被消失的日常The vanished routine
科技表演藝術/Performing Arts with Technology
製作團隊Production Team
編創：郭子耘、田子平/Choreographer: Guo Ziwei, Tian Ziping
編舞暨表演：李晉捷/Choreographer and Performer: Lee Chun-chit
舞臺設計：郭子耘/Stage Designer: Guo Ziwei
舞臺技術：游懷茹/Stage Technician: Yau Wai-yu
技術協力：謝竺勳/Technical Co-ordinator: Tse Chu-hsun
影像設計：田子平、劉庭均/Video Designer: Tian Ziping, Liu Tingjun
影像技術：劉庭均/Video Technology: Liu Tingjun
燈光設計：劉恩廷/Lighting Designer: Liu Enting
燈光協力：蔡政霖/Lighting Coordinator: Tsai Ching-Lin
作曲既聲音設計：陳致霖/Composer and Sound Designer: Chen Zhilin
視訊：義丞有限公司/Video: Yi Cheng Co.
透過在疫情之下人們身處的日常型態轉變，日常的人際交涉從社群帳號的鋪成，進而快速發酵，通訊平台以及雲端資料運算功能都藉此機會得以展現它所能替代現實生活的方便，著重在發展網路5G的網路訊號串聯、視訊低延遲、資料雲端同步。然而人類的身體日常開始停滯在同一個時空場域中，但意識卻不停藉由切換著小螢幕中的會議視窗，快速的身分切換、轉變，緊湊的將時間分割成一格格行事曆上的排程。我們再也不需要花費交通時間，也無須在出差的路上繞道去買一杯熱咖啡，也不必擔心任何的巔峰時期的塞車。
在這樣的時空環境中，《被消失的日常》試圖闡述不僅僅是日常型態的轉換，是在我們視以為真實的相處，無論是與人、或者與環境的互動過程逐漸被抽取至虛擬時空中，在這樣的身體與情緒上不同步的切換，我們觀察到人類的心理對於物理時間與情緒轉換上的密不可分。
我們能夠適應最低限度的「真實」為何？以及我們又能接受最高限度的「虛擬」為何？
Through the changes in people's daily life under the epidemic, daily interpersonal interactions are rapidly fermenting from the laying of social accounts, communication platforms and cloud data computing functions are taking this opportunity to show the convenience it can replace in real life, focusing on the development of the network 5G network signals, low-latency video, and data synchronization in the cloud. But while the human body begins to stagnate in the same spatial and temporal realm on a daily basis, the consciousness keeps switching and shifting identities by switching between conference windows on a small screen, compactly dividing time into a grid of schedules on a calendar. We no longer need to spend time in traffic, or make a detour to get a hot coffee on the way to a business trip, or worry about any peak-time traffic jams.
In such a spatial and temporal environment, The Vanished Everyday attempts to illustrate not only the transformation of the everyday, but also the gradual extraction of what we consider to be real encounters, whether they be with people or the environment, into the virtual space and time. In such a physically and emotionally asynchronous transition, we observe the inseparability of the human psyche to the physical time and the emotional transition.
What is the minimum level of “reality” that we can adapt to? And why can we accept the highest level of “virtual”?
© COPYRIGHT KUO TZU YUNG 2024