We live in a post-optic world. Human vision is decentralized as (sole) base for knowledge production to make room for the nonhuman (machines, animals, plants). Yet, our worldview is based on optical information (“seeing is believing”!) and our visual culture leans heavily on old habits: affirming the human spectrum as the norm, celebrating the indexical qualities of the image. The post-optic, as Carolyn L. Kane coins it, is an extension ànd a challenge of vision rooted in optics. It's through algorithmic imagery that we gain the ability to see beyond our own visual limits. This expansion of perception allows us to step beyond a human-centric viewpoint to embrace wavelengths visible to machines and other species. One of the most vivid examples of this pos-optic or algorithmic realm is the use of digital infrared technology. It transcodes invisible data into our visible world, expanding our visual territory. In contexts such as military strategies and facial recognition, digital infrared serves not only to make the invisible visible, but also to guide decision-making processes, silently participating in the invisible conversation that shapes our world. The memetic relationship of the optical world doesn’t exist in the post-optic; the relationship between the real world and its representation is constantly shaped by data and algorithmic processes. Digital infrared and ultraviolet images act as conduits, offering us reinterpretations of an unseen universe. The post-optic invites us to expand our parameters of normality and opens doors to the extrasensory. It can contribute to a shared and interconnected reality that fosters interactions between all entities - be they machines, humans or other entities. 　　In this video I investigate the possibilities of a shared, inclusive timespace by exploring visual realms that are invisible to the (human) naked eye, but can be seen by machines and animals. Leveraging technology’s ability to re-imagine, boundaries are slowly shifting between human and nature. Norms are challenged in the close-ups of flesh-like trees, blood-like mountain streams and cyborg-humans. An ultra-soundscape accompanies an ongoing conversation with ChatGPT. (Martine Stig)

We live in a post-optic world. Human vision is decentralized as (sole) base for knowledge production to make room for the nonhuman (machines, animals, plants). Yet, our worldview is based on optical information (“seeing is believing”!) and our visual culture leans heavily on old habits: affirming the human spectrum as the norm, celebrating the indexical qualities of the image. The post-optic, as Carolyn L. Kane coins it, is an extension ànd a challenge of vision rooted in optics. It's through algorithmic imagery that we gain the ability to see beyond our own visual limits. This expansion of perception allows us to step beyond a human-centric viewpoint to embrace wavelengths visible to machines and other species. One of the most vivid examples of this pos-optic or algorithmic realm is the use of digital infrared technology. It transcodes invisible data into our visible world, expanding our visual territory. In contexts such as military strategies and facial recognition, digital infrared serves not only to make the invisible visible, but also to guide decision-making processes, silently participating in the invisible conversation that shapes our world. The memetic relationship of the optical world doesn’t exist in the post-optic; the relationship between the real world and its representation is constantly shaped by data and algorithmic processes. Digital infrared and ultraviolet images act as conduits, offering us reinterpretations of an unseen universe. The post-optic invites us to expand our parameters of normality and opens doors to the extrasensory. It can contribute to a shared and interconnected reality that fosters interactions between all entities - be they machines, humans or other entities. 　　In this video I investigate the possibilities of a shared, inclusive timespace by exploring visual realms that are invisible to the (human) naked eye, but can be seen by machines and animals. Leveraging technology’s ability to re-imagine, boundaries are slowly shifting between human and nature. Norms are challenged in the close-ups of flesh-like trees, blood-like mountain streams and cyborg-humans. An ultra-soundscape accompanies an ongoing conversation with ChatGPT. (Martine Stig)

凭借电影《蜂鸟》获得全世界好评的金宝拉导演的下部作品拍摄SF电影《Spectrum》。《Spectrum》改编自同名短篇小说，原作是讲述外星生命体和人类之间的感觉和语言、沟通的科幻小说。

凭借电影《蜂鸟》获得全世界好评的金宝拉导演的下部作品拍摄SF电影《Spectrum》。《Spectrum》改编自同名短篇小说，原作是讲述外星生命体和人类之间的感觉和语言、沟通的科幻小说。

A woman, married to an artist, starts a relationship with one of her students, who has already has a mistress of his own. The two rivals meet and come to an understanding. Paul Verhoeven’s student film debut is viewed as a mixture of the styles of Alfred Hitchcock and Ingmar Bergman.

A woman, married to an artist, starts a relationship with one of her students, who has already has a mistress of his own. The two rivals meet and come to an understanding. Paul Verhoeven’s student film debut is viewed as a mixture of the styles of Alfred Hitchcock and Ingmar Bergman.

北大微电影

北大微电影

加岛龙斗是个不起眼的边缘人。当然16年来都没交过女朋友。而龙斗憧憬的对象，白河月爱（露娜）是全学年最正的美少女辣妹，恋爱经验也很丰富。龙斗本来觉得能够在远处欣赏她就足够了……两人却意外开始交往了！？恋爱经验零的边缘人和经验丰富的辣妹，居住的世界完全不同的两人所编织出的尽管大相迳庭、却纯真又写实、令人心跳不已的极致青春恋爱故事。

导演亲自扮演一位电影导演，他辛苦工作收入菲薄，而且还无法满足自己的妻子。影片中夫妻俩在打架、交谈、修补关系，再谈话、接着打架。