关于艺术家 ABOUT ARTIST

杨静，1986年生于乌鲁木齐，在上海、香·港和海德堡多地求学。现为德国海德堡大学全球艺术史系博士候选人，长居香·港。身份杂乱多变，曾经是学术出版社文艺编辑和国际新闻记者，也曾在香·港几所大学从事教学和研究工作。近年来逐渐沉淀，学会专注，热爱的领域是游戏、艺术、媒体和学术四个的交集所在。目前长期撰写游戏评论、艺术评论，主编有香·港端传媒游戏专栏《Game ON》，并为《苹果日报》撰写笔记型专栏《阿利雄志异》；文字之外，也探索其他表达的可能，目前的尝试有策展（2018深圳国际独立动画双年展《游戏共生》）、播客（另类文化播客《无业游民》创始人）。未来希望能够继续形散而神聚的吸收和创作。

Yang Jing, born in 1986, Urumqi. She studies and works in Shanghai, Hong Kong and Germany. Right now she is a phd candidate in Global Art History in Heidelberg University. Yang is based in Hong Kong and works in various fields: an academic editor, a journalist of international news desk, a researcher and teacher in Chinese University and City University of Hong Kong. Fortunately, she begins to learn the art of focus, and narrows her interest in the intersection of game, art, media and research. Currently, she writes and reviews about game and art, manages the game channel Game On in Initium Media, and contributes to her own column Strange Stories from Allison's Studio. When she is now writing, she explores other ways of creative and critical expression; recent adventures include curating (Video Game: Cohabitant in 2018 Shenzhen International Independent Animation Biennale), podcast (The Unemployable).

一场游戏与你的社区

The game is your open world

香港场热身
warm up for the game in 
Hong Kong station


香港场讲解
explaining in 
Hong Kong station



台湾场第一小组游戏中
The first ground of 
Taiwan station is playing the game


感谢香港端传媒提供香港和台北的活动照片。
感谢摄影师小武拍摄个人照片。
Photo Credit: Initium Media, 
HumphreyWu

做游戏和玩游戏往往是漫布在两个时空、发生在不同人身上的分散行为：游戏设计师设计游戏规则、勾勒游戏设计世界、创造游戏人物；玩家安装购买游戏、投入时间脑力、用自己的方法走或封闭或开放的地图。做与玩的分割延伸出游戏研究中很多经典话题，譬如游戏的自由度在哪里，玩家/设计师的主体性有多高，所谓开放世界游戏的开放程度如何衡量。

做游戏与玩游戏本质上都是人类的基本行为，我们常说人生如戏、戏如人生，这里的比喻是生活与戏剧，但也不妨将其理解为生活与游戏。生活确实也是一场规则复杂的棋局，它的复杂除了来自于参差百态的芸芸众生，也来自于每一个个体与社群设计规则与遵守规则时的必然性与偶然性之间的张力。换句话来说，生活是一场大型有机的元游戏，我们每个人在制定游戏规则也在遵守、破坏和更新它。在游戏这个规则系统下，我们的各种人生选择总是和系统的演化与他人的选择相互缠绕，没有人知道一整盘棋将会走向何方，只能盲人摸象一般探索边决定。在人生这场多人大型游戏里，做与玩总是同时发生，分不清彼此的。

如此看来，一场最接近人生的游戏，设计者和玩家应该是同一群人。这种共同性既需要群体玩家而不是单个玩家，也需要做与玩动作的同时发生。

工作坊

这次在顶上空间的工作坊，杨静将会扮演游戏大师的角色，用改编后的美国桌面元游戏《安静的一年》为诱媒，邀请参与者以顶上空间所在的社区为故事背景，群策群力，一起发想一场社区营造的纸上谈兵。杨静此前曾在香·港和台湾分别用类似方法举办两场同题活动，也从中观察到游戏动力在不同场合、不同机制下的细微差异。这次在广州的工作坊的尾声部分，她也会分享这些来源于游戏田野的笔记和思考，将做与玩放回它们发生的语境内，探索影响游戏的个人、系统和偶然性要素。

Making games and playing them are often separated actions taking place in different temporal/spatial contexts. Game designers create game rules and mechanism, sketch the contour of the game world, and invent characteristic protagonists and various NPCs. Game players purchase and install ready-made games, invest their time and brainwork into gameplay, and adventure in the open/close game map. The separation of game design and game play results in many classic topics in game studies, the subjectivity and inter-subjectivity of designers and players, the level of freedom lies in games for their players, how open is an open world game, to name a few.

To make game and to play it is basic human function. We like to say that life is like a play. Of course, here the metaphor lies in between life and theatre; but why not change it a bit, life is like a gameplay. Indeed life is a complex game. Its complexity stems not only from the number and variety of all the players in it, but also the tension in between contingencies and certainties of every single action/decision made by players as individuals and as a whole. In another word, life is a multi-player meta-game. As a player, we are always making, following, breaking and changing the rules in this game. In this game's system of rules, my choices are often embedded in those of the others, and vice-versa. Nobody knows where this game is heading for. At our best, we can strive to learn and make the best decision as we can. In this organic game, making game and playing is almost the same thing.

Therefore, the closest game to that of life should be one where the players and designers are one and the same people. That requires the participation of a group/community of volunteers who act as both game designers and players.

WORKSHOP

In this workshop in TOP, Yang Jing will take the role of game master, adapting the meta-board game A Quiet Year and facilitator the participants to explore the limitation and possibility of redesigning/playing this game. To be specific, the game story would be adapted to the community history of the neighborhood of TOP, and invite all the participants to advance the narrative to an open end. Yang Jing has previously conducted similar workshop in Hong Kong and Taipei. In these “fieldworks”, she observed how game is reenacted differently in different cultural and communal settings. In the end of TOP's workshop, she will share her notes and reflections on these nuances, put the play and the design back to the place where it happened, so to explore the critical element that impact the game.