Spain’s Interactive Sonic Systems contributed one of their now-iconic “ReacTable” instruments (there are only four in the world; another is owned by Bjork). When visitors move the patterned plastic blocks over the table-top, different light and sound samples emerge (with practice, one can actually “play” the ReacTable like an avant-garde DJ set-up).

Interactive Sonic Systems, ReacTable, 2005

The “Small Fish” project by Wolfgang Muench, Kiyoshi Furukawa and Masaki Fujihata (in which, you guessed it, visitors can manipulate small elements to influence audio-visual effects on a larger screen) wasn’t able to fit in the exhibition space, and so at the last minute had to be replaced by an older work by the artists. In the end, so many of these interactive pieces had an unfortunate familiarity (some were actually several years old) and didn’t push the boundaries of current media art trends.

Daan Roosegaarde, Dune 4.1, 2007

“Dune 4.1” by Dutch artist Daan Roosegaarde was a bit more immersive, as it consists of 20 meters of electronic “reeds” that react to sound as visitors pass by (it was set up outside the main exhibition venue) – perhaps the context and more spontaneous audience interaction made it more unique (and the best photo-op for snap-happy HK citizens).

Microplayground, Organic Frames

Rounding out the “luminous” aspect of the festival were numerous screening programs such as “Organic Frames” (unconventional animation, curated by Taiwan’s Microplayground), “Wow + Flutter 2007” (Onedotzero UK’s reliable selections of digital pop), and two curated by HK’s own Ip Yuk Yiu (“Camera Obscura” and “Illuminati”, taking theoretical angles on light and shadow).

FM3

On the “echo” side, the live performance entitled “Watch Music” brought together five of HK’s most respected indie musicians (ranging from noisy experimentalists like Ah Sun to baroque popstar Ah P from band My Little Airport) to play a collaborative set at Popbites, a bar in Central. And Beijing sound artists FM3 brought out their ingenious 2006 gadget the “Buddha Machine” for some sessions of “Buddha Boxing”. Based on the mass-market Buddhist chanting machine (a tiny electronic music-player with speakers), FM3 created their own music samples that would loop within candy-colored machines. Microwave 2007 presented a special edition of the Buddha Machine, and had FM3 do live jamming with countless boxes on two evening performances.

Alas, Microwave 2007 was a short lived one – with rising rental fees for the City Hall venue, the show closed in seven short days. With so much energy and so much possibility, it’s unfortunate that the organization still can’t get the needed support from the HK government or other relevant sponsors. As organizers explained, even the installation of a new media art piece requires so much technical help, that the costs for multiple works and for the latest, cutting-edge pieces (with brand-new and unreliable technology) quickly become prohibitive. Even the current pieces were often “dark” for several days of the short show, or lacked sufficient explanations for unfamiliar audiences to engage with the mechanisms. Some have suggested that Microwave become a biennial event, and reserve resources for an even bigger, more polished show every two years. But as new media art only continues to grow, it’s clear that Microwave will remain a relevant institution in Hong Kong and hopefully Asia. For now, it will continue to regularly collect and bring to the public a lot of sound and fury—hopefully signifying something exciting.

Microwave New Media Art Festival 2007
Date: November 10th – 18th, 2007
Place: City Hall
Address: 5 Edinburgh Place, Central, Hong Kong
info@microwavefest.net
https://www.microwavefest.net