ARTWORK

Xu Rebecca Ruige

USA

Rebecca Ruige Xu currently teaches electronic arts and animation as an Associate Professor at Syracuse University. She received a M.F.A. in Computer Graphics from Syracuse University in New York; and a B.S. in Industrial Design from Beijing Institute of Technology, China. She also studied Cinematography at Beijing Film Academy. She has worked professionally in the fields of computer animation, film special effects, digital imaging, web design and user interface design in China and the United States. Her artwork and research interests include experimental animation, visual music, artistic data visualization, interactive installations and virtual reality. Her recent work has been appeared at: InsideOut Video Art – Audiovisions from the East, Museum of Contemporary Art, Rome, Italy; SIGGRAPH 2013 Art Gallery, Anaheim, CA; Time Loops: Meaning in Motion, Los Angeles Center for Digital Art, Los Angeles, CA; Magmart International Videoart Festival, Casoria Contemporary Art Museum, Naples, Italy; FILE 2013 - Electronic Language International Festival, Sao Paulo, Brazil; Techfest 2013, Technical Arts Exhibition, IIT Bombay, India; Colloquium culture and digitization, L'arc Romainmotier, Switzerland; CYNETart, Dresden, Germany; International Digital Art Exhibition, GuiYang, China; Huddersfield Festival, West Yorkshire, UK; Boston Cyberarts Festival, Boston, MA; Central Cinema, Seattle, WA, USA.

Anatomy of a poem

201400:03:31Animation
Utilizing computer graphics programming and sound synthesizing, this work depicts a famous poem "Drinking Alone by Moonlight" from the ancient East using a Western analytical approach. The poem was written by Li Bai(701 ~ 762 AD), arguably the most accomplished poet from China’s Tang Dynasty. Instead of literally interpreting the meaning of this poem, we chose to portray it by translating the rhyme and tonal prosody of the poem into sound/music and graphics simultaneously. To create the music, several traditional Chinese instruments were recorded playing in such a way that they emulated one of the four tones in spoken Chinese, i.e., high level, high rising, low falling-rising and high falling. The sequencing of the recorded instrument sounds was determined by the sequence of the tones in each character of the poem. Other aspects of the audio were created by manipulating the spoken syllables from the recitation into a form of chanting or singing, which traces the rise and fall of thoughts and feelings resided in the poem. The visual corresponds and enhances the audio with intermingling of calligraphy of characters from the poem and abstract patterns. It is paced to follow the rhyme scheme and tonal prosody of the poem, while the graphics flowing with the sound/music, drifting through the space liberally in an attempt to reflect the constant appearance of nomadic wandering in Li Bai’s poem.


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