當下與過往交融的共時性2018
The Blended Synchronicity between Current and Past 2018
The Blended Synchronicity between Current and Past 2018
「共時性」原是現實經驗透過潛意識與當下事件的觸發,而反饋出的心理關連。 此一單向與即時兩種不同敘事的認知,組合於相同時空裡,令觀者在時序與互動圖像組合的經驗秩序下,更自由解讀其認知歷程。透過不斷探索即時更新的「圖像隱喻」,探索與融合出翻新的敘事文本。
這次展出內容結合了兩個現實場景的影片。將利用即時的手勢操作(Leap Motion),進行實現此三種場景中當下的介入,並與影片中的既定時空融合,而產生特殊的共時敘事現象。 “Synchronicity” proposed by Carl Jung describes psychological associations that are responses to realistic experiences triggered by the subconscious and the event in the given moment. Cognitions for the two different narratives – one-directional and instantaneous – are arranged in the same space-time. With the physical space-time relation reconstructed, viewers are given more freedom to interpret their own cognitive processes under the experience orders assembled with time sequences and interactive images, and through continual exploration of the instantaneously updated “pictorial metaphors,” the narrative text is explored, blended, and updated. Two works from this series are featured in this exhibition, with videos based on two realistic settings that include a vacant space next to a house and an area in a zoo. Interventions are engaged in the settings with the use of real-time recognition through a leap motion controller, and by blending with the existing space-times in the videos, unique synchronic narratives are produced. |
囈語2015
Somniloquy 2015
Somniloquy 2015
囈語2015是囈語系列和影子研究方向的作品。影子屬於二維世界,觸摸不到但無比真實,我一直想運用影子的運動型態來創作。在這個作品裡, 我在上下做呼吸運動的鐵盒子裡放置了不同顏色的LED燈, 形成一組矩陣。燈光的運動以及相互影響形成整體的光線效果,模擬昆蟲族群之間的動態影響。
Somniloquy 2015 originates from the Somniloquy series and is a new work in shadow study. Shadow belongs to a two-dimensional world. It is untouchable but our feelings for shadows are no less real. I always wanted to use the dynamics of shadows as an expression of art. In this work, I put LED lights into breathing iron boxes to constitute a color matrix. The movement of the light and the overall lighting effect forms a simulation of the ecological dynamic of the insect community. |
游離者
SHIFT
SHIFT
本作品《游離者》透過光軌掃描概念,將街道裡移動人物封存,緩緩檢視街道中的流動映像,並刻意凝結秩序外的游離狀態。以社會意識而聚焦個體,濃縮地理圖景,提出對於「SHIFT/游離者」之現實處境,猶如魯西迪(Salman Rushdie)在《想像的故土》(Imaginary Homelands)所說,失去自己的身分地位、近乎一種飄盪的行為,既是飄泊,也是陌生接觸,這一切反映著當代社會中的游離者經驗。
Shift visualizes the concept of scanning light trail to seal the moving figures and objects in streets, slowly examining the flowing image in the city and intentionally capturing the shifting state unconfined by order. Focusing on individuals through the lens of social consciousness while condensing geographic images, the work provides a glimpse into the reality of those in the shifting state. As Salman Rushdie has stated in Imaginary Homelands, it is the loss of identity and status, a drifting behavior as well as a strange contact, which reflects the shifting experience in contemporary society. |
墨流 - 山
Ink Flow - Mountain
Ink Flow - Mountain
《墨流》以禪入境,黑與白的純粹,明與暗的轉變, 探求水墨最深層次的墨化境象。如笪重光所述 -「虛實相生,無畫處皆成妙境」,作品以潛藏的黑蘊釀無窮的白;墨化之始末乃實踐禪宗「不即不離」的理念。
Ink Flow incorporates the philosophy of Zen, and uses the purity of black and white and the shift between brightness and darkness to explore the profoundest level of ink realms. As Chong-Kung Da stated, “the virtual and the real are mutually generating, and even the blankness is turned into a superb realm,” this work employs concealing darkness to foil the infinite whiteness. The inking process manifests the Zen concept of “being neither too distant nor too familiar.” |
網絡植物群/ 聲音根莖
Cyber Flora: Rhizome of Sounds
Cyber Flora: Rhizome of Sounds
網絡、聲音技術與自然界是影響我創作的三位一體。網絡植物群/ 聲音根莖(Cyber Flora:Rhizome of Sounds)架構出聲音串連燈光裝置的空間意象,透過根莖圖式探討網絡城市的解疆域概念,儘管聲音元素無法被視覺辨識,但卻以微妙且具體的方式存在於生活周遭。此作品布局成網絡植物群的建築景觀,讓觀者置身其中,透過聲音根莖的引導形構城市中的多元性原則,試圖讓觀者體驗人工自然、精神現實、想像圖像與未知世界的存在關係。
Network, sound tech and nature are the trinity that influences my creation., Cyber Flora: Rhizome of Sounds constructs a spatial image of sound-connected lighting devices, which discusses the concept of the network domain through the rhizome pattern. Although sound elements cannot be visually recognized, they exist in life in a subtle and specific way. The installation is laid out as an architectural landscape built with the network flora, in which viewers can explore freely. Through the guidance of the sound roots that shape the pluralism in a city, the work leads viewers to experience the existence of and relationship among artificial nature, spiritual reality, imaginary images and an unknown world. |
鏡
The Mirror
The Mirror
沉浸式體驗藝術作品《鏡》探問自我與身體之間的關係。觀眾坐在坐椅上,頭戴顯示器與耳機,便可在前方猶如巨大鏡面的螢幕看到自己的身影,螢幕中的舞者敏捷地帶領觀眾展開一趟離開「此時此地」、探索不同空間的旅程。螢幕中的鏡像想當然爾呈現的是坐在椅子上的觀眾身影,但觀眾動作與「鏡像」的時間差,會扭曲視覺認知,產生一種身體和頭腦有落差的奇異感受,隨著真實 與虛擬環境的邊界開始混淆,觀眾也開始無法分辨真實與虛構。
替代實境(Substitutional Reality,SR)是由腦科學綜合研究中心(RIKEN Brain Science Institute)的調適型智慧實驗室(Laboratory for Adaptive Intelligence)所研發的技術系統,與虛擬實境(Virtual Reality,VR)和擴增實境(Augmented Reality,AR)等原先把目標設訂在「縮小虛擬和現實之間的落差」不同,替代實境透過納入過去面向,讓過去成為當下的附帶條件, 以消除現實和虛擬之間的界線,藉此對每個人主觀體驗到的「現實」產生影響。 Immersive experience art piece "The Mirror" asks relation between the self and the body. Visitors sitting in a chair wearing a head-mounted display and headphones can see themselves in a large, mirror-like screen in front of them. From there, a dancer quickly takes them on a tour around various places different from the “here and now.” The assumed mirror images on the screen certainly show the persons on the chair, but the time lag between the visitors’ movements and those of their “mirror images” distorts the recognition of what they see, and thereby creates a sense of disconnection of body and mind. As the boundary between real and virtual environments is blurred, visitors become unable to distinguish reality from ction. Substitutional Reality (SR) is a system developed by the RIKEN Brain Science Institute’s Laboratory for Adaptive Intelligence. Different from previously known technologies aiming to “narrow the gap between virtual and real,” such as virtual reality (VR) and augmented reality (AR), SR eliminates the borderline between reality and virtuality by including aspects of the past as something contiguous to the present, and thus affects “reality” itself as it is subjectively experienced by each individual person. |
靈魂曝光V.2
Spirit Exposure V.2
Spirit Exposure V.2
《靈魂曝光V.2》是一系列將空間中的動態轉換為曝光的影像實驗,這些影像為演算既有的影像檔案而成。
本作品以開放原始碼(Open Source)開發環境:Processing撰寫的影像分析程式,可以比較影片的前後影格,將動態部分進行曝光,因此隨著影格推進,曝光將逐漸浮現,形成一連串動態的軌跡,如同時、光與空間交互作用所留下的殘影。以科技為媒材,藉由電腦視覺(Computer Vision)的視角,突顯在時空中,人人皆是空無、匆忙之過客。 Spirit Exposure V.2 is an image experiment that visualizes motion in space as exposure. The images come from the calculation based on existing archive images. The work adopts open source as the development environment: the image analyzing program created with Processing compares the frames of the film and add exposure to the motion. So, as the frames change, the exposure gradually surfaces, creating a trail of motion while leaving residual images resulting from the interaction between time, light and space. The work employs technology as the medium and adopts the perspective of computer vision to foreground the fact that everyone is simply a passerby in our space-time. |
上童謠
Hau Dong Song
Hau Dong Song
在越南,通靈仍是普遍的習俗,透過通靈,人們能與已故的親友溝通,或向鬼魂祈求保佑。而靈媒被附身時往往會隨著傳統民俗音樂起舞。越南藝術家Le Thanh Tung在這部作品中重現了這樣的通靈儀式,並將當地民俗與流行音樂混合製成背景音樂,以全息投影為媒介,試圖在數位科技中尋找家鄉文化傳統的本質。
In Vietnam, seeking the help of a psychic is a common folk practice. Through mediumship, people hope to communicate with their friends and families that have passed away or ask for protection from ghosts. The psychic often dances to traditional folk music when a spirit enters the body. In this work, Le Thanh Tung represents the folk ritual and creates the background music by mixing folk and popular music. Using hologram projection as a medium, the artist attempts to rediscover the nature of Vietnamese cultural tradition. |
佛陀蟲計畫
The Buddhist Bug Project
The Buddhist Bug Project
《佛陀蟲計畫 The Buddhist Bug Project 》, 是由藝術家Anida Yoeu Ali先前的攝影、錄像、行為藝術系列作品《The Buddhist Bug》而衍生。在此作品中,藝術家嬉戲地置身於一個毛毛蟲般服裝,服裝顏色引用了僧侶的長袍。毛毛蟲靈感來則自於對佛教及穆斯林的幻想,以及對散居身分認同的探索。
The Buddhist Bug Project continues Anida Yoeu Ali’s previous series of photography, video and performance, entitled The Buddhist Bug. In this work, the artist wears a playful caterpillar-like costume, of which the color is reminiscent of Buddhist monks’ robes. The ides of mimicking caterpillar comes from Buddhism and Muslim as well as her exploration of diasporic identity. |
數位薩滿計劃
Digital Shaman Project
Digital Shaman Project
《數位薩滿計劃》提出符合現今科技發展情境下的哀悼新模式,3D列印的亡者面具置放於家用機器人的臉上,機器人透過動作程式能模擬亡者的生理特徵,如:個性、說話及動作等,彷彿亡者靈魂附身於機器人身上。這個程式在亡者過世後會運作四十九天 − 根據佛教信仰,往生之人需要四十九天才會進入下一世 − 在這段時間中,家屬能透過機器人體驗擬真對話,猶如亡者仍在,而在第四十九天,機器人便會與家屬道別,自動關閉程式。程式的設計讓失去親人的體驗者與彷彿被亡者附身、靈媒一般的機器人相處四十九天,靈感源自於藝術家過世的祖母,對她來說,當時的喪禮提供了亡者家屬哀悼所需的儀式。
The Digital Shaman Project proposes a new mode of mourning in keeping with the technical advances of today. A 3D-printed mask of the deceased’s face is placed on a domestic robot installed with a motion program that mimics the physical characteristics―personality, speech, gestures―of that individual as if possessed by their spirit. The program functions for 49 days after the person’s death—according to Buddhist belief, it takes 49 days for a deceased person to enter the next life— during which time family members can experience simulated conversation with the deceased as if he or she were still alive. On the 49th day, the robot bids farewell to the bereaved and the program shuts down. The program is thus designed to allow the bereaved to spend 49 days with a robot seemingly possessed, like a medium, by the deceased. The creator says that she developed the concept after her grandmother’s death, when she personally experienced the function that a funeral serves as a mourning ritual for those left behind. |
電磁腦神教
Electromagnetic Brainology
Electromagnetic Brainology
這件作品是作者在開發完善一個龐大的關於宗教,醫療,腦科學方面的作品的一個環節,關於這 方面的探討,藝術家從2010年的《震顫麻痹計劃》2011年《忿怒金剛核》2015年《陸揚妄想曼陀羅》2016年《陸揚妄想罪與罰》到2017年《電磁腦神教》以及2018年新作《電磁腦神教-腦制御士》以及未來的作品中作為一個長期思考探索研究的計劃,任何一件作品都是獨立但又和其他作品有持續關聯的。
遠古人類看到有人在天上飛,就尊為神通,天神,而現代科技手段下似乎人人都可以借助科技在 天上飛,瞬間移動,遙視,等等,似乎那些超乎常人的超能力並不能代表宗教。宗教和真理信仰是不同的存在,也許所謂的神通就是科技而已。 The artwork is a part of the artist developing a large project of religion, medicalogy, and neuroscience. The artist has been exploring on the topic with Krafttremor - Parkinson's disease orchestra (2010), Wrathful King Kong Core (2011), LuYang Delusional Mandala (2015), LuYang Delusional Crime and Punishment (2016), Electromagnetic Brainology (2017), and the upcoming work Electromagnetic Brainology - [xxx] (2018). Each work is independent while related to the other works. The ancient people addressed the man flying in the sky as god or deity, while everyone seems to gain the ability of flight, teleportation, and clairvoyance with modern technology. Perhaps the superpowers cannot represent religion. Religion and the faith in truth are different, perhaps the superhuman ability is but technology. |
臉部共享
Sharing Faces
Sharing Faces
在此作中,攝影機及特殊軟體會捕捉觀者的臉部位置,觀者一旦移動,系統便會由資料庫中配對相應的新面容,產生觀者運用他人容貌製造出的鏡像。透過《臉部共享》,觀者得以與身處他方、與自身有所差異的人們建立新的關係。
A camera and custom software match the face locations of the persons looking at the screen. As the visitor moves, new images are pulled from the database matching the new location and create a mirror-like image of yourself using the images of others. “Sharing Faces” is about finding connections with people in another place that you typically find quite different from yourself. |
3D大瀏覽器
The Big Browser 3D
The Big Browser 3D
《3D大瀏覽器》運用藝術家自己編寫的軟體,讓觀眾在虛擬世界中成為主角,觀眾可自行控制虛擬角色,讓其跳動或移動,也能使用網路瀏覽器或搜尋引擎,瀏覽器的視窗和角色尺寸相當,讓觀眾重新思考用來觀看網路世界的後網路時代瀏覽器及變化的視窗模式。
Big Browser 3D, created with software of the artist’s own invention, provides a virtual world where the audience can act as a protagonist. Viewers can control the VR characters by having them move or jump. They can also use a web browser or search engines. The browser window is as large as the character’s size; this leads us to reconsider the browser of the post-internet era and the changed mode of the windows through which we look at the internet. |
心靈
Psyches
Psyches
科技的發展日新月異,我們的日常生活被各種通信工具佔據,特別是智慧型手機在我們生活中的角色日益吃重,似乎透過和在世界不同角落的人快速分享資訊,就能產生一種立即「連結」的感受。
然而,人類情感總是飄乎不定,難以真正傳遞片刻的共聚感,或捕捉與溝通對象之間那種微妙的情感波動。 此計劃的目的是要運用能夠以人類感官分享的方式,透過智慧型手機,捕捉二人目光交會時的微妙情感共時,強化他們眨眼時產生的節奏及共鳴,彰顯人類之間的親密感。 New technologies are advancing rapidly and there are now just so many types of communication tools that fill our everyday lives. Especially, smartphones play increasingly greater roles in our lives. They seem to engender an instant feeling of ‘connectedness’ by sharing information with anybody in the world in a blink of an eye. However, human emotion is fleeting and always shifting that it is hard to truly convey a moment of togetherness or capture a subtle emotional fluctuation of the other person that you are communicating with. The goal of this project is to celebrate human intimacy by capturing a subtle emotional synchrony between two people while their eyes crossing each other and amplifying the rhythm and the resonance of their blinks using smartphones in a way that can be shared through the five senses |
上帝之眼
The eye of the God
The eye of the God
這項藝術作品使用麥卡托投影技術與先進的交互式軟體和數位設計。 利用創意將科學藝術作品與天文現象融為一體,此裸體3D的“上帝之眼”數位藝術作品由數位藝術家劉為開製作。觀眾用真誠的心向上帝之眼致敬。 上帝之眼將會從宇宙中賜給你上帝的信號。該數位藝術作品使用3D立體投影球與上帝的眼睛互動軟體結合並運用KINECT互動技術,讓觀眾享受與上帝之眼藝術品雙向互動的特殊經驗和第二類體驗。
This work uses Mercator projection technology with advanced interactive software and digital design. Using creative ideas to integrate a work of science art with astronomical phenomenon. This autostereoscopic 3D “Eye of God” is produced by digital artist Wei-kai Liou. When the audience bows to the eye of God with a sincere heart, it will give you God's signal from the universe. This work combines a 3D stereoscopic projection ball with God's eye interaction software and Kinect interactive technology, allowing the audience to enjoy the unique and second experience of interacting with The eye of the God. |
神經元
Neurons
Neurons
藉由實體動力機械的方式來討論神經元之間如何進行溝通與資訊傳遞。本作品發展基由一個已經發展完成的硬體型態之資訊傳遞架構,傳遞的方式以光線、風力、聲音或是動力機械等方式進行。過去我們太習慣在數位的議題上討論資訊傳遞,這次應用集體創作的方式,發展一套無窮迴圈的資訊傳遞系統,讓人們能由觀看或參與體資訊傳遞的過程中體驗且了解到資訊傳遞的各種可能性。
The work uses motorized machinery to explore how neurons communicate and transmit information. It is extended from on a fully developed information transmission framework embodied by a hardware system, in which the communication is conducted through light, wind, sound and motorized machinery. In the past, we have been extremely used to discussing information transmission through digital means. This work has adopted an approach of collective creation and developed an infinitely looped information transmission system that allows viewers to perceive or participate in the process of information transmission while experiencing a wide range of possibilities about information transmission. |
位元陶計劃
Binary Pottery
Binary Pottery
計劃形塑空間結構雕塑,觀賞者在遠距離察覺到傳統的拱形建築結構,隨著距離的推進逐漸感知到結構表面的紋理變化及材質差異,近距離觀察得知表面紋理回應造型本身承重結構,呼應了自 19 世紀起機能主義所強調 Form follows Function 型隨機能理論,造型表面的紋理並非無意義的裝飾活動。
Derivative Phenomenon/ Preposition aims to shape spatial structure into sculpture. Viewers first see a traditional architectural arch from a distance. As they move closer, the surface texture of the structure and the variation of materials gradually become clear. As they observe the work closely, they realize the surface texture corresponds to the structural form and its function to support the architectural weight. This work substantiates the theory of “form follows function” emphasized by Functionalism in the nineteenth century, and reveals that the surface texture can be meaningful rather than just decorative. |
HTML5動的著色器
Dacing Shaders
Dacing Shaders
在HTML5的領域中,WebGL是最常被用來實現著色器效果的JavaScript API,它能在不使用外掛程式的情況下,在任何相容的網頁瀏覽器中呈現互動式2D和3D圖形,可以透過Canvas實現影像處理的加速渲染,以及套用各類特效。透過WebGL著色器,能夠強化遊戲畫面的動靜質感,營造具有說服力的視覺沉浸,可以說是程式碼專屬的藝術表現之一。
In HTML5, WebGL is the most famous Javascript API to implement the shader effects, rendering interactive 2D and 3D graphics within any compatible web browser without the use of plugins. WebGL is integrated completely into all the web standards of the browser, allowing GPU-accelerated usage of physics and image processing and effects as part of the web page canvas. With the WebGL shaders, we can enhance the performance of texture of the games, create a persuasive visual immersion. They are probably the exclusive artistic expressions of HTML5 game coding. |
光碼看繪本創新計畫
Light Code Picture Books Project
Light Code Picture Books Project
「光碼看繪本創新計畫」為藝高文創與工研院攜手合作,透過工研院提供的創新技術:「創新光碼互動服務系統」規劃前所未有的體驗服務,這是一種以新形態所呈現之互動行銷工具,結合 LED 燈具與本院所開發之光碼訊號模組,即可藉由 LED 燈所發出之光為媒介,讓參觀作品的民眾使用手機掃瞄光書,快速獲得繪本動畫。
“Light Code Picture Books Project” is a collaboration between iEgo Art and the Industrial Technology Research Institute (ITRT). It adopts the innovative technology of Optical Camera Communication provided by the ITRT to design unprecedented experience service. The new technology serves as a new form of interactive marketing instrument, combining LED lights and the light code module developed by the ITRT. Using LED light as a medium, audience can scan the light book with their mobile phones and watch the picture book animation right away. |
科技酬神戲
Robotic Drama for Temple Fair
Robotic Drama for Temple Fair
酬神戲是主要為了娛神或答謝神祇所表演的戲,是百姓為了酬謝神恩、酬神祈福,舉行一連串慶祝活動,一般都在廟會或是戲台上演出,這次我們特別將傳統技藝與祥儀科技做結合,透過上方的三太子牽動下方的舞獅團,搭配聲光效果,營造豐富的表演內容。
Opera to offer thanks to the god is a traditional culture in Taiwan. In order to show appreciations to the god, people hold a series of celebrations. The opera used to hold during the temple fair. Today, we combine technology with traditional culture. Our third prince (Nezha deity) pulls the dancing lions through the strings. Along with the sounds and laser effects, we present a wonderful drama. |