M1 - Homeward

BACKGROUND In exploring the idea of the mediated landscape and place-representation of the Freeway/Motorway, M1-Homeward draws on French anthropologist Marc Augé's work on places and non places (Auge, 1992) and more recent creative exhibition work curated by Tacita Dean and Jeremy Millar ('Place', 2005). To date, this area of creative practice research has centred on photography, video and installation. Animation, as a visual representational language of space, has not been comprehensively explored in relation to landscape. M1 addresses this research gap. CONTRIBUTION M1-Homeward is a caricatured animated recreation of a moving Australian roadside landscape. In particular it references the monotonous landscape experienced on the drive along sections of the M1 freeway in Victoria. The work re-inscribes the language of limited animation's use of repeat panning backgrounds from the 1960s. Originally developed as a response to economic constraints and largely attributed to Hanna Barbera studios, the repeat panning background abbreviates the landscape where its meaning is familiar and comprehensible but spatially absurd. M1-Homeward plays on this absurdity, exposing the similarity in spectatorial points of view of the screen and the car window to make explicit our disconnection from the landscape in certain situations, and commenting on the the space as non-place conception posited by by Auge. SIGNIFICANCE M1-Homeward was included in the 2013 exURBAN screens exhibition '(Good evening, and welcome to) The Discrete Image' curated by Matthew Perkins and Vince Dziekanheld. The exhibition was held in June/July 2013 across the Cube 37 Gallery, Frankston Arts Centre and Frankston City Centre. It attracted significant patronage, particularly through guided walking tours of the installations. M1- Homeward was subsequenly included in the launch of 'Drawing Film' 2013 curated by Suzie Attiwill for the RMIT Design Institute.

研究背景
在探讨高速/快速公路的中介化景观与场所表征议题时，M1-Homeward借鉴了法国人类学家马克·奥热（Marc Augé）关于场所与非场所的研究（Auge, 1992），以及塔西塔·迪恩（Tacita Dean）与杰里米·米勒（Jeremy Millar）策展的2005年创意展览《Place》。迄今为止，该创意实践研究领域的核心创作媒介多为摄影、影像与装置艺术。而动画作为一种空间视觉表征语言，尚未在景观研究维度得到全面探索。M1-Homeward正是针对这一研究空白展开的创作项目。

研究贡献
M1-Homeward是对澳大利亚行进中路边景观的卡通化动画再创作，其创作灵感源自维多利亚州M1高速公路部分路段驾车时所见的单调景观。该作品借鉴了20世纪60年代有限动画（limited animation）中重复平移背景的创作手法——这类手法最初因应对经济约束而诞生，通常被认为由汉纳-巴贝拉（Hanna Barbera）工作室首创，通过简化熟悉易懂但空间逻辑反常的景观来压缩叙事。M1-Homeward利用这一荒诞性，将银幕与汽车车窗的观者视角进行类比，以此凸显特定情境下观者与景观的疏离感，并对奥热提出的非场所空间概念作出了回应。

项目意义
M1-Homeward曾入选由马修·珀金斯（Matthew Perkins）与文斯·齐坎（Vince Dziekan）策展的2013年exURBAN screens展览《(Good evening, and welcome to) The Discrete Image》。该展览于2013年6月至7月期间，先后在Cube 37画廊、弗兰克斯顿艺术中心与弗兰克斯顿市中心举办，吸引了大量观众到场参观，其中尤以装置艺术导览徒步活动的参与度为高。此后，该作品还被纳入由苏西·阿蒂维尔（Suzie Attiwill）为皇家墨尔本理工大学（RMIT）设计学院策划的2013年“Drawing Film”展览开幕式展陈。