Towards a Ludic reading of Contemporary Urban Public Domains: Mapping & Interpreting Hong Kong protests' interventions as Urban Circles of Play

对当代城市公共领域的疯狂解读：绘图

• 批准号: 2571981
• 金额: --
• 依托单位: University College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2571981
• 关键词: Towards; Ludic; reading; Contemporary; Urban

A year of sustained protests in 2019 has given birth to a mesmerizing blossom of subversive arts in the public realm of Hong Kong, offering rare opportunities for architects to deconstruct and reinterpret cityscapes as spaces of play. A typology of playful subversive street interventions rapidly populated and overwhelmed every street's corner, as residents of Hong Kong scramble to find new forms of anti-hegemonic expressions in the city. Their uncontrolled proliferation owes partly to the government's repugnant suppression of freedom of speech and partly to the ease of mass visual reproductions in the contemporary digital age. The public visual realm of Hong Kong is transformed into a decentralized space for expression. More precisely, it has turned into a mega playground for playful theatrical appropriations of otherwise mundane street facades or transit interchanges. A comical playfulness, reminiscent of videogame logics, perceptions patterns, visual cultures and means of storytelling can be discerned in the transformation of the public visual realm. Playful protests artifacts challenge existing urban modes of spectatorship, public performance and social interactions to seek new methods of free expression. They create temporarily, what Johan Huizinga called Magic Circles of Play (Huizinga, 1998), where the oppressive mechanistic clockwork of the city is suspended and replaced by subversive carnivalesque social conventions that make free political expression and dissension once again possible. Anyone within the proximity of gamified fragments of the city is subjected temporally to an altered set of urban game rules. In a way, the 2019 anti-extradition protest is not only a political awakening for the people of Hong Kong but also a revolution in urban modes of visual-spatial expressions, consumptions, and contestations that brought out new ludic and theatrical potentials of the cityscape. Using Hong Kong's gamified protests and their ludic interventions as a departure point, I intend to formulate an architectural/urban interpretation of Hong Kong, based on a theory of play and digital gaming. The intent is to conduct a structured study on how playful protest interventions suspend urban temporality and spatiality to reinvent the city into sites for novelmeans of playful expression, urban theatrics, and performances. The project also seeks to test the video game medium as a tool for spatial and urban analysis. With the videogame capability to simulate choices, script game rules and visualize environments in real-time, I hypothesize that the video game medium could provide an alternate and effective means of understanding, deconstructing and capturing urban protest's spatial and temporal dimensions. It would allow us to see cities in different light to the older time-based medium of film. By building a simulacrum of the 2019 protest on a videogame engine, I plan to evaluate such a hypothesize and compare the differences. The research involves recovering protest images, news footage and testimonies through media archaeology, archival studies and witness interviews, to reconstruct scenarios of protests as accurately as possible. Using the virtual reality/game medium as an experimental method of urban mapping and spatial analysis, the historic Hong Kong protest-scape would be probed as a "playground" for spatial contestation, political resistance and free expressions. In the wider scope of history and culture preservation, human rights advocacy and countering the city's modern Bonfire of the vanities, the research endeavours to contribute to the archival of Hong Kong's pro-democracy struggles and documenting police brutalities.

2019年持续的抗议活动在香港的公共领域催生了令人着迷的颠覆性艺术开花，为建筑师提供了难得的机会，将城市景观解构和重新诠释为游戏空间。随着香港居民争相在这座城市寻找新形式的反霸权表达方式，一种有趣的颠覆性街头干预类型迅速流行并淹没了每一个街角。它们不受控制的扩散部分归因于政府对言论自由的令人反感的压制，部分归因于当代数字时代大规模视觉复制的便利。香港的公共视觉领域转变为一个分散的表达空间。更准确地说，它已经变成了一个大型游乐场，用于戏剧性的戏剧性拨款，否则平凡的街道立面或交通交汇处。在公共视觉领域的转变中，可以看出一种滑稽的游戏性，让人想起电子游戏的逻辑，感知模式，视觉文化和讲故事的手段。有趣的抗议文物挑战现有的城市模式的观众，公共表演和社会互动，以寻求新的自由表达的方法。他们暂时创造了约翰·胡伊津加（Johan Huizinga，1998）所谓的游戏魔术圈，在那里，城市的压迫性机械钟表被暂停，取而代之的是颠覆性的狂欢节式社会习俗，使自由的政治表达和纠纷再次成为可能。任何在城市游戏化片段附近的人都暂时受制于一套改变了的城市游戏规则。在某种程度上，2019年的反引渡抗议活动不仅是香港人的政治觉醒，也是城市视觉空间表达、消费和娱乐模式的革命，带来了城市景观新的滑稽和戏剧潜力。以香港的游戏化抗议活动及其滑稽的干预为出发点，我打算基于游戏和数字游戏的理论，对香港进行建筑/城市解读。其目的是进行一个结构化的研究，如何好玩的抗议干预暂停城市的时间性和空间性，重塑城市的网站为novelmeans好玩的表达，城市戏剧和表演。该项目还试图测试视频游戏媒体作为空间和城市分析的工具。随着视频游戏的能力，模拟选择，脚本游戏规则和可视化的环境中实时，我假设，视频游戏媒体可以提供一种替代的和有效的手段来理解，解构和捕捉城市抗议的空间和时间维度。这将使我们看到城市在不同的光，以旧的时间为基础的媒体的电影。通过在视频游戏引擎上构建2019年抗议活动的模拟，我计划评估这样的假设并比较差异。该研究涉及通过媒体考古学，档案研究和证人访谈恢复抗议图像，新闻镜头和证词，以尽可能准确地重建抗议场景。利用虚拟现实/游戏媒介作为城市测绘和空间分析的实验方法，探索历史悠久的香港抗议景观作为空间抗议、政治抵抗和自由表达的“游乐场”。在历史和文化保护、人权倡导和反对城市现代虚荣的篝火等更广泛的范围内，该研究致力于为香港民主斗争和记录警察暴行的档案做出贡献。