the earth in the universe will become a lifeless monument in the future. Human beings want to create a better future, but ironically, we have constructed is no future.

我嘗試利用動畫可以完全虛構的形式去創造一個完全假造的未來型態，本作是對應一段時間的台北正在高頻率進行城市改造 ，對我來說都市更新就像是人們對未來充滿了憧憬、遠景及幻想，想像創造更美好的世界景觀而去執行的一種行動。但在社會的資本主義架構下，都市更新這項計畫已經逐漸變調，人們越來越貪婪試圖將更老舊的文化建築當作是資本在買賣起建更大的現代建築，其實這只會加速的消耗這世界能量，製造出多種短暫的快感，於是我創造了一段都市更新後的未來面對未來的生存地獄。

2. Arcadia(阿卡迪亞)
Rick Fisher｜Canada｜2014｜ 4 min 52 sec

A digitally augmented metaphorical response to an age-old question, namely, is there a dark side to the human endeavor to create the perfect habitation able to sustain the lifestyle of our own choosing within the natural limitations of the planet earth? One person’s notion of Utopia is another person’s nightmare. The background scenes for Arcadia were shot in the pristine Canadian Pre-Cambrian Shield that contains some of the oldest rock formations on the planet. Each scene was then digitally augmented incorporating elements that never could have occurred naturally. For example, in one scene, multiple copies of a dancer inspired by the Japanese Butoh movement are placed into the scenery along with giant smokestacks. The uncanniness of the verisimilitude convinces the viewer that the scene was captured as is with the camera, and causes the viewer to re-interpret their understanding of Utopia, the impact of human activity, and our moral stance to our environment and to each other.

影片提問一個亙古問題，人類努力創造完美生活環境，在地球自然資源有所限制下維持我們所選擇的生活方式，是否有其黑暗面? 某人的烏托邦想法卻是他人的夢魘…。

3. Inverso Mundus(顛倒世界)
AES+F｜Russia｜ 2015｜38 min

Mundus – the Latin "world" and Inverso – is both an Italian "reverse, the opposite" and the Old Italian "poetry," which alludes to the art processing. In our interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metro sexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.

「顛倒世界」以中世紀嘉年華荒謬場景隱喻當代生活的片段，人物從荒誕的社會烏托邦場景出場並交換面具，從乞丐變成富人、從警察變身小偷。都會美男的街道清道夫以垃圾洗滌城市，女檢察官在IKEA式結構體上折磨男性，小孩與老人在打跆拳賽。「顛倒世界」是將奇想怪獸視為寵物、將末日當成娛樂的世界。

C. Eco-Human Chain(生態鏈)
1. Fashion To Die For(為時尚捨命)
Lynn Estomin｜USA｜2015｜ 5 min38sec

Spinning spools of colors and thread; flowing ribbons of fabric and people; frantic movements of garment workers and machines; desperate searching by rescue crews and family members; set to Ritsu Katsumata’s haunting score create a sound and image indictment human rights violations by the global textile industry.

彩色線軸不斷旋轉，布匹與人們亦不停竄出，成衣工人與機械狂亂運行， 搜救隊與家屬心急尋找，在 Ritsu Katsumata縈繞不去的樂聲中，影像控訴違反人權的全球紡織業。

2. Solastalgia(另一種鄉愁)
Isabelle Hayeur｜Canada｜ 2014｜14min45sec

Solastalgia is a concept created by environmental philosopher Glenn Albrecht to define a feeling of unease tied to the upheavals and mutations we are experiencing today. It is the homesickness we may feel when we are still at home, but our familiar surroundings have grown strange to us. Nowadays, this state of loss of bearings seems to become generalized under the pressure of heightened development. In the Anthropocene Era, affected as we are by the rising world population, climate change, and the transformation of our ecosystems, this may be a form of latent distress that haunts us all.

Solastalgia 是由環境哲學家Glenn Albrecht所提出的概念，定義一種因我們今日所經驗的動盪轉變所造成的不安感。這是當我們仍在家所可能感受的思鄉病，而我們所熟悉的環境卻如此陌生。 當前，這種失落狀態在高度發展壓力下似乎非常普遍，處於人類世使我們被世界人口增加、氣候變遷、生態系統改變影響，這可能是一種潛藏於全人類生命的不幸形式。

3.entro(SCO)py(內視鏡)
Marie- France Giraudon｜Canada｜2015｜15min50sec

"entro(SCO)py" is a video-experience in the depths of a glacier affected by global warming. In the manner of an endoscopic camera probing human organs, the camera-body seeps where man usually has no place, in inaccessible places and weakened by melting. The video evokes both a physical challenge and a reconstructed imaginary experience. His unexpected result broadens the scope of this metaphorical journey, offering the viewer to reinterpret the work from the perspective of ecology.

本作以受全球暖化影響的冰河深處為錄像經驗，以內視鏡探測人體器官的方式，攝影機機身滲透人類通常無法容身之處，因融化而弱化、無法接觸的地方。影片既引發了實質挑戰，也喚起一種重新組構的想像經驗，無法預料的結果擴展形上之旅的範疇，提供觀者以生態觀點重新詮釋本作。

4. The Vision Within(內在視界)
Michael Snyder｜ Peru, Brazil｜ 2014｜37 min59sec

A film about a group of students who travel deep into the heart of the Amazon to meet an ancient ‘dream culture’. As they return home they must find ways to integrate their experiences into lives in service of their own inner visions and the future of our planet... exploration of the critical role that our inner visions can play in awakening a socially just, environmentally sustainable future.

本片是關於一群深入亞馬遜河流域心臟地帶的學生與古代「夢文化」相逢，當他們返家，必定尋找方法去融合自身經驗於為自身內在視野與地球未來努力的生命中…探索我們內在視野能扮演影響社會覺醒、環境永續的批判角色。

5. The Messenger(地球的信差)
Su Rynard ｜ Canada｜ 2015 ｜90 min

“The Messenger” explores our deep-seated connection to birds and warns that the uncertain fate of songbirds might mirror our own. Moving from the northern reaches of the Boreal Forest to the base of Mount Ararat in Turkey to the streets of New York, The Messenger brings us face-to-face with a remarkable variety of human-made perils that have devastated thrushes, warblers, orioles, tanagers, grosbeaks and many other airborne music-makers. On one level, The Messenger is an engaging, visually stunning, emotional journey, one that mixes its elegiac message with hopeful notes and unique glances into the influence of songbirds on our own expressions of the soul. On another level, The Messenger is the artful story about the mass depletion of songbirds on multiple continents, and about those who are working to turn the tide. In ancient times humans looked to the flight and songs of birds to protect the future. Today once again, birds have something to tell us.

鳴禽類是鳥類中最多的一種族群，牠們有發達的發聲器，能與同類溝通。而人類恣意妄為的發展導致氣候快速變遷，鳥類無法適應，連人類也難逃地球的反撲，必須付出慘痛的代價。 紀錄片以一種藝術的方式拍攝我們週遭的鳥類，突顯出人類如何掠奪鳴禽的棲息地，並且點出我們忽略的事實，人類正逐漸失去對地球的掌控，以及這些自古以來、長久相伴的生物。

6. COWSPIRACY(乳牛陰謀)
Kip Andersen& Keegan Kuhn｜ USA｜ 2014 ｜91 min

“Cowspiracy: The Sustainability Secret”is a groundbreaking feature-length environmental documentary following intrepid filmmaker Kip Andersen as he uncovers the most destructive industry facing the planet today – and investigates why the world’s leading environmental organizations are too afraid to talk about it.

「乳牛陰謀:永續性秘密」 是一部獨創性的環境紀錄長片，導演無畏地揭露當今對地球最具摧毀性的產業，並調查世界頂尖環境組織為何過度懼怕談論它。

7. POVERTY, INC. (貧窮公司)
Michael Matheson Miller｜USA｜ 2014｜95min

The West has positioned itself as the protagonist of development, giving rise to a vast multi-billion dollar poverty industry — the business of doing good has never been better. Yet the results have been mixed, in some cases even catastrophic, and leaders in the developing world are growing increasingly vocal in calling for change.

西方定位自身為發展的主角，引發高達幾十億美元鉅額的貧窮產業— 良心事業未曾更好 ，然而結果卻是悲喜參半，有些狀態甚至很具災難性，開發中世界的領袖所發出要求改變的聲音日漸有影響力。

8. How to Let Go of the World: and Love All the Things Climate Can’t Change
如何放手這世界,愛護氣候無法改變的一切
Josh Fox｜USA｜ 2015｜127 Minutes

Oscar Nominated director Josh Fox (GASLAND) continues in his deeply personal style, investigating climate change – the greatest threat our world has ever known. Traveling to 12 countries on 6 continents, the film acknowledges that it may be too late to stop some of the worst consequences and asks, what is it that climate change can’t destroy? What is so deep within us that no calamity can take it away?

以「天然氣之國」(Gasland)提名 奧斯卡的導演Josh Fox 繼續以他個人風格調查我們世界從未瞭解的最大威脅-氣候變遷，行跡遍布12國6大洲，影片表示阻止最壞結果可能為時已晚 ，或是現在才問什麼是氣候變遷無法摧毀的? 什麼是我們內心最深刻的，而災難無法帶走?

D. Eco Mythology (生態神話)

1. Imago Typhonis(風暴意象)
Albert Merino︱Spain︱2016︱10 min

“Imago Typhonis” is a tale about foundation myths who assumes the otherness departing from our owns referents, and how the myths incise in the perception of the environment A poem from Fernando de Valverde about the Sanctuary of Copacabana, in Bolivia, interpret the myths of the Andes using and comparison with the ancient Greek Myths. Using the own referents for explaining the otherness we can ask ourselves if we are maybe trying to talk about us using the strange. This effort is condemned to the failure because both Universes are irreconcilables. “Imago Typhonis” is a reflection about the impossibility to assume the otherness as our own, and of the different strategies of appropriation between the different imaginaries.

本片是關於一個奠基神話的故事，假設有出自我們己身的指涉對象之他者， 神話如何以環境感知切入一首Fernando de Valverde 所寫關於玻利維亞的Copacabana神殿的詩，應用比較古希臘神話以詮釋安地斯神話 。使用自身指涉物來解釋他者，我們能自問假如我們或許試著以奇怪方式談論自己。這項努力被認定會失敗，因為這兩個宇宙是矛盾的。「風暴意象」是反映假定自身為他者的不可能性，並思考不同想像間採不同挪用策略。

2. Insatiable
Jawshing Arthur Liou (Director) Rachel Weaver(Sound composition)︱Taiwan︱2010︱ 10min
未央/ 劉肇興(導演); Rachel Weaver(配樂)

The Insatiable is part of a video series titled Feast and Metamorphosis, which was created during an artistic residency in my home country Taiwan. It is my first body of work produced there after 16 years of living abroad. It echoes the theme of my video series, Things that are edible, in 2002. While the Edible addresses food related issues of migration, nostalgia, and cultural stereotype, The Feast focuses on the fascination about the authentic food experiences in Taiwan.

The Insatiable is composited from a dozen footages filmed at an open night market. The visual strategy adopts a fusion of microscopic and macroscopic perspectives. The streetlights and mingling walkers are transformed into bodies of massive creatures, bearing resemblance to snakes, dragons, or even huge intestines.

「未央」是由十多張台灣露天夜市的拍攝影像所組成的，該視覺策略採用融合微觀與巨觀視角，街燈與往來的行人轉化成龐然生物，如蛇似龍，甚至像巨大的腸子。

3. Muerte es Vida (Death is Life)雖死猶生︱Ali Alvarez︱United Kingdom︱ 2015︱ 68 min

Muerte es Vida (Death is Life) - a documentary about the connection between life, death and nature. Seven people, from Canada to Mexico, are each given a touch of hope by a visit from a Monarch butterfly at a time of loss. We meet these people and see how each have dealt with their loss, and how something as small as a butterfly can change a moment the darkest moment in their life.

本紀錄片是關於生命、死亡與自然的關連，七個人從加拿大到墨西哥帶著一絲希望尋訪一度消失的帝王斑蝶，導演與這些人相遇並觀察每個人如何處理自身的失落，微小到蝴蝶的生物如何能改變他們生命中最暗黑的時刻。

E. Special Focus:Dancecology (特別焦點: 舞蹈生態系)

1. BUMP!
Tseng Huan-Shin (Director) Peng Hsiao-Yin (Producer / Choreographer) ︱Taiwan︱2014︱3 min 03 sec
撞! ︱ 曾煥炘( 導演), 彭筱茵 (製作&編舞)

BUMP!
From stranger to friendship,
from conflict to reconciliation ,
from hostility to hospitality...
This world is about "two".
BUMP was inspired by the animal or insect behavior of territory and shot in the biggest wetland in North American.

「撞！」不打，不相識。 靈感取材於自然界動物或昆蟲對於領域性的行為表現。本片拍攝於北美最大的濕地保護區邊界。

2. Pulse in Dead Hearts
Tseng Huan-Shin (Director), Peng Hsiao-Yin(Choreographer) ︱ Taiwan︱ 2016︱ 5 min 36 sec
Pulse in Dead Hearts/ 曾煥炘(導演), 彭筱茵 (編舞)

A long path of “reconnection” in a post-industrial devastated world. When human brain neurons totally confused and rupture, the world is full of industrial waste and the endless noise of factory machine. Abnormal electrical current still controls the human body, which we call ZOMBIE as they have an instinct to move but not think. As time passed, the only pair of synapse is activated in a dusty library. Some jazz suddenly appears. When neurotransmitters generally spread in the air such as viruses, zombies wake up with shark-like bloodthirsty to jazz, their brain gradually restore full energy.Zombies inadvertently pick up the book on the ground, curious about everything, including the faint floral scent incoming their nose. They think of something in the pass? Or in the future?

在崩毀的後工業時代重建連結的漫長過程。當人類大腦神經元完全錯亂與斷裂，滿地是工業廢棄物，空中迴盪無盡的工廠機器噪音，不正常的電流脈衝仍控制著人類軀體，會動卻無法思考，只剩下本能，我們稱此狀態為殭屍。不知過了多久，一個積滿灰塵的舊圖書館裡，世界僅存的一對神經元，突然接上訊號，出現一段...爵士舞？神經傳導物質如病毒一般散播在空氣中，殭屍們甦醒了，如鯊魚嗜血 般帶著全新慾望，盡其所能”就是要”完成一段很帥的爵士踢踏舞，而且”就是要”比旁邊的人帥。隨著舞動，大腦能量逐漸恢復飽滿，殭屍們無意間撿起地上的書，翻著，什麼是好奇？何謂思考？一陣淡淡的花香傳入鼻中，突然感覺想起過去的還是未來的一些什麼...

3. Decadence
Peng Hsiao-Yin (Director/ Choreographer) ︱Taiwan︱ 2015︱ 2 min 40 sec
膠裝人生︱彭筱茵(導演&編舞)

All Dancecology’s works are considering the relationship between human and the environment. In Decadence, a normal man like everyone lives with the plastic garbage he generated in small room. Been produced, used, squashed, disposed (and recycled) is the life cycle we give to the plastic bottles. This cycle keep fulfill and empty the man and his bottles, like irresistible tides. How to recycle and be recycled? It’s an eternal question.

舞蹈生態系創意團隊的作品，均以關注人與其所在環境（自然）間的連結出發。在《膠裝人生》中，一個尋常如你我的人物，和他產生的塑膠垃圾，在自我的空間裡對話，共舞。製造、使用、壓縮、丟棄（回收、再製？），人塑造了回收垃圾的一生。在這「回收」的循環裡，人與廢棄物之間持續填滿被掏空，共存再捨棄，如浪潮般不可抵抗地在生活中來來回回。無用的膠樽彷彿人生的寫照，到底人與物該如何自我循環再用？

4. Recycle Project
Peng Hsiao-Yin (Director/Choreographer)︱ Taiwan︱ 2016︱10 min26sec
膠著人生︱彭筱茵(導演&編舞)

We repeat , we recycle . In this loop of " recovery ", we continuously to be filled and to be the emptied of humanity and wastes, which co-exist and then be discard together. In waves of life, we are coming back and forth in the failure of resistance.

我們重覆，我們回收。在這「回收」的循環裡，人與廢棄物之間持續填滿被掏空，共存再捨棄，如浪潮般不可抵抗地在生活中來來回回。

5. Rebirth
Tseng Huan-Shin (Director), Peng Hsiao-Yin(Choreographer)︱ Taiwan︱ 2016︱6min03sec
蔓。重生 ︱ 舞蹈生態系創意團隊 製作

After endless of climbing, a tiny little green bud bursts out from an hundreds years old trees. Is that vine’s? Is that tree’s? It’s symbiosis. Another life circle begins.

藤蔓扎根入百年枯樹
無止境地攀爬
當嫩芽新生
是樹？是蔓？是共生關係
又一個生命的輪迴的開始

6. A Journey to Mirramu
Tseng Huan-Shin (Director)︱Taiwan︱2013︱ 30 min 26sec
舞蹈‧生態系尋根之行︱ 曾煥炘(導演)

This is a documentary about a young choreographer Peng Hsiao-Yin going to Mirramu Creative Art Centre (Canberra, Australia) with her team “Dancecology” in 2012. In support of Lo Man-fei Dance Fund scholarship, they did one month of residency in cultural exchanges and art creation activities, including participating of a big event “Summer Solstice” festival. “Learning my agronomy background, Elizabeth Dalman* gave me two words "Dance" and “Ecology” in 2006. It’s the first-meet with Elizabeth in just three weeks of creative course in Taipei National University of the Arts, but greatly stimulated my mind and changed my life.”

*Elizabeth Cameron Dalman is known as the founder of modern Australian dance. She’s also a nationally and internationally renowned choreographer, teacher and performer who lives at Lake George in Canberra (NSW) and runs Mirramu Creative Arts Centre. As expressed through her art, Dalman has always been strongly involved in human rights and supports Aboriginal rights, women's rights, the environment and contemporary arts.

這是一部關於新生代編舞家 彭筱茵 於2012年獲羅曼菲獎學金支持，與其團隊「舞蹈生態系創意團隊」遠赴澳洲坎培拉Mirramu Creative Art Centre進行深度交流與創作，並參與當地夏至慶典演出的紀錄片。

「2006年，第一次在北藝大遇到伊莉莎白‧陶曼老師(註1)，短短三周的創作課程，大大刺激了我的身心。當Liz老師得知我大學的農藝背景，她很興奮地說要送給我兩個字："Dance" and "Ecology"。從此，牽引了我人生的道路，改變了我的一生。」

註1 Elizabeth Dalman (伊麗莎白‧陶曼) 澳洲現代舞先驅–Elizabeth Dalman為澳洲現代舞主要開拓者之一，其成就影響澳洲現代舞主流。1995年因對澳洲當代舞的貢獻獲得OAM獎， 1997年分別獲得國家舞蹈獎及國際Sacred Dance Guild獎。台灣舞蹈愛好者對Elizabeth Dalman已不陌生，她曾多次訪華做舞蹈交流及演出，其對舞蹈的貢獻、舞作中獨特的澳洲文化風格，深獲推崇與好評，Elizabeth Dalman現擔任澳洲「蜜拉姆創作藝術中心」（Mirramu Creative Art Centre）藝術總監。 陶曼博士近年來，每年秋天都會赴台參與「蔡瑞月舞蹈節」，帶來舞作並和台灣舞者合作，持續傳遞和蔡瑞月老師亙久的友誼，以及和台澳間文化交流的傳承。

Mirramu Creative Art Centre由Elizabeth Dalman (伊麗莎白‧陶曼)女士創立，位於澳洲距離坎培拉市車程約20多分鐘的郊區，除了是她和舞者們在自然中舞蹈的場域，也定期開放民眾參與工作坊，以及提供不同領域藝術家進行靜修創作的計畫。