黃祥昀 Hsiang-Yun Huang

Author：Hsiang-Yun Huang, Translator：Audrey Chen

Foreword

The exhibition, The Rebellion of Moving Image was held in 2018 in Museum of Contemporary Art Taipei, curated by HUANG Hsiang-Ning. This exhibition has included many works of video art in which meta-cinematic techniques and nonlinear narrative are used. The aim of the exhibition is to trigger the discussion of how the narrative structure of the video as well as to demonstrate how the way of displaying shapes an alternative methodology of history studies. The word “alternative” here refers to the rejection of authoritarian the grand and one-way narrative of history.

This article is divided into two parts. The first part is an analysis of how meta-cinematic techniques trigger a conversation with History. The meta-cinematic techniques include presenting the shooting scene or the equipment, as well as creating a multi-linear narrative by displaying the video in multi-channeled screens. I adopted the idea of post-cinematic condition proposed by Rosalind Krauss as the framework of approaching the development of meta-narration in the video art.[1] Instead of passively accepting the message carried by the video, the audience experience an alienation from the story while still feel involved. Thus they would become conscious of the limit of the representation. Moreover, two cases will be discussed here in the first part: Ten Thousand Waves (2010) by Issac Julien and Takasago (2017) by Hsu, Chia-Wei. I will focus on the question of how the form of meta-cinema and multi-linear narration represent history and become the rebellion against the authority and how this form permit a room for multiple interpretations.

The second part is about the intertwining of fiction and fact. In the recent works, Hsu, Chia-Wei often integrated the mythology and traditional theatrical art with the documentary-liked footages or historical archives. However, since the artist did not deal with the history in a definitively realistic way, neither did he aim at represent the fact, what is the meaning of his discourse of history? In addition, I would like to investigate the difference between the history narrated by the artist and that of a historian. Can we tell what exactly happened? How can we tell the factual events from the fictional stories?

In this article, I want to compare the story composed by the historians, based on the facts, and the video art works with mythology and theatrical works intertwined within. I want to analyze the difference between the two from the aspect of narrative structure and from that of epistemology. The theoretical framework here is based on the book Metahistory, written by Hayden White.[2] In this masterpiece, White analyzes the different methodology of historical studies and categorizes various narrative structure adopted in writing history. At the end he makes a statement — which is still shocking to the historiography till now — that from an epistemological perspective, history studies is closer to literature than to science. For White, historian’s perspective of history is a process of narrativize. This process would be affected by different narrative structures and the presumed ideologies and thus lead to interpretations of history with different meaning and from different point of view.[3] Hence, the point of interpretation and approaching this type of artworks is not to tell if it is what have really happened or not. It is more important to analyze the narrative structures and what they refer to. From this point of view, I reinterpret the following works: Inferno by Yael Bartana, Drones, Frosted Bats and the Testimony of the Deceased (2017), Ruins of the Intelligence Bureau (2015), and Huai Mo Village (2012) by Hsu, Chia-Wei. I reconsidered the true definitions of fiction and fact in the historical narratives and researched into the artworks that integrates the two and into how they allow the audience a brand new comprehension of the alternative historical methodology.

In the article “The Rebellion of Moving Image of MOCA: the rebellion in order to return and The Justice or reentering the scene”, Wu, Mu-Ching and Yen, Xiao-Xiao have proposed that what in this exhibition, rebellion here is not one-dimensional because at every different historical moment, under different context, the target of this rebellion changes along. For example, the so-called contemporary video art has been received as “anti-narrative (which means the general lack of perceivable complete narration,) […] has evolved and resulted in an aesthetic strategy which is completely distinct from the mainstream visual culture.”[4] However, quite a lot of scholars have also pointed out the fact that, the current video art has demonstrated a tendency of returning or re-directing to narrative.[5] Thus, it becomes problematic to identify the exact target of this rebellion of the artists and their works.

Ten Thousand Waves by Isaac Julien is played on multi-screens that spread out in the chamber. Thus the experience of the viewers would be different from that of watching a single-linear movie in a black-out theatre. This manner of presentation reminds us of the Expanded Cinema Movement in art history. (For more information about the origin of the movement in 1960, please refer to my other article, “Lexicon Research: Expanded Cinema”) However, there are diverse definitions of Expanded Cinema. A movie being played outside a theater — in a museum, for example — does not necessarily guarantee that it can be regarded as the Expanded Cinema. I think it would be more adequate to explain this exhibition by using the idea proposed by Rosalind Krauss. According to her, Expanded Cinema is a “post-cinematic condition.”[6] Thus, here the notion of expanded cinema can be regarded as a rebellion power, which loosen the traditional way of watching movies — in a movie theater, passively.

The post cinematic presentation of the videos does not only take place in a movie theatre. It can take place in museums or other places. The audience in a museum can move around when watching the movies. They can decide the amount of time they are willing to spend on each video. For example, in the case of Ten Thousand Waves, The videos are played simultaneously on different screens. The audience has the right to choose which screen to watch. The artist also put the same scenes in frames with different sizes. Thus, the audience can also choose with which size of frame they want to watch the particular scene. As the result, comparing to the passive audience in movie theaters, the audience in the museum is more active.[7]

This meta-cinematic presentation of historical events has influenced the anti-authoritarian history from two aspects. Firstly, it is to challenge a one-directional production of the description of history, the author, or the artist represents a certain ideology which would be instilled into the audience and thus it lacks the room of reflection. Secondly, when the audience notices the condition and the place in which they are watching the videos, they are also pushed to think about the logic behind the works and about how they are produced. Ultimately, they would be able to challenge the logic of narrative and thus to initiate the the communication between the artwork, the maker (the artist) and the audience. Such as in Ten Thousand Waves, the scene in which Maggie Cheung Man-yuk played Mazu (the guardian Goddess of sailing ships) in Guilin is juxtaposed with the green screen used on the shooting set. In another part, there is a staff is wiping away the calligraphy work of the Chinese characters of “ten thousand Waves” (wànchóng làng 萬重浪). These two clips invite the audience to reflect on how the movie is made. This causes alienation, which is a common meta-cinematic technique. Thus, it is reasonable to take the Expanded Cinema into account and to consider Ten Thousand Waves as a post-cinematic condition.

The same concept can be applied to the three works of Hsu, Chia-Wei. The equipments and techniques used in the movie production are shown to the audience. In addition, the audience can see how these factors influence on the artist’s interpretation of a certain historical event. In his work, Huai Mo Village (2012), Hsu invited the local habitants to work as staff on the scene. This part is also in the film.

許家維，《回莫村》，單頻道錄像，8分20秒，2012。許家維工作室提供。 Hsu’s Huai Mo village. Provided by Hsu Chia-Wei‘s Studio.

Besides showing the set and working scenes, in his individual exhibition entitled Industrial Research Institute Affiliated to the Japanese Governor Office, Hsu has presented a multi-layered virtual studio. The first layer is a set of studio with a screen in the exhibition room. In the video played on screen, the same set of studio and screen is shown. Within this second screen, a documentary of the industrial research institute is played. At the beginning, the audience would see the screen frame in which the documentary is played. Then the camera zooms in, at the end, the audience would see the documentary in the size of the real screen. However, the viewers are already aware of the existence of the screen frame. This installation makes the video penetrate through the three different layers: the virtual interface, the set and the presence of the visual experience. Thus the installation enables a further reflection on the importance of an artist’s choice of interface in the discussion of history in a digital era. His new works in 2018, Black and White — Giant Panda and Black and White — Malayan Tapir is available both “on cellphone and on computer.” This work also allow the audience to think from the point of view of animals, as a political satire. [8]

許家維，《台灣總督府工業研究所》，單頻道錄像，3分鐘，2017。許家維工作室提供。Hsu’s Industrial Research Institute Affiliated to the Japanese Governor Office. Provided by Hsu Chia-Wei‘s Studio.

The same notion of reflecting on the making and the displaying of the video can be used to approach an another work of Hsu’s, Takasago (2017), we would be able to find the different layers of this film, especially the “moving frames” Takasago is how the Japanese called Taiwan under the Japanese rule. Takasago is also the title of one of the work of Zeami Motokiyo, the playwright of Noh theatre in the Muromachi period.[9] The story is about the love and mutual understanding between an old couple who are in fact the incarnations of two pine spirits. The theme of the story is how the physical distance cannot separate their love.[10] This story was also the origin of the name of the company, Takasago International Corporation, when the first factory was set up in the 1920s.[11] The actors in the film is performing this Noh play in a perfume factory of the Takasago International Corporation. The frames slowly slides from the left to the right. The artist thought the movement as a “continuous space in a full shot” and can be considered as an “alternative of one long take.” [12] My first impression on these two classic-looking performers seem to be having a modern long-distance relationship. The moving frames generate the effect of the frame of a video chat. In other words, through these frames, the audience will become aware of the frame of the film.

Sing, Song-Yong also pointed out that the two actors who played the couple “response to the questions from the off-scene priest, Tomonari and to the chorus while chanting the touching story of how the couple of pine trees are separated”[13] and thus there are “a frame within a frame, a painting within a painting, and a play within a play.”[14] In an interview, Hsu mentioned, “The actors of Noh sometimes even jump out of the narrative and criticize the play itself or talk about the meaning of literature […] The main actors of this performance […] Their songs trigger the actions in the plot, but other than that […] the priest and the chorus at the singing the ‘ji-utai.” The priest and the chorus are heard as the voice-over. The priest and chorus at times conversed with the old married couple but at times they were commenting on what happened on stage”[15] In other words, the meta-cinema is this film is established with the voice over and the visual effect of the moving frames. The former mentioned works present the contemplation on the process of making a movie in a more literal way. However this film is a reflection of the narrative of cinema. Based on this context, the second part of the article will be mainly about the relationship between fact and fiction in the narrative of cinema.

許家維，《高砂》，單頻道錄像，9分20秒，2017。許家維工作室提供。 Hsu’s Takasago, Provided by Hsu Chia-Wei‘s Studio

[1] Krauss, Rosalind, A Voyage on the North Sea: Art in the Age of the Post-medium Condition. New York Thames & Hudson, 2000.

[2] White, Hayden, and Michael S. Roth. Metahistory: The Historical Imagination in Nineteenth-century Europe. Baltimore: Johns Hopkins University Press, 2014.

[3] See: Introduction in White, Hayden, and Michael S. Roth. Metahistory: The Historical Imagination in

Nineteenth-century Europe. Baltimore: Johns Hopkins University Press, 2014.

[4] “The Rebellion of Moving Image of MOCA: the rebellion in order to return and The Justice or reentering the scene”, by Wu, Mu-ching and Yen, Xiao-Xiao, Artco, 2018.05.03. URL: https://artouch.com/view/content-3965.html Access Date: 2018.03.05.

[5] “The Rebellion of Moving Image of MOCA: the rebellion in order to return and The Justice or reentering the scene”, by Wu, Mu-ching and Yen, Xiao-Xiao, Artco, 2018.05.03. URL: https://artouch.com/view/content-3965.html Access Date: 2018.03.05. I think each case is different. I keep a skeptical attitude toward the classifications and movements in the study of art history because the movements and classifications are never static. With the creation of new works, they change along, and never follows the logic of deduction. Moreover, the development of history is dynamic and diverse. Thus, I have no intention to force Ten Thousand Wave into the artistic movement of Expanded Cinema. Rather, I am trying to identify a similar form. In addition, inspired by this movement, I am trying to find an approach of the interpretation of this work.

[6] I think Isaac Julien’s Ten Thousand Wave has a relatively weak connection with Gene

Youngblood’s Expanded Cinema as well as with the Fluxus movment, from the perspective of history. “The Rebellion of Moving Image of MOCA: the rebellion in order to return and The Justice or reentering the scene”, by Wu, Mu-ching and Yen, Xiao-Xiao, Artco, 2018.05.03. URL: https://artouch.com/view/content-3965.html Access Date: 2018.03.05. However, it presents some features of Expanded Cinema with another definition, the post-cinematic condition. See ：Youngblood, Gene, Expanded Cinema. New York: Dutton, 1970. Also see ：Krauss, Rosalind, A Voyage on the North Sea: Art in the Age of the Post-medium Condition. New York: Thames & Hudson, 2000

[7] Please consult related discussions on the dispositif theory.

[8] A more detailed reflection on the interface, digital technology and online society can be found in the Taiwan International Video Art Exhibition, Offline Browser, curated by HSU Chia-Wei and HSU Fong-Ray.

[9] HSU, Chia-Wei., Industrial Research Institute Affiliated to the Japanese Governor Office, p.57 2018: Liang Gallery.

[10] Ibid.

[11] Ibid.

[12] Ibid. p.121

[13] Ibid. p.10

[14] Ibid.

[15] Ibid. p.121

The Visual Art Critic Project is sponsored by National Culture and Arts Foundation, Taiwan, Winsing Arts Foundation and Mrs. Su Mei-Chi.

The meta-cinematic technique can be briefly summarized as a reflection on the image itself. The process often include the alienation from the narrative and the engagement with it at the same time, such as the display by using multi screens. The audience is more likely to feel alienated from the works in a museum than in a movie theatre, since they can walk around. The above-mentioned works also raise the awareness of the fact of the movie is made with the presence of the shooting scene and the frame.

These techniques break the audience unconditional dependence on the narration in front of them provided by the artist. Similarly, the same theory can be applied to the development of a historical narrative that involves the fiction and the fact. The fictional part would induce the audience to reflect on the definition of truth and to doubt the methodology of the justification of historical facts.

More specifically, even the most compact historical fact contains the fictional parts. Hsu has included a play of Noh, which is a fictional artwork, into the historical narrative in Takasago. I thus asked myself what the meaning is. The historian philosopher Hayden White stated that history is “more in common with ‘literature’ than they have with any science.”[1] because the study of history is a fictionalizations of fact and of past reality.[2] In the process of re-interpreting the historical materials and turning dry documentary description into a story, imagining is an essential step. Thus, history possesses, to a certain degree, the literality. For White, The writing of history by the historians is a process of narrativization. Based on different narrative structure and the individual presumed ideology, different meaning and point of view would be generated. The relationship between those different narratives is similar to those between scientific paradigms according to Thomas Kuhn. That is to say, two paradigms are incommensurable. In brief, there is no way to find a standard to justify which paradigm is more factual.[3]

During an interview hosted by Chen Chia-Jen, former director of Open Contemporary Art Center, Hsu mentioned, “The so-called objective fact does not exist. The only thing we are sure about is that the subjective writing about history. It is full of personal opinions, emotions, memories and subjective perspective. Moreover, it is at an ambiguous state which keeps being reshaped as time goes by.”[4]

The intertwined historical narrative of fact and fiction

Another example of this type of historical narrative that includes the mixture of fictional and factual elements is Inferno (2013) by Yael Bartana. During the making of the film, the Temple of Solomon in São Paulo, Brazil was still under construction. However, in the film, the completion and the destruction of the temple is foreseen. The scenes are not organized in a chronological order. The film begins with the joyful carnival, which is the celebration of the completion of the temple, followed by the scenes of the fall of the temple in a fire, just as if in Inferno. It ends with the scene in which the modernized temple filled with tourists and commercial events. In this film, there is no strict distinction between the fact, the fiction and the actual shooting scene. The audience of this film would feel engaged in the dark theatre. The opening scene is a shot from a birds eye view from above the city, like flying. This scene is easy for the audience to feel immersed in the story. This scene is followed by a realistic portrayal of the carnival. However, the scenes in the temple looks like a theater in another dimension, with mysterious rituals and compositions as well as postures that appear only in classical oil paintings. In the end, the camera movement becomes static and lacks of action. The documentary-like, observant camera guides the audience to go through the modernized space full of tourists. It is at this moment that the audience starts to doubt the order of the sequence of these scenes. However, generally speaking, throughout the movie, the audience still feels that theirs eyes are guided by the camera movements.

The theme of Inferno is the third Temple of Solomon, which was still under construction then in Brazil. However, the story jumps directly to the destruction of the temple. Thus, the whole film is a historical imagination. In other words, the story in the film is based on a fact that never exists. The artist calls it a “”historical pre-enactment,[5] a methodology that commingles fact and fiction, prophesy and history.”[6] Thus, this kind of film is immersive but can be regarded as an integration of fiction and fact. The aim of watching this type of film thus is not to differentiate what is true and what is not from an epistemological point of view. The importance is that the structure in the fiction stills brings out the critic and give the audience a viewpoint. It still creates a reality of its own, within which there is a logical structure and a conception of the world.

The importance of fictional elements in a historical narrative

As what Jacques Rancière says in Modern Times — Essays on Temporality in Art and Politics, the importance of a fictional narrative is not about what exactly happened but about how things might possibly happen. In addition, it is because of the fictional narrative that there exists the possibility to change the future.[7] In the description of the work The Rebellion of Moving Image, “Moving images are used to overlap fiction with reality, allowing fictitious plots to serve beyond sensationalizing certain incidents, and regaining the right of discourse from the authority. ‘Fictional’ political-ness is applied to negotiate with and seize reality, with the future filled with new creative and developmental possibilities.”[8]

In Inferno, the camera movement and the structure of the film generate the integration of fiction-reality and thus it forms a diegesis world with its own inner logic. On the other hand, in Huai Mo Village, and Ruins of the Intelligence Bureau, Hsu, Chia Wei consciously blocks the audience from engaging with the film and from immersing themselves in the story. In these films, there are three clear situations, or three parallel universes[9]: The mythology, the shooting scene and the scene of a former KMT secret agent telling his own story to the children in Huai Mo Village. The diegesis world of agent’s story corresponds to that of the mythology. The mixture of the three universes is a juxtaposition of fiction and reality but not fully integrated, like in Inferno. Takasago also is a juxtaposition of fiction and reality, not integration. The Noh actors standing in a modern factory creates a surreal juxtaposition and reminds the audience of that the ancient and modern time is juxtaposed on the same set. This is a narrative skill to mix fiction and reality. It is meta-cinematic from another dimension. In a single frame, the audience sees temporal-spatial multi-layered scenes from different historical moments and becomes aware of this fact. Thus, the audience would realize that the interpreter is viewing the history from a contemporary angle, and thus highlight the preconception of the interpreter.

To sum up, there are two aims of putting fictional and mythological elements in a historical narrative. One is to create a more profound description of history with fictional parts as well as reminding the audience the possibility to change the future. Another is the juxtaposition of different time and space. This let us understand the past and realize the limit of the past.[10]

The fiction/reality integration and the open cause-effect relationship

Drones, Frosted Bats and the Testimony of the Deceased is the work with the richest layers of historical narrative. The design of the work is almost a reflection of historical methodology. This work is presented with a four-channeled installation. The background is Hsinchu Branch of the Sixth Japanese Naval Fuel Plant. During the World War II. This place is the Industrial Research Institute of the Government-General of Taiwan, specializing in producing the aviation fuel. The building is now a ruin and there are still the traces of bullets in it. The films is a nonlinear narrative. From one side, a drone is used to shoot the old factory form above. There are many frosted bats in the building. “Frosted bats are mostly found in the high latitudes of Japan, Korea, and North China. Yet, for unknown reasons, this northern species of frosted bats resides in the chimney of the military plant from May to July in recent years. The plant is the only place where the frosted bats can be found in Taiwan.”[11] The migration and habitation of the frosted bats is like the migration of people from one colony to another. On the other side, it is a symbol of viewing the history from a point of view other than that of a human being, which has an alienated and poetic interpretation.

Another narrative axis includes the drone lingering in the ruin. Besides presenting the camera to the audience, a technique of meta-cinema, the drone almost becomes another agent of gazing the history. The film also includes America and China’s bombing Taiwan during WWII. These videos are played along with the memoir of the worker of the plant, in Japanese. Another worth mentioned point is that “the video archive manipulated by a computer program are arranged randomly on the playlist to constantly shift the structure of the video.”[12]

許家維，《飛行器、霜毛蝠、逝者證言》，四頻道錄像，3分40秒 — 8 分40秒，2017。許家維工作室提供。 Hsu’s Drones, Frosted Bats and the Testimony of the Deceased, Provided by Hsu Chia-Wei‘s Studio.

Besides the former mentioned techniques such as inclusion of shooting scene and the fiction/reality integration, the videos are randomly played, calculated by a computer program. Thus, there is a bigger room for diverse interpretations. The audience would not be full limited by a specific narrative and thus form a single point of view of history. In other words, The endless reforms move the cause-and-effect relationship between events. The historical events are open to more possibility instead of being interpreted by an official or any other specific authority. Concluding the past events into a cause-effect relationship is actually a reduction, for the cause and effect between real events is a complicated network, not a one-on-one linear relationship.

Hayden White in The Content of the Form: Narrative Discourse and Historical Representation stated that the writing of history creates and forms history through the form of narrative. It does not reflect a fact that needs to be rediscovered or justified. It is to say, the historian chooses a certain employment and put it on the history. The process of the employment if full of imagination. Thus, the form and the content are not two mutually exclusive concepts. The form of an art should be part of the content of the work. In this work, this part requires the audience’s imagination. This makes the work more open and diverse. Perhaps this interpretation seems idealistic or utopia, for the lack of consistence in interpretation might make the work become meaningless. This situation is just like post-modernism in certain context, lacking meaning while being to open. However, since the anti-authority narrative can avoid the limit of a single idealism, the narrative still has an invaluable potentially in the political rebellion.

Also, the randomly and continuous reformed history explains the fictionality of history by using videos. Moreover, there might not be the so-called history; there are only piles of archives, blurred memory, truth that cannot be proved. As the narrator recounts: “After the War, most of the documents were incinerated. Quantity, date, people, accidents, sequence, cause and effects, evidence were all lost. Now, only the abstract and unreliable images remain.”[13] However, if we doubt every cause-and-effect relationship in historical narrative, we would fall into an epistemological nihilism and thus regard the history as fake, declare that all memory is unreliable, or that there is not able to either discuss or represent the pass. Here, White again points a way out. He thinks that logical consistency does not work on history. Logical consistency means that at fast, there is a principle, from which are deducted other propositions. About historical writing, it can be explained with the concept of discursive consistency, “in which different levels of representation are related analogically one to the others”[14] From this point of view, Drones, Frosted Bats and the Testimony of the Deceased becomes even richer. The drones and the bats are metaphors of the Japanese and Taiwanese people in the war. The different narrative axes are like the historical facts from different dimension represented by the different levels of representation. The drones represents the viewpoint of the history of technical history, while the bats the non-human angle.[15] The bomber airplane represents a viewpoint of a certain historical documentary. The three angles forms is the analogy to one another and echoes with one another. The random display forms an open cause-and-effect relationship, which is not as strict as traditional history. However, the point here is not whether it is true or not. It is a problem of aesthetic and ethics. It is a choice of value.

Conclusion

White inspires me. I believed that the story woven by historian based on all kinds of facts are no more truthful than artworks. The two are epistemologically speaking, both fictional. Both the artists’ and historians’ viewpoint of history is a process of narrativize. Due to the narrative structure and the preconception of idealism, this process will produce a history from different angle and with different meaning. Thus, comprehending this type of artwork is not to tell whether it is true. The point is to analyze the narrative structure or to reflect on the interface on which the work is presented. The works analyzed in this article all contains meta-cinematic elements. The artists are consciously thinking about how the narrative of a film and the condition of the making influence the produce historical knowledge. In the second part of the article, I analyzed in detail the narrative axis of a video art work that discuss history. I generally divided them into two types. One is the juxtaposition of fiction and reality, the other is the integration of the two. The two narrative will bring the audience different level of involvement but both allows a deep reflection on the limit of our comprehension of the past. Moreover, they triggers the discussion on whether it is possible for us to intervene in the history with the power of videos and creates a brand new imagination of the future.

[1] Rethinking History 4:3 (2000), pp. 391–406 An Old Question Raised Again: Is Historiography Art or Science? (Response to Iggers)Hayden White Stanford University, U.S.A., p.398 “This leads me to conclude that historical knowledge is always second-order knowledge, which is to say, it is based on hypothetical constructions of possible objects of investigation which require a treatment by imaginative processes that have more in common with ‘literature’ than they have with any science.”

[2] Ibid. p.398

[3] Leiden University-Humanities Open Course：Chapter 3.6: Hayden White, the story of history

URL: https://www.youtube.com/watch?v=pT-OgRCkuUY Access Date: 2018.02.28.

[4] HSU, Chia-Wei., Industrial Research Institute Affiliated to the Japanese Governor Office, p.126 2018: Liang Gallery.

[5] Museum of Contemporary Art: The Rebellion of Moving Image, 2018. URL:http://www.mocataipei.org.tw/index.php/2012-01-12-03-36-46/upcoming-exhibitions/2574-2017-12-19-09-51-42#%E4%BD%9C%E5%93%81%E4%BB%8B%E7%B4%B9-about-the-artworks Access Date: 2018.03.01.

[6] Ibid.

[7] Rancière, Jacques, 2017. Modern Times — Essays on Temporality in Art and Politics, P. 17

[8] Museum of Contemporary Art: The Rebellion of Moving Image, 2018. URL:http://www.mocataipei.org.tw/index.php/2012-01-12-03-36-46/upcoming-exhibitions/2574-2017-12-19-09-51-42#%E4%BD%9C%E5%93%81%E4%BB%8B%E7%B4%B9-about-the-artworks Access Date: 2018.03.01.

[9] HSU, Chia-Wei., Industrial Research Institute Affiliated to the Japanese Governor Office, p.126 2018: Liang Gallery.

[10] Moreover, there is the intertextuality. The mythological and contemporary time forms a cross referential relationship and opens up the discussion of the text. Please connsult Hsu’s explanation of the concept of in-between narrative — a narrative that wavers between the diegeis world and the non-digeis world. I think this concept of narrative can help the audience realize our limit in epistemology regarding the fact. See Hsu, Chia Wei, “in-between narratives” Journal of Fine Arts : 2, pp.77–112

[11] Museum of Contemporary Art: The Rebellion of Moving Image, 2018. URL:http://www.mocataipei.org.tw/index.php/2012-01-12-03-36-46/upcoming-exhibitions/2574-2017-12-19-09-51-42#%E4%BD%9C%E5%93%81%E4%BB%8B%E7%B4%B9-about-the-artworks Access Date: 2018.03.01.

[12] Ibid.

[13] HSU, Chia Wei., Drones, Frosted Bats and the Testimony of the Deceased

[14] Rethinking History 4:3 (2000), pp. 391–406 An Old Question Raised Again: Is Historiography Art or Science? (Response to Iggers)Hayden White Stanford University, U.S.A., p.392

“Discursive consistency, in which different levels of representation are related analogically one to the others, is quite different from logical consistency, in which one level is treated as being deducible from another.”

[15] See “A non human chronology of history: Lin Yi Xiu on Hsu Chia Wei’s Black and White.” ARTFORUM:https://www.xuehua.us/2018/12/02/%E9%9D%9E%E4%BA%BA%E6%97%B6%E9%97%B4%E8%BD%B4%E4%B8%8A%E7%9C%8B%E5%8E%86%E5%8F%B2%EF%BC%9A%E6%9E%97%E6%80%A1%E7%A