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)

1986年春天，切尔诺贝利发生爆炸，一个名叫咪咪的女孩来到了芬兰西部的一个小村庄。她立即让 15 岁的玛丽亚的生活充满了辐射的光芒。20年后，玛丽亚回到家中照顾生病的母亲，那个有意义的夏天的记忆开始浮出水面。

1986年春天，切尔诺贝利发生爆炸，一个名叫咪咪的女孩来到了芬兰西部的一个小村庄。她立即让 15 岁的玛丽亚的生活充满了辐射的光芒。20年后，玛丽亚回到家中照顾生病的母亲，那个有意义的夏天的记忆开始浮出水面。

米尔科是一名丛林向导，在他即将离开他从小长大的亚马逊时，一个电影摄制组到来，希望在他的帮助下拍摄一部丛林电影。《飞光飞光》是一部具有液体时间感的电影，冥想、反思着电影拍摄的过程，并在郁郁葱葱的丛林中探讨了人类生活创造出的拟象——一种以电影媒介创造出的“新现实”。在影片里，人类语言的声音渐渐融化在了自然的声波中......

米尔科是一名丛林向导，在他即将离开他从小长大的亚马逊时，一个电影摄制组到来，希望在他的帮助下拍摄一部丛林电影。《飞光飞光》是一部具有液体时间感的电影，冥想、反思着电影拍摄的过程，并在郁郁葱葱的丛林中探讨了人类生活创造出的拟象——一种以电影媒介创造出的“新现实”。在影片里，人类语言的声音渐渐融化在了自然的声波中......

哥哥文光 （ 庄仲维 饰）是一位自闭症患者，他个性敏感，不善与人交往。弟弟 （ 张顺源 饰）一直设法帮助文光适应社会，并找到可以谋生的工作。然而，文光屡次搞砸面试，闯祸惹麻烦，弟弟气愤又无奈。直到有一天，弟弟听到哥哥房间传来的音乐声，才发现哥哥的音乐天赋一直默默闪耀着 。

《光》是一段围绕着两兄弟的故事。哥哥文光是一名自闭症患者，他一直无法专注集中以及正常社交。 尽管如此，弟弟一直设法帮助文光去应征工作。然而，面对…

尾崎美佐子从事着一份特殊的职业，她的工作是将电影画面转化成文字写下来，再录制成音轨，为的是能让双目失明的盲人们亦能享受电影带给他们的无限想象和乐趣。近日里，美佐子的工作遭遇了瓶颈期，她所撰写的解说始终无法获得盲人观众的认可，更有一位名叫中森雅哉的摄影师，不断的向她抛出尖锐的问题。

哥哥文光 （ 庄仲维 饰）是一位自闭症患者，他个性敏感，不善与人交往。弟弟 （ 张顺源 饰）一直设法帮助文光适应社会，并找到可以谋生的工作。然而，文光屡次搞砸面试，闯祸惹麻烦，弟弟气愤又无奈。直到有一天，弟弟听到哥哥房间传来的音乐声，才发现哥哥的音乐天赋一直默默闪耀着 。