Frame Zoo is an opening experimental comic, which contains many possibilities, but it need readers to make their own stories.Whole story was inspired by Frames used in comic. They are the basic elements in comic which describe a moment or a shot of story,and at the same time, I think they can be treated as cages for animals in this zoo. For instance, if we look at this book from a distance, we can see whole animals are living in different cages. But if we open the book to any page of it, we can see a animal in a larger space,which seems like a close-up shot or a bigger Frame for comic narration.(Figure 1)
整个作品的灵感来源于漫画格子。我认为格子既有他自己在漫画中的作用,也可以 被赋予新的意义。Frame Zoo 中的线框从传统漫画来看可以被看做是传统的分割故事 的格子,另一方面如果把漫画书作为一个整体来看他又可以被认为是动物生活的笼子。 比如从封面看,全部的动物都生活在他们自己的小笼子里,打开书页则是每一只动物 生活在他们这一页相对大一些的笼内,既可以看做是笼子的镜头由远景变为特写,也 可以是格子叙事空间的增大(图 1)。
The animals in this zoo are looked strange, because of lacking main bodies. Here, I want to introduce a concept of Ambiguity Part which is treated as the secret of beauty in oriental culture. When we use a word to describe an item, it seems like drawing a dot with feather amount, closer to the centre of the point, more specific meaning will be. So, what about the surrounding grey part? It’s pretty hard to tell, but they are also necessary to general, and these ambiguity parts belong to the whole too.(Figure 2)
从内容上来说,Frame Zoo 所有的动物都很奇怪,因为缺少了一些主要的身体部分。 这里引入“暧昧部分”的概念,当我们用一个词去形容一个对象时,他像是一个含有羽 化数值的笔刷点的一个点,越靠近主体或者特征越明显的印象就越靠近点的中心,而含 义模糊的部分即点的羽化区域就是“暧昧”的部分,虽然很难说出灰色部分的明确定义, 但他也是整体的组成部分,而且这些暧昧的部分不也是这个物体的本身吗?(图 2)
On the other hand, if we are going to make up an item just by some parts, dose it has the same mean as the general before? We are used to put our subjected colour when we read an incomplete item, which is the reason we can get more information from our feeling than vision. For instance, the animals in Frame Zoo consist of some parts from their origin, we unconsciously will retrace back to their original figure to think what it looks like before. But we are wrong, the animals are new species that we have never seen, we are just misguided by our experiences.
反之,如果用局部来组成一个新物体,那么在意义上也和原来的完整体是一样的吗? 在阅读图像时人会不自主的加入主观经验,也就是说为什么感觉到的东西总是大于看 到的东西。经验对不完满的事物有使其完满的趋向,比如漫画里的动物仅仅是包含某 种蓝本动物的部分部位,而我们会无意识地寻找它原来的样子,但事实上这样是错的, 它的确是一种新的生物而我们我被经验误导了。
In the view of Gestalt psychology, every part in any phenomenon is connected with others, and each of them has its own feature because of the relationship with other elements in general. This way, the property of general is not decided by specific part. Instead, the small parts belong to the whole. A complete phenomenon contains its completeness, which means that it cannot be divided, and its soul is not in the separated parts too. The divided parts are just new words or symbols can be used to recreate new things. So, the animal we imagined and the animal in Frame Zoo are totally two different kinds of things. For instance, the strange animals in works of Dutch cartoonist Gustave Verbeek are recreation based on animals in our world, he used different parts from different animals to create new species. So, we have to say these animals are really unknown which is the same as the animals in Frame Zoo.(Figure 3)
任何一种经验的现象,其中的每一成分都牵 连其他成分,每一成分之所以有其特性,是因为它各部分间具有的关系,由此构成的 整体并不取决于其个别元素,而局部却应该取决于整体内部的个性。完整的现象具有 他本身的完整性,他既不能分解为简单的元素,他的特性也不包含于元素之内。所以 说我们意识上还原出来的那个动物形象和 Frame Zoo 里的动物是两回事。举个例子, 荷兰漫画家 Gustave Verbeek,他的作品中出现很多奇怪的生物,就意义上来说 都是局部的重新组合,只是在创造时候的用更多的生物作为蓝本,他笔下的动物们和 Frame Zoo 里的生物们是同样的未知生物啊! ( 图 3)
Comic Book (Figure 4) 漫画书 ( 图 4)
When you are reading Frame Zoo from the cover, the transparent pages show whole content of this book which seems like one page. But when you open it and read page by page, you will find some interesting phenomena, for example, with more pages are turned, more pages add together, and the relationship is changing. It will turn a continuing storyline narration into a contingent image narration, and will become an opening story.
翻阅漫画时,透明的书页可以透出整本书的内容,像是在读一整页的漫画一样。但当按 照普通阅读漫画的方法读时,你将发现一些有意思的现象,比如翻过的书页慢慢叠在一 起,动物慢慢重叠起来。故事发生了变化,变得更开放了,也有了更多的可能性。
Hanging Comic(Figure 5) 悬挂的漫画(图5)
It’s a new three-dimensional reading style; we can see different animals are laid together in various ways from diverse directions. Because of the distance between every page and the transparent material, you can see different depths of view. The farther the animal is, the more blurred the figure will be. It seems like you are looking at a sculpture or a painting.
这个部分将原来的平面变成了立体式的阅读,人们可以从不同的角度观察作品。因为书页之间相 隔的一定距离和透明的书页材质使画面出现了景深,距离越远的动物就显得越模糊,赋予动物们 在真实的 3D 物理空间中的新的关系。这样看起来这个部分更像是一个雕塑或装置。如何解读这 个故事,就需要观众自己的答案了。
Pages Reorganization(Figure 6) 故事重组(图 6)
This is an experiment of comic Frames and contingent narration. The invisible storyline between pages disappeared, the seperated pages actually look like words or symbols to recreate new images. Readers can organize different pages together to make a new story of animals, and at the same time, the blank part or the space out of the animals is also reorganized. They are all in one image which includes different style of narration(figurative and abstractive ).
这是对格子以及偶然性叙事进行实验。书被拆散,书页之间的看不到的故事线索部分被忽略, 当两个或若干图像重新拼合在一起形成一个新的区域(书页变成了组织画面的元素符号而不是原 来故事里的内容了),生物之间产生新的故事关系,也可以说是图像再利用创造出的新图像。即 使是格子相套时其余空白的部分,也构成了新的图像。他们组合成一个新的画面,产生了不同的 叙事效果(具象和抽象,运动和静止)。