Hi everybody~ My name is Eric Leung. You can call me Eric or Yin Chai (of course in Chinese).I am a year 2 student majoring a year 2 program Cultural and Heritage Management (BACHM) in CityU. I am also serving the post of assistant editor in Editorial Board of Student Union of CityU. I like thinking, reading and writing soooo much. If you wish to, you guys may find my name appearing in every periodical published by Editorial Board of CityU, haha~
To be honest, I found myself like a testing animal either in CityU and academic circle in Hong Kong last year. BACHM is just new for everybody. In the very beginning of my university life, I was quite worried about my career and my future. But gradually, I found that there must be advantage for something new, that is, the infinite possibilities and chance for us to create and grasp.
Now, I like to take up challenges. To me, the greatest challenges I meet this semester must be the courses Intelligent Heritage and Immersive Museum. That is something I never got in touch with before. But I also believe that these two courses must offer a lot of opportunities for us to grasp and must bring something different to my life.
I am ready for the challenge.
(photo from Wikipedia)
Shrimp paste is made from different kinds of fermented small shrimp with salt, and then pulverized into a viscous paste. It is commonly used in Southern Chinese and Southeast Asian cuisine. In Hong Kong, shrimp paste is one of the specialties in Tai O and Lamma Island. We can often see the villager making the paste and it also attract many visitors since it is well known for producing highest quality shrimp paste.
There are two types of shrimp paste, one is liquid sauce, and another one is in solid block form. The sauce one is in pale pink colour while the block one is in brown colour, the sauce one’s taste lighter than the block one. Furthermore, there is no standard in making shrimp paste, it may varies between different Asian cultures and can be different in smell, texture and saltiness.
To make shrimp paste, the first thing to do is to rinse and drain the small shrimps, mixed with salt, then do the drying process. Put the shrimp-salt mixture in the container under the sun and wait for several days. After that, the mixture will turn into dark colour and fermented, cannot recognize the shrimp anymore. The mixture need to be stir everyday to make sure the ingredients are well mixed until the paste is fully matures. Finally, the paste is made.
This week we are extremely fortunate to have Karol Kwiatek run a workshop for us in Ladybug techniques and embedded narratives and storytelling for heritage. Karol visits us from ICCI – Innovation for the Creative & Cultural Industries, University of Plymouth.
The workshop will demonstrate the researcher’s approaches to narratives within 360-degree panoramic environments. The development of panoramic photography constantly provides new applications that extend the potential of such 360-degree imagery, however the inclusion of
storytelling is still a challenge. The workshop will provide a deeper understanding of three key issues: narrative, interactivity and 360-degree panoramic environments and also an expanded description of the term “interactive narrative” which is the basis for practical experiments with digital panoramas. Moreover, the concept of a convergence between a database and a narrative will be elucidated. Interactive storytelling has a chance to become a significant form of art in the 21st century, when this type of non-linear branching storytelling is merged with visualisations of locations using still and video panoramas. Still photography generates high resolution imagery through the use of a DSLR camera, a panoramic head and a fisheye lens, whereas video panorama (360-degree video) is produced by using a spherical video camera (e.g. Ladybug2 or Ladybug3). The workshop will focus on the integration of narratives with 360-degree imagery and video. A comparison is made to early film making, which instead of illustrating narratives, was concerned with demonstrating the latest achievements in camera developments. Moreover, different types of branching narratives will be presented in the form of story-graphs. The researcher’s methods of merging narratives with panoramas will be discussed. These are the concepts of a story-based panoramic interactive narrative, a map-based panoramic interactive narrative and 360-degree stories. The first idea uses the narrative as such to provide a user or an audience with two choices about how the panoramic non-linear story will develop. The second idea uses a map that extends a number of options at every road crossing point. By this method the process of building a branching narrative based on decision points (still panoramas) and narrative journeys (video panoramas) provide a potential to explore exhibitions in museums or cultural heritage sites. 360-degree stories – the third method of merging narratives with 360-degree works – is evident when a voice-over is linked with 360-degree video. The workshop will start from the history of cinematographic cylindrical spaces. Then, it will explain why modern digital 360-degree screens are the basis for extending the methods of storytelling by adding interactivity. This explanation will help the audience to choose the right approach to further development of practical part of their studies and will focus on defining a story. The inclusion of storytelling with 360-degree imagery and 360-degree video appears to encourage and educate the audience when presented in a panoramic viewer, but the illusion of reality for narratives appears to work properly on 360-degree screens. The introduction to Lucid Viewer – software platform for developing immersion projects for the Internet and desktop – will close the workshop.
The objective of my research project is to find a new and compelling method for telling stories andnnarratives that are presented via the use of an interactive panorama. The final goal of the project is to build on the tradition of touring panoramas and to create a new form of demountable immersive digital ‘gallery space’ or ‘virtual arena’ that is suitable for a broad spectrum of audio-visual material and other creative content. I submitted my PhD thesis in August 2010 at the University of Plymouth
(United Kingdom). My viva is on 15th September 2010. I was awarded MSc in Surveying and Cartography, specialization in Geo-computer science, Photogrammetry and Remote Sensing from AGH University of Science and Technology, Krakow,
Poland (2000-2005). I was also a Socrates/Erasmus exchange programme student at Dresden University of Technology (2004-2005) and the title of my thesis was: Generation of a virtual tour in the 3D space applying panoramas exercised on the sites of Dresden and Cracow, where methods of creating stereo panoramas were researched. This thesis was distinguished by Polish Ministry of Infrastructure in 2006.
I am a panorama photographer and create multimedia presentations. I won a number of business awards at the University of Plymouth. My sole-trader was awarded the Microentrepreneur of Year 2006 in Poland. I published a few multimedia DVDs with interactive full screen panoramas and have designed the website about my research (www.charles3d.info and http://www.360stories.net). I won Dragons’ Den at the VC’s Research and Enterprise Conference 2009 and funds received allowed me to explore 360-degree opportunities in Canada. My paper presented on the Virtual Systems and MultiMedia conference (VSMM2009) was awarded the Best Student Paper Award. I am also a shortlisted finalist – Postgraduate Research Student of the Year 2010.
I have presented papers and provided workshops at: The International Panorama Councils conference in Dresden & Leipzig, Germany; 3D modelling and Archaeology Summer School, Ascona, Switzerland; The 15th International Conference on Virtual Systems and MultiMedia VSMM2009, Vienna, The Panotools meetings in Lucerne, Switzerland 2007 & Prague, Czech Republic, 2008; CAA Computer Applications and Quantitive Methods in Archaeology Conference, Oslo Norway, 2008,
and the Electronic Visualisation and the Arts Conference, London, 2010, and will be presenting at the VSMM2010, Seoul, South Korea.
Temple Street is a very famous street for Hong Kongers and tourists. It is located in Jordan and Yau Ma Tei. This street sells lots of products at a cheap prize. Besides, there are fortunate-tellers and street performances of Chinese culture. Local food is also flooded inside the street. The street displays a local and a plebeian culture, the daily life of the people there as well as the special features of night market in Hong Kong. We think that Temple Street is definitely an intangible cultural heritage of Hong Kong so we chose Temple Street to be the site we film.
Intended Audience and Installation Venue
Our targeted audience is first local citizens. We would like to evoke the fellow feelings of the older generation in Hong Kong by our vivid video of the temple street. We hope to refresh their memories of their past entertainment, happy time as well as their summer of their live. Besides, we also want to show the contemporary generation a juicy place in Hong Kong about which they might have forgotten. We want to show people that there is still a place embracing very rich Hong Kong culture and its originated special entertainment. We want to tell them that there is still a place that is so Hong Kong and we may be able to get a sense of Hong Kong identity there.
We think that our work is suitable for installing in the Hong Kong Museum of History because the culture and entertainments rose in the Temple Street is part of our history
How to film and why use ladybug
We think we will walk along the temple street, a straight and long street, with the ladybug filming. There will be lots of stalls in two sides with lots of vendors and tourists. We will film anything in the street. The reason why we use the word “anything” is that using Ladybug, we cannot exactly choose some things not to be filmed in a very crowded street with multitude of people, but we do have some targets to film like tourists appreciating products, enjoying local and a plebeian food or having fortune-telling etc.
However, we would like to move a little bit faster with the ladybug or at least do not stop at one spot to film, as some vendors do not like themselves and their products to be filmed for a bit long time individually. That’s what we try to prevent.
We will choose a time that does not have too many people in the street to film because if there are too many people, some people we filmed will block the screen for a while.
Sure ladybug is technically great as it can film all sides simultaneously. We think using ladybug to film Temple Street is very good as it seems you immerse yourself in the street in a bustling atmosphere. Moreover, it is a long strict street and tons of things are worthy of filming. Normal cameras cannot film these things simultaneously, thus it cannot easily give you the feeling of a feast for the eyes.
In the video, we’ll show how people sell the special products, how the fortune tellers do their business and what kinds of entertainment in the temple street.
For example, the main customers of the stalls are foreigners. The businessmen are local people who only know some simple English. In order to make a deal, both the local businessmen and the foreigners try their best to communicate with each others. For instance, they would show the price on the calculators. Besides, we would show the decorations of the stalls of the fortune tellers. Besides, we would show the decorations of the stalls of the fortune tellers. For example, they would hang on the photos of some famous people and give some descriptions about the good or bad of their faces.
Yueju (Cantonese opera粵劇) is one of the most popular forms of performance in Hong Kong, which was officially inscribed onto UNESCO (United Nation Educational, Scientific and Cultural Organization) Representative List of the Intangible Cultural Heritage of Humanity in 2009 and the first item of the world intangible cultural heritage in Hong Kong.
Yueju is one of the major categories of Chinese theatre genre originating in South China. It had been inherited since Ming Dynasty (around 16th century) and is still popular today in Guangdong, Guangxi, Hong Kong, Macau and even Singapore and Malaysia, places where many South Chinese people live. For example, according to Mr. Wong Siu Sang (黃肇生), the vice- director in general administration of Chinese Artist Association of Hong Kong (八和會館), there are over a thousand Yueju performances staging every year in average.
It is a tradition Chinese art form involving music, singing, acting, martial arts and acrobatic. The language used in Yueju is Cantonese. Normally, actors and actresses in Yueyu make up with white and red face and dress up in gorgeous Chinese clothes. Most of the plots of Yueyu are based on Chinese history, famous Chinese classics or myths. That’s way scholars point out that Yueju effectively reveals Chinese culture and philosophy. According to UNESCO (United Nation Educational, Scientific and Cultural Organization), intangible cultural heritage is manifestation of a cultural which is living expression and the tradition that countless groups and communities worldwide have inherited from their ancestors and transmit to their descendant. Starting from 16th century, Yueju has been inherited from generation to generation in South China. It reflects culture of South China in a large extend. It is certainly one of the representations of Hong Kong intangible cultural heritage.
Lam Tsuen (林村) is a place in Tai Po and we have been there last Friday. The most famous event in Lam Tsuen must be the Wishing Trees. Some people used to go to Lam Tsuen in Lunar New Year and pray for luck in the following year. In this project, we would try to shoot rituals and the daily life of the people in Lam Tsuen for recording the particulate cultural heritage of Hong Kong.
Lam Tsuen is very close to Tai Po market station. Traveling by bus number 64K can fast be there.
We try to focus on two to three locations for shooting. First, we decide to shoot in front of the Tin Hau temple in Lam Tsuen. People would ask for their fortune with “Sing Buo (Sangreal)” (a kind of tool for communication with the god) and fortune tellers in the temple. Second, the wishing trees are the focal point that we want to shoot. People throw joss paper which tied with an orange onto the tree; it is “Bo Dip (寶牒)”. Third, we decide to shoot the wishing boards and the women who are selling those “Bo Dip”.
The Tin Hau Temple (天后廟) located near the wishing trees was built around 18th century, during domination of Qianlong (乾隆) in Qing Dynasty (清朝). The early wishing trees are two big banyans; at that time villagers living nearby believed that they were actually deities. And the tradition of throwing joss paper which is tied with an orange onto the trees to make wish has inherited for over two hundred years.
Intangible heritage is manifestation of outstanding universal value providing people sense of identity and continuity. The tradition of making wish in form of throwing joss paper which is tied with an orange onto the trees is the kind of cultural tradition.