2020-桃園科技藝術節-導覽手冊 by iegoart988

導覽手冊 Guide Book

序

contents

策展論述

展場平面圖

活動總表

藝術家介紹

活動推廣

序桃園是全國第一工業科技大城，產業聚落多樣且完整，工業產值居全國首位，2019 年榮獲國際智慧城市 ICF 組織評比為 TOP1，以「智慧治理」、「智慧生活」、「智慧產業」等 3 大面向以及 130 項旗艦子計畫全面推動城市科技發展。桃園市政府文化局近年來在鄭文燦市長的理念支持下，致力於文化與科技的跨界合作，舉辦「桃園科技藝術節」，期待科技、文化與創意讓桃園成為具有高度國際競爭力的創新城市。第四屆「桃園科技藝術節」持續與國際同步探討最新趨勢；近年來，隨著影像的 VR 技術漸趨成熟，聲音的 VR 已成為歐洲各科技實驗室爭相投入研究的發展方向。因此，今年特別邀請「臺灣聲響實驗室」的計畫主持人林經堯擔任策展人，以「當然耳」為主題，一同探究當前「聲音藝術」的多重發展，同時也帶來第一屆「桃園科技表演藝術獎」金獎、銀獎、銅獎及特別獎等 4 組優秀團隊作品首演，為科技與表演藝術的跨界合作奠定發展的基石。此外，桃園市的旗艦計畫「桃園流行音樂露天劇場」於 2021 年要與國人見面，該劇場著重於流行音樂與科技互動的跨界，結合最新科技與藝術內容，挑戰流行音樂舞臺的傳統模式。為此，今年的科技藝術節也超前部署，邀請到許多臺灣科技藝術與流行音樂跨界的作品、藝術家與表演者，為「桃園流行音樂露天劇場」進行預告及暖身，並提供未來場館發展的多元可能性。在後疫情時代辦展十分不容易，在此感謝策展人與策展團隊的努力與堅持。我們將持續透過「桃園科技藝術節」支持臺灣藝術家及科技藝術的發展，挖掘未來的無限想像。

PREFACE As Taiwan's largest industrial and technological city, Taoyuan has a great variety of highly integrated industrial clusters, with the highest national industrial output. With three primary orientations, smart governance, smart life, a nd sma rt industry, a nd 130 fla gship subprojec ts, the city has b een comprehensively promoting its technological development. In 2019, Intelligent Community Forum honored Taoyuan with its top award. Under the support of Mayor Cheng Wen-Tsan, the Taoyuan Public Government's Department of C u l t u ra l Af f a i rs h a s b e e n d e d i c a t i n g t o c u l t u ra l a n d t e c h n o l o g i c a l collaboration. We organize Taoyuan Art x Technology Festival, expecting to gather technology, culture, and creativity to build Taoyuan as an innovative city with strong international competitiveness. The 4th Taoyuan Art x Technology Festival continues to explore global new trends. In recent years, the gradual maturity of image VR technology, sound in VR has emerged as the development direction that European technology laboratories rushed to research. Therefore, we invite the principal investigator of Taiwan Sound Lab, Lin Jing-Ya o, as its curator. "clEARly" is this yearâ&#x20AC;&#x2122;s theme that exploring diverse development in the current sound art scene. The festival will see the premiere of four extraordinary groups from the Taoyuan Technology Performing Arts Award's top three and the Special Award, laying the foundation-stone of the collaboration of technology and performing arts. Also, Taoyuan's flagship construction plan, "Taoyuan Pop Music Theater," w i l l b e c o m p l e t e d i n 20 21 , w h i c h i s a v e n u e t h a t c o m b i n e s t h e l a t e s t technology and art contents and focuses on the cross-border cooperation in pop music and interactive technology to challenge the traditional model of the pop music stage. Consequently, this year's festival also serves as a warm-up program for the opening of the Taoyuan Pop Music Theater, inviting numerous Taiwan's artists and performers to present works that put together technology art and pop music. Meanwhile, these performances will provide ideas for the theater to produce future programs. D u rin g t h e p o s t- p a n d e m ic e ra , o rg a n izin g a n e v e n t e n c o u n te r m a n y difficulties; I would like to take this opportunity to express my gratitude to the curator and the curating team's efforts and persistence. The Department of Cultural Affairs will continue to hold the Taoyuan Art x Technology Festival to sup p ort Taiwa n's a rtists a n d d evelop te c hn ology a rts a n d s e a rc h for unlimited imagination for the future.

策展論述耳朵作為一個無法閉鎖的聽覺器官，讓人即使在睡眠中仍然持續接收聲音的訊號。人從出生便開始聽覺的旅程，也因此我們很容易忽略日常生活中的各種聲音。這次桃園科技藝術節的策展主題【當然耳】，從日常中的生活出發，去探索我們日常生活中的理所當然的聲音之不同面向。透過聲音藝術家的想像與創造，帶來聲響質感上的不同感受，在本展覽中結合不同媒介展示聲音跨領域的發展企圖。聲音開始在於音樂的創作上展開其藝術性的想像，在當代藝術的發展上，藝術家以聲音做為媒材或方法的創作形式形塑當代藝術的多面向。近幾年來，其涵蓋作曲、錄音、現場演出、裝置、聲音雕塑以及結合各種科技媒介等蓬勃的發展，帶來許多不同的聲音藝術想像及可能性。在這次邀請的作品裡面，有 C-LAB 臺灣聲響實驗室特別為幼兒設計的【聲之書：彼得與狼】，透過 AR 及沉浸式聲場，建構一個未來的音樂想像。結合王仲堃、吳秉聖、鄭伊里及廖海廷多位藝術家的合作，【聲音小公園】目標在於啟蒙幼小觀眾的聲音體驗。透過物理及電子的發聲裝置，作曲家的巧手安排讓參與動手變成了富有趣味的聲音，進而啟發當代聲音與音樂的想像可能。原住民導演 Fangas Nayaw（陳彥斌）與綺影映畫的【烏麗的邊境】，以阿美族的太巴塱之歌為出發點，以 VR 為媒介，呈現一種新型態的原住民 VR 歌舞劇。臺灣聲音藝術家王新仁的【昨日的路徑】（Paths to the Past）同樣以 VR 為媒介，在那個抽象化的等比例虛擬立體地圖上進行不同的認知活動，隨遊戲開展的認知歷程，玩家也能在座標代表的虛擬空間裡到處移動並探索更多事件—且這些座標甚至不需類比現實的空間及聲響。與臺灣知名饒舌歌手蛋堡的【音菩薩】，結合流行音樂與絢麗的 V R 場景，讓未來欣賞音樂更有不同的體驗。另外聲音藝術家吳燦政的【多維度的城市】，呈現極速改變的城市聲音景觀，葉廷皓與王連晟的音像作品，結合視覺與聽覺的極致感受。張欣語的【Fe e d i n g 】呈現一種機械式的回授狀態，同時今年也加入去年策展人陳韻如的【無垠光音之外】，以及桃園表演藝術節得獎作品蔡寧的【B r e a th ( In ) Room v.2】，讓本屆科技藝術節的展覽節目更加精彩！

Curatorial Statement Human ears are auditory organs that cannot be plugged up, allowing people to continue receiving acoustic signals even during sleep. We begin the journey of hearing from the first day of our birth, and therefore we might ignore some sounds in daily life. The curatorial theme for this year's Taoyuan Art x Technology Festival is "clEARly," taking daily life as a starting point to explore the different aspects of the sounds that we take them for granted. Sound artists present diverse sound textures with various medias, showcasing their ambition to achieve interdisciplinary development of sound with imagination and creativity. Sounds began to unfold its artistic imagination in the creation of music. In the development of Contemporary Art, artists use sounds as a medium or approach to form the multi-faced nature of contemporary art. In recent years, its vigorous growth covers composing, recording, live performances, installations, sound sculptures, and the combination of various technological media, bringing many different sound arts’ imaginations and possibilities. C-LAB Taiwan Sound Lab creates an audiobook tailor-made for children,

The Book of Sounds: Peter and the Wolf , presenting a futuristic musical vision

with the AR technique and immersive sound field. Wang Chung-Kun, Wu PingSheng, Cheng I-Lly, and Liao Hai-Ting join forces to produce Sound Playground , aiming to inspire young audiences' sound experience. Composers’ skillfully arrangement of physical and electronic acoustic installation to be triggered through the audience’s interaction to stimulate the imagination and prospect of today's sound and music. Indigenous director Fangas Nayaw(Chen Yen-Pin) collaborates with Serendipity Films to make A Song Within Us . This film finds inspiration from the Ami tribe' s folk song Song of Tafalong and uses VR technology as a medium to produce a new type of VR indigenous musical. Taiwanese sound artist Wang Hsin-Jen's Paths to the Past also takes VR technology as the medium. In this abstract 1:1 scale of the 3D virtual map, players can engage in different cognitive activities to activate the cognitive process. Players can move around to explore the virtual space represented by coordinates, and these coordinates barely need analog space and sound of the reality. Another work made with VR technology is Taiwanese famous rap singer Soft Lipa's Buddha. It combines pop music with a splendid VR scene to provide a breath of fresh air into the future of musical experience. Sound artist Wu Tsan-Cheng's Multidimensional city demonstrates the ever-changing urban soundscape. Audio-visual works by Yeh Ting-Hao and Wang Lien-Cheng are spectacular feasts for both your eyes and ears. Chang Hsin-Yu's Feeding is a work dealing with the mechanical problem of feedback. This year we also include Infinity of Sound-Light Scope Away by last year's curator Chen Yun-Ju, and Breath(In)Room v.2 by Tsai Ning, the winner of Taoyuan Technology Performing Art Awards, all giving color to this year's Taoyuan Art x Technology Festival!

展覽平面圖

B re a t h (I n) Ro o m v. 2 DJ A M OW 地平線 - 展覽版 Horizon (Exhibition Edition) 聲音小公園無垠光音之外

S ou n d P l a y g rou n d

Infinity of SoundLight Scope Away

共鳴幻象 Feeding

Imagery Resonance

次要出入口 8

主要出入口

交互共響創客工作營 I nt e ra c tive Ac ou s tic Maker Workshop 紙譜音樂故事燈箱 Paper Strip Music and Story Light Box 聲之書：彼得與狼 The Book of S o u n d s: Peter and the Wolf

炫炮專輯

多維度的城市

SUPER POWER ALBUM

Multidimensional city

音菩薩

Oli 邊境

昨日的路徑

Buddha

A Song Within Us

PATHS TO THE PAST

月份活動

10 / 7( 三）開幕演出 /《場景流》

演出藝術家：阿亂 - 王新仁

首演 /《 B r e a t h ( I n ) R o o m v . 2 》 1 5 : 0 0 演出藝術家：蔡寧Ｘ身言舞蹈

10 / ９( 五 ) 、10 / 11( 日）首演 /《白港支線》

1 9 : 3 0 / 演出團隊：妖子跨藝工作室

10 / 17( 六 ) 工作坊 /《 5 5 5 b i b i b i ～》 1 0 : 0 0 / 講師：鄭鴻旗

戶外演出

1 9 : 0 0 / 演出團隊：美秀集團

戶外演出 /《場景流》

1 9 : 5 0 / 演出藝術家：阿亂 - 王新仁

詳細資訊請參照活動官網

2 02 0 桃園科技藝術節粉絲專頁 h ttp s:/ / w ww. fa c eb o o k. c o m /T A x T . Fe s t i va l

月份活動

10 / 18 ( 日 ) 分享會 /《 5 G 浪潮與未來想像》 1 0 : 0 0 / 講師：馮建彰

首演 /《 B r e a t h ( I n ) R o o m v . 2 》 1 5 : 0 0 演出藝術家：蔡寧Ｘ身言舞蹈

10 / 2 2( 四 ) 首演 /《 U + 6 1 7 E _ v 2 . ∞》

1 9 : 3 0 / 演出團隊 : 黑碼藝識（直播演出）

10 / 24( 六 ) 分享會 /《多媒體創意展演案例與 M R 沉浸式體感技術》

1 0 : 0 0 / 講師：吳文琪 / 夢想動畫專案經理

工作坊 /《 A I 與音樂與你 — 聆聽與生成》

1 4 : 0 0 / 講師：熊甘霖

10 / 25 ( 日 ) 分享會 /《聲音藝術超未來》

11:0 0/ 講師 : 林經堯

首演 /《沉境桃花源》

1 4 : 3 0 / 演出團隊：藝 0 4

首演 /《沉境桃花源》

1 9 : 3 0 / 演出團隊：藝 0 4

詳細資訊請參照活動官網

2020 桃園科技藝術節活動官網 https://www.taxt.tw/

Oli 邊境臺灣原住民民族樂舞文化的精神，透過參與和共享才能體悟其脈絡。部落耆老們時常勉勵著部落的青年，歌聲唱得越誠心，舞步踩得越踏實，才能接近土地，看見祖靈。透過 VR 沈浸式的體驗，讓參與者親⾝領教部落中關於階級與文化的傳承方式，體感樂舞儀式中部落年祭的現場，聽見古調傳唱中，Vuvu 的智慧和諄諄教誨。原住民民族的文化，透過親臨實踐，三位一體的總和，才得以實踐。藉由 VR 的臨場特性，實踐歌聲傳唱的文化命脈。透過大量且細緻的聲音互動，開啟與祖靈的對話。

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A Song Within Us The spirit of Taiwanese indigenous people’s music and dance culture can only be understood through participation and sharing. The elders in the tribes often encourage the youngsters to sing as sincere as they can be and dance as firmly as they can be to connect to the land and meet with their ancestors’ spirit. With the VR device’s immersive experience, participants can learn about how the tribal hierarchy and culture are passed down and enjoy the music and dancing in the annual ceremony. They can also learn the wisdom and teachings of Vuvu from the ancient chant. The indigenous culture can only survive through one’s practice. Thanks to VR’s lively ambiance, the cultural legacy can be passed on by the songs, opening a dialogue with the ancestor’s spirit through an abundance of sophisticated interactive sounds.

Fangas Nayaw Fangas Nayaw is an indigenous performing artist. In recent years, his performances, choreographies, and creations span video, drama, and dance, which wins him a nickname of “creative monster.” Although he has a middle-aged appearance, there is a simple heart underneath. The deep-rooted traditional spirit is continuously revealed in his modern movement vocabulary, showing that he constantly questions and voiced his original background that struggles in between contemporary and traditional society. His style is fickle, and his works aim to explore and share the tendencies and trends of “human”; therefore, he continuously seeks out to the natural world and regards it as his teacher.

陳彥斌原住民籍表演藝術創作工作者，近年演出、編導及創作領域橫跨影像、戲劇及舞蹈，有「創作怪獸」之稱。大叔的臉龐下卻有淳樸的心靈，在他現代的行動語彙中不斷流露出傳統靈魂的底蘊。原生背景於當代和傳統的流變中穿梭，不斷地提問、發聲。創作風格善變，旨意在探討也分享「人」的趨性、動向，讓他不斷地向自然界尋找，以大自然為師。製作單位綺影映畫有限公司 Digital Rise 國立臺南藝術大學 C-LAB 臺灣聲響實驗室

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地平線 - 展覽版地平線是一個由程式所構築成的影像裝置作品。這個程式會根據程式設定好的關鍵字，連上 Google 的搜尋引擎，將搜尋到的圖片及時的串成影片，並且會根據所輸入的關鍵字做自動的校正，讓物件集中在畫面的中間。而在這個作品中程式所用到的關鍵字為「地平線」、「海洋」。 Google 上的圖片都是人們所上傳的，當我們輸入關鍵字時所搜尋到的結果，代表著世界上的所有人對於這個詞彙的想像與共同的經驗。所以這個表演是一個共同經驗的集合，但將這些圖片並置在一起又產生了一種陌生感。這件作品討論了人工智能、集體意識及身體感之間的關係。

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王連晟數位藝術創作者，作品跨足於互動裝置和聲音表演。裝置作品常以數量的方式以達到一種特異的身體感知；而聲音表演使用程式即時生成的影像與聲音演出。現任國立臺北藝術大學專任講師。曾獲得臺北美術獎首獎、臺北數位藝術節互動裝置類首獎、臺北數位藝術表演獎首獎、英國流明獎雕塑類首獎，並於奧地利林茲電子藝術節、西班牙現代影音藝術節、法國里昂國立音樂中心、德勒斯登國際當代藝術展、比利時新科技藝術獎等國際知名藝術節展出。

Horizon (Exhibition Edition) Horizon is a video installation work constructed by an algorithm.

This algorithm will connect to Google and search the programmed keywords, stringing the searched pictures into real-time videos. It will automatically put these pictures in the middle of the screen. The keywords used by the algorithm in this work are “horizon” and “ocean.” The pictures on Google are all uploaded by people around the world. When we search a keyword online, the results represent people’s imagination and collective experience of the term. Thus, this performance is a set of shared experiences, but the juxtaposition of pictures creates a sense of unfamiliarity. This work discusses the relationship between AI, collective consciousness, and sensory experience.

Wang Lien-Cheng Wang Lien-Cheng is a digital art creator whose works span interactive devices and sound performances. His installation works often use large quantities of elements to achieve a specific physical perception, and he uses real-time images and sound generated by the computer algorithm in his sound performances. He is currently a full-time lecturer at the Department of New Media, Taipei National University of the Arts. He has won the first prize of the Taipei Fine Arts Award, the Digital Art Festival Taipei’s Interactive Installation Award, the Digital Art Festival Taipei’s Performance Award, and the British Lumen Award for Sculpture. He has been exhibited and performed at Linz Ars Elec-tronica (Austria), MADATAC (Spain), Grame CNCM (France), OS-TRALE Biennale for Contemporary Art (Germany), and New Technological Art Award (Belgium).

1919

共鳴幻象「接收、擴大和調變所有物體振動之頻率，我們明日將能夠聆聽鑽石與鮮花的呢喃─如同我們今日所傾聽的海與森林之歌。」《未來主義廣播宣言》（馬里內帝與馬斯納達 1933）雖然無法直接以人耳收聽鑽石與鮮花的聲音，但透過科技輔具與演算法，將實體物件透過建模或立體掃描成形，再將此數位幾何資料以演算法播放，使得聲音與影像的來源合一，在調變其中任一元素的同時，也牽連著所有。以逆向示波器將 3D 物件的幾何座標資料強制轉換成聲音波型，在被影音包覆的同時，看見你所聽到的，以可以耳聞你所瀏覽的。

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Imagery Resonance "The reception, amplification, and transfiguration of vibrations emitted by matter. Just as today we listen to the song of the forest and the sea so tomorrow shall we be seduced by the vibrations of a diamond or a flower." -La radia. Futurist Manifesto of October, 1933 (Filippo Tommaso Marinetti and Pino Masnada, 1933) Although it is not possible to hear the sound of diamonds and flowers, it is possible to do so with technical aids and algorithms. By applying modeling or 3D scanning technique, physical objects become digital data that algorithms can play out, thus making the image and sound share the same source. When one element is converted, everything changes. With a reverse oscilloscope, the geometrical coordinate data of the 3D object are transformed into sound waveforms. The vibrations through media are thus heard and seen as they surround viewers.

Yeh Ting-Hao Yeh Ting-Hao received his masterâ&#x20AC;&#x2122;s degree in Fine Arts from Taipei National University of the Artsâ&#x20AC;&#x2122; Centre of Arts and Technology. He has followed the audio-visual art scene in the field. His works are based on aesthetics of failure and mostly focus on the connection between sound and image, blending prefabricated and instantaneous sounds and images. With his works, he attempts to create a parody and dialetic that belong to the era of new media. He also participated in dance and theater productions, collaborating with groups such as YiLab and Naxs Corp. He established an Audio-Visual group HH with Yao Chung-Han in 2013.

葉廷皓國立臺北藝術大學科技藝術研究所藝術碩士畢業，長期關注國內外音像藝術領域，作品多聚焦在聲音與影像之間的關聯，融合預製與即時發生的聲音與影像，並以錯誤美學為出發，企圖尋找屬於新媒體時代的諧擬與辯證。除了個人作品之外，也參與舞蹈與劇場製作，例如一當代舞團、Naxs Corp.。2013 起與姚仲涵組成 Audio-Visual 團體 HH。

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聲音小公園集結 2019 年參訪 IRCAM 的藝術家共製「聲音小公園」，打造展場成為專為兒童教育和親子互動設計的聲響公園，透過有趣聲響、裝置藝術，吸引低年齡層觀眾，利用遊戲和動手做的方式來接近聲音相關藝術。製作單位 C-LAB 臺灣聲響實驗室聲響裝置設計王仲堃吳秉聖電聲設計鄭伊里演出策劃設計廖海廷表演者蘇凌劉冠林

演出時間每週末 11: 0 0、14: 0 0 『網路報名』

Sound Playground

Sound Playground is jointly created by artists who visited IRCAM in 2019. They renovate the Taiwan Sound Lab and the surrounding area of the big dome, making it a sound park specially designed for children's education and families. It will attract young audiences through intriguing sounds and installation art, using games and interactive activities to introduce sound-related art. 25 25

王仲堃 1982 出生於臺灣高雄，畢業於臺北藝術大學美術系及科技藝術研究所。

王仲堃

他的聲音作品具有一種音樂性，刻意把「聲音」的抽象性解放出來，轉化為較為具象的音樂。對作者而言，聲音作為一種概念的傳達，必須從對其意義及內涵理解；而音樂的情感表達能融入一種真實情境讓我們從中感受。用心理層次來看，透過聲音與音樂之間的流轉，聽者得以以理性、邏輯的方式去掌握聲音，同時以感性與體驗的方式去感受音樂，作品就是存在一種體驗式的感知，但這無非意味著聲音不能用語言翻譯，它只能成為它本來的東西。除了個人創作外，同時也是致力於科技與藝術交互融合創作團體「噪咖藝術」的藝術總監，讓互動藝術、聲音藝術與動力藝術的結合，不斷創作平易近人的藝術作品。

臺北的藝術工作者，以聲音為創作思考的中心。曾獲邀至西班牙巴賽隆納參與《Transonic》演出，參與兩廳院年度製作，《全然的愛與真實》擔任聲音設計，也受邀參與由林強擔任藝術總監的兩廳院 30 週年《眾聲之所》的演出，目前於「噪咖藝術」擔任音樂統籌。

吳秉聖

Wang Chung-Kun Wang Chung-Kun was born in Kaohsiung, Taiwan, in 1982. He graduated from Taipei National University of the Arts Department of Fine Arts and received the M.F.A from the Department of Art and Technology. His sound works have a certain kind of musicality, deliberately liberating the abstractness of “sound” and transforming it into more concrete music. For him to convey concepts, one must first understand the meaning and connotation of sound to perceive the emotional expression of music embedded in the real scenario. From a psychological perspective, his works exist in an experiencing perception. Through the flow between sound and music, listeners can grasp the sound rationally and logically, and at the same time, feel the music in an immersive perceptual way. Nevertheless, this simply means that the sound cannot be translated into language, it can only become what it is. In addition to personal creations, he is also the art director of the noiseKitchen Art Co., Ltd. dedicated to the interactive integration of technology and art, combining interactive art, sound art, and dynamic art to create approachable works of art.

Wu Ping-Sheng Wu Ping-Sheng is a sound artist based in Taipei. He was invited to participate in the performance of Transonic in Barcelona, Spain. He worked as a sound designer in the production of the year of National Theater & Concert Hall(NTCH), Unconditional Love and Fact . He was also invited to participate in Electric Indigo, NTCH’s 30th-anniversary production with Lim Giongas as the artistic director. He is currently the music coordinator at noiseKitchen Art Co., Ltd.

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廖海廷

鄭伊里

從擊樂手身份出發的創作者，專注於跨領域的聲響呈現。2004 年自澳洲昆士蘭省音樂院畢業後前往義大利 Fabrica 駐村，開始結合現代音樂及表演藝術的創作。隨後前往法國，以「評審一致通過第一獎」取得法國國立巴黎高等音樂院（CNSMdP）文憑。學生時期以詮釋現代音樂作品為中心，沿著當代音樂發展的脈絡，延伸至對聲音的熱愛。近年專注於模組合成器、自然聲音取樣及原聲樂器的融合，透過劇場式聲響演出、專輯製作、現場聲音表演和跨域合作來實踐創作理念、找出聲音發生和聆聽的更多可能性。

1984 年出生於臺北，國立臺灣師範大學音樂系作曲碩士，阿姆斯特丹音樂院電子音樂碩士，現任教於臺北藝術大學與輔仁大學。其作品主要整合作曲概念融合至：肢體、電聲、影像或裝置。近年多著墨於可觸物件的聲響質地實驗，與演奏者本體特質探究。作品曾於臺北數位藝術節、兩廳院新點子實驗場、荷蘭 Gaudeamus 音樂節、德國 Darmstadt 音樂節、ISCM 世界音樂日、ICMC 電腦音樂研討會、國際作曲家交流會議 IRC... 等場合發表。更多相關資訊詳見：http://i-llycheng.com/。

Liao Hai-Ting Liao Hai-Ting is a percussionist who focuses on inter-discipline sound presentation. After graduated from Queensland Conservatorium in Australia, she participated in an artist-in-residence program in Fabrica, Italy. Later, Liao went to France and received a diploma from Conservatoire National SupĂŠrieur de Musique et de danse de Paris (CNSMDP) with the First Prize with the jury's unanimity. As a student, she followed contemporary music development and her passion for sound to contemporary modern music. She has been devoted to integrating modular synth, environmental field recording sampling, and acoustic instruments in recent years. She practices her creative concepts through theatrical sound performances, producing albums, live sound performances, and cross-domain cooperation, hoping to discover more possibilities for creating sound and ways of listening.

Cheng I-Lly Born in Taipei in 1984, Cheng I-Lly received her masterâ&#x20AC;&#x2122;s degree in composition from the Department of Music, National Taiwan Normal University, and in electronic music at Conservatorium van Amsterdam. She currently teaches at Taipei National University of the Arts and Fu Jen Catholic University. Her works mainly integrate the concept of music composition with the body, electro-acoustic, video, or installation. Recently, she focuses on the sound texture experiments of tangible objects and explores the performers' characteristics. Her works have appeared at the Digital Art Festival Taipei, National Theater & Concert Hall's New Ideas Experimental Theater, the Gaudeamus Muziekweek in Netherland, the Darmstadt Summer Course in Germany, ISCM World Music Day, International Computer Music Conference, and International Rostrum of Composers. For more information, more information: http://i-llycheng. com/

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聲之書：彼得與狼《聲之書：彼得與狼》企圖打造一本能讓師生、親子互動的 AR ( 擴增實境 ) 有聲書，帶領兒童進入普羅高菲夫 Prokofiev 的音樂世界，老師或家長也能夠透過 AR 動畫的輔助，帶領大家理解每個樂器的特色與個性，進而獲得音樂聆聽的樂趣，也能夠了解到故事中團結的寓意。

演出時間每日 9 :3 0、11:3 0 13:3 0、15:3 0 『網路報名』

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C-L A B 臺灣聲響實驗室 C-LAB 臺灣聲響實驗室 (TSL)，是藝術創作與科學、科技、研究跨域融匯的機構，作為技術交流與新媒體跨領域合作的媒合平台。由空總臺灣當代文化實驗場 C-LAB，與國際上重要的聲響科技藝術機構：法國聲響與音樂統合研究中心（IRCAM）共同建置，進行人才互訪、共製、研發以及展演等領域交流。

製作單位 C-LAB 臺灣聲響實驗室國立臺南藝術大學國家實驗研究院國家高速網路與計算中心國立臺灣交響樂團

The Book of Sounds: Peter and the Wolf This work attempts to create an interactive AR audiobook for classrooms and families, guiding children into the world of music by Prokofiev. With the aid of AR animation, teachers or parents can also introduce each instrument's features and personality to children, not only letting them enjoy the pleasure of listening to music but also understanding the meaning of unity in the story.

C-LAB Taiwan Sound Lab (TSL) C-LAB Taiwan Sound Lab (TSL) is an institution that integrates art creation, science, technology, and research. It serves as a matching platform for technical exchanges and cross-field cooperation in new media. TSL was jointly established by Taiwan Contemporary Culture Lab (C-LAB) and Institute for Research and Coordination in Acoustics/Music (IRCAM), an internationally important acoustic technological art institution, to exchange of talents, co-production, research and development, and host exhibitions.

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音菩薩藝術家在本次《音菩薩》作品中，建構出既魔幻又私密的個人世界，從滿天神佛到火熱的煉獄，這是一趟穿梭在自在與皆空之旅。菩薩是佛教用語，指的是眾生發心求入佛道的過程，而在《音菩薩》裡，杜振熙則企圖帶領著聽眾，隨著斷點與碎拍，離苦得樂到音樂的極樂世界。

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Buddha The artist has constructed a personal world, both magical and intimate. From heaven with soaring deities to the fiery purgatory, this is a journey of freedom and void. Buddha is a Buddhist term that refers to the process of people wholeheartedly seeking to enter the way of Buddhism. In this work, Tu Chen-hsi attempts to lead the audiences with breakpoints and breakbeats, escaping from suffering and entering the blissful paradise of music.

Tu Chen-Hsi Soft Lipa, born Tu Chen-Hsi, emerges from the internet by writing original rap parody. As these songs went viral, he joined independent record label KAO!INC., and has become a household name among Mandarin rap circles. He is now a rapper and producer and considers himself a poet and artist. In 2020, he established the “Self Centered Studio,” which focuses on his own music productions, and released a new album “Home Cookin .” Experimentally, it does not launch on online streaming platforms, nor does it enter the retail market, but only on its own website and in pop-up stores. However, the pandemic has impacted the sale of the album as soon as it was released, and it is still struggling for publicity.

杜振熙蛋堡（S of t Lip a），本名杜振熙。從譜曲寫詞創作一些饒舌歪歌在網路上開始竄紅，到進入顏社成為整個華語饒舌圈無人不曉的饒舌歌手。目前是一名饒舌歌手與製作人，也是個詩人與藝術家。 2020 年成立了以自己活動為主的音樂單位「任性的人」，並發行了新專輯《家常音樂》，實驗性地以不上串流不進通路的方式，僅在自己網站上與快閃店裡販售，專輯一推出即遭逢疫情，目前仍處於宣傳不力的宣傳期中。

技術總監：王新仁美術設計：張邑葳程式設計：黃郁傑技術協力：C-LAB 臺灣聲響實驗室

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多維度的城市城市是關於人想像與創造的過程是未來生活的想望與探索可能性是無限的欲求與破壞重建然後架構出城市的文化性格與面貌這是一座正處於極速改變中的城市透過不一樣的聲音影像介面的互動過程探索城市裡被忽視的視角與聲音在某個凝結的時間定點，某個時刻的城市景觀場域穿越移動視覺掃描的過程也探索視覺外所隱藏的聲音穿越在多向度的聲音巨觀與微觀搜索隱藏的聲響所共震出屬於這座城市的節奏與生活姿態走向多維度的城市開啟關於人與未來城市及自然之間的課題

Multidimensional city A city is about the process of human imagination and creation And about the hope and possibility of future life It’s unlimited desire and destruction and reconstruction has structured the cultural character and landscape of the city This is a city undergoing rapid change Explores its neglected corners and voices Through the interactive process of A diverse audio and video interface At a specific frozen time, in an urban landscape of a particular moment we pass through the process of mobile vision scanning As well as explore the hidden sounds that are out of sight We pass through the macro and micro view of sound in multiple dimensions Searching for the hidden sounds That resonated with the city’s rhythm and lifestyle Let’s walk towards a Multidimensional City And look at the topic about the relationship between man and the future city and nature

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吳燦政 1973 年生於臺灣雲林，國立臺灣師範大學美術系、國立臺南藝術大學造形藝術研究所畢業。2009 年萌生製作《臺灣聲音地圖》的構想，以十年的時間足跡遍及臺灣各地，實地集錄聲音並整合 Google Maps 地圖定位功能，完整呈現聲音的內容在時空變化過程中的差異與現象。近年仍持續此計畫，透過聲音地圖及其映射，讓觀者在聲音體驗中思考自身與生活環境的關係。

合製單位：C-LAB 臺灣聲響實驗室

Wu Tsan-Cheng Born in Yunlin, Taiwan in 1973. He graduated from the Department of Fine Arts, National Taiwan Normal University, and the Graduate Institute of Plastic Arts, Tainan National University of the Arts. In 2009, Wu conceived the idea of Taiwan SoundMap Project , and planned to spend a decade to visit numerous locations in Taiwan to record and collect sounds. The project has also been integrated with the positioning function of Google Maps to fully represent the variations and phenomena in audio content in the changing time and space. The artist has been working on this project; and through his sound maps and what they have reflected, audiences are encouraged to contemplate on the relationship between their lives and the living environment in the sound experience.

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Feeding 聲音回授這個現象一直都是大家使用麥克風時極力避免的事情，試圖透過機械裝置的形式來馴服這種「錯誤」的聲音，找平衡的動態彷彿在戲弄這種聲響。機械的準確與這些不可預期出現的聲響產生了某種對話模式。

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Feeding Audio feedback has always been a phenomenon everyone tries to avoid when using microphones. Attempting to tame this “false” sound through mechanical devices, finding a balanced dynamic that seems to be teasing this sound. The accuracy of the machine and these unexpected sounds produced a specific mode of dialogue.

Chang Hsin-Yu Chang Hsin-Yu was born in Hsinchu, Taiwan, in 1999, now studying in the Department of New Media Art, National Taipei University of the Arts. Currently aiming to investigate the experiment of “false sound” and the multiple imaginations it produces. It is hoped that the interaction between sound and the device, the mechanism designed, and the relationship generated by the shape will serve as a dialectic of a certain future sound

張欣語 1999 年生於臺灣新竹，目前就讀於國立臺北藝術大學新媒體藝術學系。現階段想發展關於「錯誤的聲音」的實驗與其產生的多重想像，希望透過聲音與裝置的互動以及所設計的機制還有造型產生的關係來作為某種未來聲響的辯證。

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無垠光音之外《無垠光音之外》邀請民眾留下一段歌聲，民眾透過手機啍唱錄製一段自己的主打歌曲，並將歌聲傳送到鏡面空間中，共創出一首首有趣的新歌曲，當民眾進入鏡面空間裡，用手去轉動三角光柱裝置，隨著民眾轉動裝置觸發主打歌曲播放，並啟動舞台燈和 LED 燈隨著歌聲節奏，創造出聲音與光景無限映射延伸的立體空間感，讓參與者猶如漂浮置身在永恆宇宙星辰中，隨著鏡面空間，象徵停留在永恆的剎那時光裡，無止境地向外拓展。 47 47

陳韻如陳韻如，現為中國科技大學互動娛樂設計系專任助理教授、預見媒體實驗室主持人，專長於數位藝術、互動裝置設計、科技體現與互動科技等。新媒體藝術家，國立交通大學應用藝術研究所博士，主要研究跨領域藝術、投影藝術、媒體藝術等主題。創作作品曾於臺灣、德國、法國、紐西蘭、中國等地展出，作品以象徵隱喻、結合科技媒材的手法，傾倒出內在情感與自覺，對自我主題的不斷追求和建構的視覺語彙，借鑒東方哲學和當代社會問題，深刻傳達出當下的生存狀態。

Infinity of Sound-Light Scope Away Infinity of Sound-Light Scope Away invites the audiences to record

a piece of the singing of their signature song with mobile phones and transmits the recorded voice to the mirror space to create fascinating new songs. When audiences enter the room and rotate the triangular light pillar, the triggered device will play the songs and activate stage lights and LED lights that vary with the rhythm, creating an infinitely vast space of sound and scenery. Within the mirror space, participants will feel like they are floating, as if they were among the stars in the eternal universe. This work symbolizes the capture of a moment and the endless expansion of time and space.

Chen Yun-Ju Chen Yun-Ju is currently a full-time assistant professor of the Department of Interactive Entertainment Design of the China University of Technology and the YJ Media Lab project investigator. She specializes in digital art, interactive installation design, technological embodiment, and interactive technology. She is a new media artist. She received a Ph. D. degree at the Institute of Applied Arts, National Chiao Tung University. Her research interests are crossover art, projection art, media art. Her works have been exhibited in Taiwan, Germany, France, New Zealand, and China. Her works deal with symbolic and metaphorical topics with technological media, streaming her inner emotion, and self-consciousness. She continuously pursues selfrelated theme and the construction of visual lexicons, referring from Eastern philosophy and contemporary social issues, profoundly convey the current state of existence.

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DJ AMOW 由亞洲專業音樂製作及創意人聯手打造，結合音樂、藝術、科技與視覺動畫的全世界首創虛擬黑貓樂人 AMOW( 音譯：阿貓 )。他們是來自街頭的行動藝術家，旅行於各大城市中，觀察著、研究著人類的文化、音樂及藝術。自由穿梭在現實與虛擬世界之間，暗黑、神秘卻有著無可救藥的搖滾因子，他們用音樂以及跨界演出，創造出令人眼睛為之一亮的新藝術。

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DJ AMOW Created by Asian professional music and creative producer, the worldâ&#x20AC;&#x2122;s first virtual black cat musicians A-MOW are compounds of music, art, technology, and animation. They are active artists from the streets, traveling in major cities, observing and studying human culture, music, and art, and shuttling between the real and virtual worlds. Though Dark and mysterious, they have an incurable rock spirit, creating new forms of eye-catching arts with music and crossover performances.

Feng Chien-Chang Feng Chien-Chang works as stage and space designer/visual creative director/curator. Born and raised in Taoyuan, Feng has been engaged in pop music concerts for more than 20 years and has experience of hundreds of concert stage design. In 2006, he founded FREEâ&#x20AC;&#x2122;S, the first concert stage design team in Asia and has been responsible for many large-scale awards ceremonies across Taiwan, Hong Kong, and China. He has designed concert stages for well-known singers, including A-Mei, MayDay, Jam Hsiao, Sodagreen, Cheer Chen, and S.H.E. In recent years, he devotes himself to large-scale public art creative integration, employing VR and AR techniques with his stage design expertise to connect music, art, and technology. His works have appeared at public events such as Taipei Lantern Festival and Christmasland in New Taipei City.

馮建彰舞台及空間設計師 / 創意視覺總監 / 藝術策展人。生長於桃園，從事流行音樂演唱會工作二十餘年，擁有上百場演唱會舞台設計經驗， 2006 年創立華人第一家演唱會舞台設計團隊 FREE’S，多次負責兩岸三地大型頒獎典禮，更是知名藝人的御用舞台設計師，曾合作藝人有張惠妹、五月天、蕭敬騰、蘇打綠、陳綺貞、S.H.E. 等。結合長年舞台設計根基，近年跨足 VR、AR，並同時串連音樂、藝術、科技，投入大型公共藝術創意整合，如臺北燈節、新北耶誕城。

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昨日的路徑《昨日的路徑》VR 版有別於雙頻道版的電腦排程自動演算，此版本讓觀者能介入作品的流動和衍生狀態。觀者能自由的選擇視野、角度切入作品，過程中身體的移動，將被一一紀錄轉化成觸發的媒介，作品因觀者而不同，每次的觀看經驗無法被複製。如同「觀測者效應」，當進行測量（或觀察）時，將呈現了另一種無法預期的真實，也反應出作者與家時刻改變的關係。

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王新仁王新仁為臺灣音像藝術創作先鋒，作品屢獲國內外肯定，為 2012 年及 2015 年台北數位藝術節首獎得主。擅長幾何圖像造型對應電子碎拍音樂，輔以對土地人文溫度的關懷和重視，以迷幻、賽博龐克風格嶄露頭角。近年作品強烈關注社會議題，從學生運動到領土疆域爭議，寫入演算法重塑歷史過往，利用點雲顛覆既有認知，不論是在藝術或是議題上，都具有強烈的個人觀點與美學風格，帶給觀眾衝擊式的視覺饗宴。

PATHS TO THE PAST The VR version of PATHS TO THE PAST is different from the dualchannel version with an automatic scheduling algorithm. This version allows viewers to intervene in the work's fluid and derivative state, choosing the viewing perspective freely. Every viewer's body movement is to be recorded and transformed into triggering media; thus, the viewing experiences will be distinctive, and no one is duplicable. As with the "observer effect," when measured (or observed), the work takes on an unpredictable reality, reflecting the ever-changing relationship between the artist and his home.

Wang Hsin-Jen Wang Hsin-Jen is Taiwanâ&#x20AC;&#x2122;s frontier audiovisual artist. His works have received multiple recognition at home and abroad and have won the first prize in the Digital Art Festival Taipei in 2012 and 2015. He is an expert at creating geometric images that match up with breakbeat electro music, infusing his works with the care and concern for people and the land. He emerges as a new star with his fantastic and cyberpunk style. In recent years, his works have been predominately focused on social issues, from student movements to territorial disputes. He reshapes the past in algorithms and uses point clouds to subvert our current understanding of the world. Whether in art or issues, he possesses strong personal views and aesthetics, bringing the audience visual feasts with great impact.

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Breath(In)Room v.2 呼吸通常是種無意識的自主生理行為，然而有時會暫時且意識地控制。當感受被長期壓迫時，個體可能因主觀焦慮感支配而產生強烈情緒起伏，反應於呼吸頻率變化上。呼吸作為生物生存的基本機制，若欲和緩自在，速率與深淺亦合適範圍。不呼吸無以存活，過度呼吸又使人痛苦，如同在這社會系統裡，找不到合適鑲嵌之處而無立足之地的情況。視覺先於其他感官建立空間感受，將呼吸方式裡，起於心理誘發導致的吐納模式重構於沉浸影像體驗，將內在情緒強制外顯於環境中，藉由感受外在影像與內在行動的關係，逐漸掌控外在變化的模式，此互動機制並意圖在參與者藉由呼吸掌控外在的同時，感受身體因過多二氧化碳排出所造成的缺氧錯覺，和因其錯覺後衍生的一連串心理、生理更迭。

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Breath(In)Room v.2 Breathing is usually unconscious and autonomous physiological behavior, but sometimes it can be temporarily and consciously controlled. When feelings are chronically oppressed, individuals may be dominated by subjective anxiety that causes a strong emotional reaction, reflecting the dynamic of breathing rate. As the basic mechanism of biological survival, breathing needs to be done at a certain speed and depth for one to feel comfortable. There is no way to survive without breathing, but excessive breathing makes people suffer, like those social misfits who cannot find themselves a suitable place. Vision establishes spatial sensations before other senses. This work reconstructs the breathing patterns induced by psychological status into immersive image experience, and project the inner emotions to the environment. By sensing the interplay of the effects of surrounding images and internal actions, one can gradually control external image's changing patterns. This interactive mechanism intends to let the participants control the external images through breathing and perceive the illusion of hypoxia caused by excessive carbon dioxide emission and the following mental and physical modification.

Tsai Ning Tsai Ning was born in Taichung. She has an architectural background. By using spatial installations design and immersive interactive audiovisual environment, her works focus on interactive behavior design, marginal subjectivity, visual culture, presence awareness.

蔡寧生於臺中，建築背景。創作主題多聚焦互動行為設計、邊緣主體性、視覺文化、存在感知，使用媒介為空間尺度裝置、沉浸式互動音像。

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交互共響創客工作營本次的工作營主要在挑戰經由機械馬達動力，結合可發出聲響的樂器、材料、物件與機械結構交互共響。參與者能在參與過程了解到動力機械結構與製作過程，以及共創一件交互合奏之聲響作品，作品將在桃園科技藝術節展覽期間參與展出，讓參與者體驗共創之魅力。

Interactive Acoustic Maker Workshop This workshop's mission is to take the power of the mechanical motor and combine it with musical instruments, materials, objects, and mechanical structures that can make sounds to create an acoustic device. Participants can learn about mechanical power engineering's design and production process and create an interactive sound ensemble work together. The work will be exhibited during the Taoyuan Art x Technology Festival, allowing the participants to experience the charm of co-creation.

林哲宇

劉以謙

Lin Che-Yu

Liu Yi-Chien

微聲物透過水缸抽水至平台上，露珠的滴落聲彷彿雨剛下完的滴答響，再透過單體喇叭與訊號產生器的結合讓聲音結合水滴，使聲音形狀透過視覺感官產生變化，將光與影結合打至平台上的光折射出能促使視覺感受到聲音與水的浮動，彷彿真正的微生物在眼前發出聲響並移動，主要理念是想透過這種方式模擬呈現原生物種不用透過顯微鏡也可以感受到微小生物是存在於我們生活當中的。

Microbial Sound This installation pumps water from the tank to the platform, and the dripping sound of drops is like the ticking after raining. Through the transformation of the single driver speaker and the signal generator, the sound is combined with water droplets, so the sound variations are visualized. Lights and shadows are projected to the platform to refract a movable image of sound and water that one can perceive as if microbes are making sounds and moving in front of one’s eyes. The concept of this work is to simulate a circumstance that we can observe the presence of microorganisms in our daily life without a microscope.

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陳柏宇 Chen Po-Yu

日晷 - 星軌 - 夢想

「世界的序曲，會由誰來開啟」世界的路很長但也有盡頭，人類的文明是歲月的痕跡，我們的科技始終觸及不了地球外的事物，怎樣才能抓到連接地面與星空的路？日晷也只能告訴我們太陽的路、星軌是前人留下的痕跡，怎樣走是你的決定，夢想是由你來造化。

Sundial-Star Trails-Dream Though the life of our world is lengthy, it still has an end. Human civilization is the trace of time. However, our technology has yet to encounter any civilization outside the earth. How can we establish the connection between our land and the stars? What the sundial can only tell us is the path of the sun, and the star trails are clues left by the predecessors. At the end of the day, you will decide your way, and dreams can only be achieved with your own efforts.

柳冠宇 Liu Kuan-Yu

魚字共生

主要給人的第一印象，是一棵閃亮且剛硬的一棵松樹，而為了襯托出松柏普遍給人堅忍不拔的精神，使用了白鐵這個材質，創造出一個跳脫性的思考，讓作品更有背景與故事，也與木板相映襯，使質地在兩者之間透過創作者的不同，也有著不一樣的樣貌。用魚與感測器的互動，也讓作品增添了不一樣的生命，魚缸上的需透過不同角度解讀的字，為魚樂之辯的段句 “安知魚之樂”。樹與水息息相關，有了水就衍生出魚，燈可以代表陽光，魚也象徵著生命的開端，而有了生命才進而誕生文字最後發展了文化 ( 文明 )。在一個科技飛迅的時代，希望透過作品，讓人停下來思考最原始的生命，結合著現代的科技，做出一件自然與文化的共成品，是我的初衷。

Aquaponics with Words To emphasis the spirit of persistence that pine trees evoked, I use stainless steel as the material. The consequence urges the audience to think out of the box and add complexity to my work. Stainless steel offers a sharp contrast with wood, and with the artist’s creativity, these materials present different appearances. The interaction of fish and the sensor added a different form of life to this work. The words on the fishbowl can only be understood by reading from several angles, a sentence from the famous Chinese fable of “Joy of the Fish”: How can one know whether the fish is joyful or not? The pine tree has a close relationship with water, and where there is water, there is fish. The light symbolizes the sun, whereas the fish as the beginning of life. With life, words were born, and therefore came the development of cultures (civilizations). My initial intention is to combine modern technology to create a co-product of nature and culture in an era of rapid technological advancement. I hope that through this work, people will take some time and think about the meaning of the most primitive life.

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紙譜音樂故事燈箱手搖式紙譜音樂機芯是由曲柄、音梳及音筒三大部份組成，用來敲擊出現場音樂。該款為早期音樂盒的設計模式，本工作坊採用此款音樂盒進行音樂故事創作。所謂故事是創作者可以在紙譜選用或創作自己喜歡的樂曲，在紙譜上進行故事繪圖，此故事類似連續影格的動畫或多格漫畫，創作者可以將想要表現的故事內容呈現於此。

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林逸農林逸農博士為互動設計創新科技創客實驗室主持人。實驗室研究範疇包含數位學習、2D/3D 多媒體技術應用、AI 悅趣化教具、 STEAM 創客教育等範疇。現階段強調數位遊戲研究，並致力於互動遊戲與擴增實境科技體驗、虛擬實境互動遊戲模式探索與發展、創意互動技術應用發想與實作。長期致力於 AI 教育互動遊戲裝置的創作與數位互動遊戲創意作品的開發。

Paper Strip Music and Story Light Box A hand-crank paper strip music box’s clockwork, used to perform music, is consisted of three parts: crank, comb, and drum. This design is a prototype of music boxes in early times, which the workshop uses as a medium to create music with a story. The so-called “story” means that creators can choose a favorite score or create a piece of original music and draw the plot on the paper strip, similar to the sequential images of animation or a comic strip, where creators can present the stories they’d like to tell.

Lin Yi-Lung Dr. Lin is the project investigator of Interactive Design Innovation Technology Maker Lab, which research areas include digital learning, 2D/3D multimedia technology applications, AI entertaining teaching aids, and STEAM maker education. Currently, the lab emphasizes the research of digital games. It is committed to interactive games and AR experience, the exploration and development of VR interactive game modes, and the development and implementation of creative interactive technology. Lin has long been committed to creating AI educational interactive game devices and the development of creative works of digital interactive games.

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炫炮專輯

7171

GoBo Amazing Show is led by low-tech inventer GoBo. GoBo has never had an official education in tech-related industries. Learning from the internet, he taught himself and invented unique self-made instruments, such as “The Invisible 8”, a harp that is triggered by laser induction, and “Super Power Rocket”, combining a synthesizer and the neon signs found in barber-shops. During the experimental tour of the album “King of Light ”, Amaz-ing show produced a large number of self-made instruments. Designed by GoBo, and built by Amazing Show’s members, the “Super Power Rocket” album is an instrumental device that can be played by the audience and interact with the performers during a concert. This experimental concert is a pioneer in Taiwan and a bold initiative that’s never been done.

狗柏美秀集團由低科技發明家狗柏領軍，從來沒有讀過電子相關科系的狗柏，靠著網路自學，竟製造出了無數獨一無二的「自製樂器」，像是透過雷射光感應發聲的雷射豎琴「台八線」，將合成器與理髮店的霓虹燈結合而成的「炫炮」... 等等。《電火王》專輯實驗巡迴時，美秀集團更量產了大量的小型自製樂器 - 炫炮專輯，由狗柏設計，團員們親手組裝，讓台下的聽眾可以與台上的表演者共同演奏自製樂器，這個實驗專場可以說是臺灣的一個創舉，前無古人後無來者的大膽計畫！

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P e rformanc e

戶外表演

10 / 17 ( 六 ) 19 : 0 0 戶外半圓形舞台『自由入席』

美秀集團

來自嘉義的低科技俗氣樂隊，以實驗樂器結合搖滾聲響，加上民謠、龐克等元素 ,帶領觀眾進入愛與欺騙的情慾世界。

王新仁

場景流 SceneFlow

P e rformanc e

戶外表演

10 / 17 ( 六 ) 19 :5 0 戶外半圓形舞台『自由入席』

王新仁為臺灣音像藝術創作先鋒，作品屢獲國內外肯定，為 2012 年及 2015年台北數位藝術節首獎得主。擅長幾何圖像造型對應電子碎拍音樂，輔以對土地人文溫度的關懷和重視，以迷幻、賽博龐克風格嶄露頭角。近年作品強烈關注社會議題，從學運運動到領土疆域爭議，寫入演算法重塑歷史過往，利用點雲顛覆既有認知，不論是在藝術或是議題上，都具有強烈的個人觀點與美學風格，帶給觀眾衝擊式的視覺饗宴。

場景流 Sc e n eF lo w

演出藝術家：阿亂 - 王新仁

藝術家透過點雲，將臺灣的地貌化為千絲萬縷的顆粒構成，透過演算法非線性切割，打破了原本三維、固有的空間結構。時刻流轉的樣貌，恰能表現台灣在政治、疆域上，模糊不定的狀態。

P e rformanc e

室內演出

10 / 7 ( 三 )、10 / 18 ( 日 ) 15: 0 0 桃園展演中心 1F 展場『網路報名』

蔡寧 x 身言舞蹈

Breath(In)Room v.2

呼吸通常是種無意識的自主生理行為，然而有時會暫時且意識地控制。當感受被長期壓迫時，個體可能因主觀焦慮感支配而產生強烈情緒起伏，反應於呼吸頻率變化上。呼吸作為生物生存的基本機制，若欲和緩自在，速率與深淺亦合適範圍。不呼吸無以存活，過度呼吸又使人痛苦，如同在這社會系統裡，找不到合適鑲嵌之處而無立足之地的情況。視覺先於其他感官建立空間感受，將呼吸方式裡，起於心理誘發導致的吐納模式重構於沉浸影像體驗，將內在情緒強制外顯於環境中，藉由感受外在影像與內在行動的關係，逐漸掌控外在變化的模式，此互動機制並意圖在參與者藉由呼吸掌控外在的同時，感受身體因過多二氧化碳排出所造成的缺氧錯覺，和因其錯覺後衍生的一連串心理、生理更迭。

妖子跨藝工作室白港支線 BEGUN Branch Line

P e rformanc e

室內演出

10 / 9 ( 五 )、10 / 11( 日 ) 19 :3 0 桃園展演中心展演廳『換票入席』

林口支線，曾是桃園人的集體記憶。曾經交通如織，人群的途經和故事的來去，卻是始終注定要有盡頭的，我們無能避免逝去的發生。思考遺忘的過程並以此意象作為發展的元素。以「記憶」為發想，試圖探討記憶的重量。記憶的重量在我們生命裡逐漸地增加，或許我們儲存記憶的量值尚未大於所遺忘的，但面對它的流逝卻是我們逃不掉的課題。不管是自身遺忘的發生亦或為人所遺忘，沒有人能教導我們如何面對及阻止。在創作過程中，我們進行討論、思考，並沒有預期解答，只是不斷地透過不同個體角度的殊異性重新認識「遺忘」，也重新檢視「惦記」，在記憶與遺忘的拉鋸下我們如何盛裝並留下記憶？我們如何以外顯的身份被他人所惦記？在我們生命消逝之前，如何認知自身存在與外在環境的關連，和最終企圖留下的？都是角色與我們共同在探討推敲的課題。

Performance

室內演出

10 / 2 2( 四 ) 19 :3 0 桃園展演中心 1F 展場『自由入席』

黑碼藝識

U+617E ＿ v2. ∞

（直播演出）

「如果你從無限中移走或添加一部分，剩下的還是無限。」 U+617E 為「慾」的 U nic o d e 國際碼，機械手臂將扮演成勞工 (表演者 )的身份，從傳統的勞動形式進入到科技勞動的工業革命，打開無限大 (∞ )的慾望檔案，表述人類的物質慾望快速膨脹，營造出現實與虛擬世界的空間，被置入在理想的烏托邦中。《 U+617E _ v 2.∞》機械手臂行為表演創作計畫則延續《 U+617E.∞》裝置作品發展，額外加入有機的表演者進入，表演者以默劇的方式與機械手臂進行行為表演的互動，在一來一回的互動中，一開始機械手臂模擬表演者的行為，漸漸的比表演者還像有生命的個體，在此動作的過程中不斷的生產與製造，宛如成為了一位真實的勞工，而被迫無限的製造，像是推動著整個經濟社會的組織與建構一般。

藝 04

沉境桃花源

Performance

室內演出

10 / 25 ( 日 ) 14:3 0 / 19 :3 0 桃園展演中心展演廳『換票入席』

科技，在這個時代已經成為了生活中不可或缺的存在。與科技共處是現代人必須要去適應的，如何在其中保留生而為人的特質，不被科技吞噬，更是我們需要去小心的。《沉境桃花源》講述的年代是距離陶淵明寫下桃花源記後的 160 0 年後，也就是現在。它是一個屬於現代人的理想國。整齣戲根據陶淵明的桃花源記去做發想，試圖詮釋一個不同於古代的烏托邦。人的距離在這個時代顯得特別的有趣，看似越來越近，但其實越來越遠。隨便一個人都能透過手機查到關於別人的資料，可是我們卻不在當面詢問。這樣的情形越來越普遍，也許沒有不好，也許這就是趨勢，也許這就是我們想要的生活？故事圍繞著一位挑戰一整年不出門的建築師，逃哥。在他的家人背棄他後，進入了桃花源，在桃花源裡，他看到了一個完美的烏托邦，但看似完美的地方，卻充滿了危機…。

Workshop

工作坊 555 bi bi bi ～

10 / 17( 六 ) 10 : 0 0 桃園展演中心 1F 展場『網路報名+ 現場報名』

講師：鄭鴻旗

工作坊的目的在於讓參與的學員，能夠了解電子零件的運作原理，因為我們的生活周遭雖然都充滿著電器產品，但是都被外殼所包覆，一般人很難理解這其中到底是什麼，它是如何運作的？因此這次工作坊目標聚焦在引導大家將這些電子材料作為有趣的聲音創作使用，當自己在了解這些電子產生聲音的原理後，就可以親自動手做出簡單的電子音樂創作。

講師：熊甘霖

AI 與音樂與你—聆聽與生成 10 / 24 ( 六 ) 14: 0 0 『網路報名 + 現場報名』桃園展演中心 1F 展場

音樂作為世界共通的語言，同樣的 12個音符，卻可以譜寫出的樂曲風格千變萬化。過去只有音樂家才能譜出的優美樂曲，近年來由於人工智慧的發展，開啟了音樂新世界，讓音樂的創作過程得以更加客製化與自動化。本活動的目的主要是讓參與者能夠在參與過程中了解到 AI技術於音樂創作之過程以及與 AI共同完成一件音樂作品，讓參與者體驗共同創作之魅力。本活動不需要任何音樂或程式設計之背景。 80

分享 5G 浪潮與未來想像會

Lecture

10 / 18 ( 日 ) 10 : 0 0 桃園展演中心 1F 展場『網路報名 + 現場報名』

講師：馮建彰

面對科技快速變遷，即將來臨的 5G 時代，將對內容產製帶來哪些顛覆性的變化呢？業界暱稱為「二馬」的馮建彰，從舞台設計出身，擁有超過 20年的展演視覺設計經驗，多年來不斷嘗試將內容製作結合科技應用，包含 AR、 VR、4DViews 動態容積擷取技術等。本次分享會將分析過去實務操作經驗，並同時探討 5G對於影像製作的推進與影響，以及分享會場中策展的「DJ AMOW」沈浸式作品，又代表著什麼樣的跨界意涵。

Lecture

分享會多媒體創意展演案例與 MR 沉浸式體感技術

10 / 24 ( 六 ) 10 : 0 0 桃園展演中心 1F 展場『網路報名 + 現場報名』

講師：吳文琪 / 夢想動畫專案經理

展演型態日新月異，對於展演的創新需求更是快速增加，動畫是現代人熟悉與習慣的閱讀、傳播與學習媒介，透過各種動畫的設計與製作，讓展覽、表演甚至教育變得更多元、更豐富、更刺激。年來，由於科技技術的突破與快速發近展。從 AR、VR 、到 MR，除了技術的創新高速發展之外，需求也在不斷轉變，沈浸式體驗、沈浸式空間設計都成為現代展演很重要的手段與元素。

講師：林經堯

聲音藝術超未來 10 / 25 ( 日 ) 11: 0 0 桃園展演中心 1F 展場『網路報名+ 現場報名』

後疫情時代，開始有全新的生活方式，提高了居家以及遠端工作需求。在藝術方面也面臨同樣的問題，因此在此次展覽裡，有許多沈浸式聲響體驗，讓民眾置身其中，提供對於聲響更多的想像及可能性。

學校工作營

講師：陳韻如

交互共響創客工作營

School Workshop

中國科技大學新竹校區、中國科技大學台北校區第一場 0 6 / 0 2( 二 ) 13: 10 新竹校區第二場 0 6 / 0 3 ( 三 ) 12: 15 台北校區

本次的工作營主要在挑戰經由機械馬達動力，結合可發出聲響的樂器、材料、物件與機械結構交互共響。參與者能在參與過程了解到動力機械結構與製作過程，以及共創一件交互合奏之聲響作品，作品將在桃園科技藝術節展覽期間參與展出，讓參與者體驗共創之魅力。

School Workshop

學校工作營

第一場 07/ 09( 四 ) 08:00 莊敬國小第二場 07/ 10 ( 五 ) 10 :3 0 楊梅國小第三場 07/ 10 ( 五 ) 1 3 : 1 0 楊梅國小

講師：林逸農

紙譜音樂故事盒工作坊

紙譜音樂故事盒工作坊為淡江大學教育科技系互動娛樂設計系林逸農老師所策劃和藝高文創所贊助，該工作坊之擇優作品將於 2020年桃科節進行展出。今年主題為「當然耳」作品創作將以音樂或聲音之相關創造為主，提倡音樂與聲音藝術美學給大眾欣賞。(手搖式）紙譜音樂機芯是由曲柄、音梳及音筒三大部份組成，用來敲擊出現場音樂。該款為早期音樂盒的設計模式，本工作坊採用此款音樂盒進行音樂故事創作。所謂故事是創作者可以在紙譜選用或創作自己喜歡的樂曲，且在紙譜上進行故事繪圖，此故事類似連續影格的動畫或多格漫畫，創作者可以將想要表現的故事內容呈現於此。

本館資訊館址 : 桃園展演中心 1 展場 (330 桃園市桃園區中正路 1188 號 ) 服務專線 : (886)3-317-0511 . 由國道 1- 南崁交流道下，春日路右轉南平路直行至中正路口即達。 . 由國道 2- 桃園交流道下，往桃園方向，循大興西路左轉至中正路即達。搭乘公車 . 於桃園火車站前中正路直行，左轉中華路搭乘 117、151、152、GR 路車，至「中正藝文特區」站即達。 . 搭乘 L103、L103A、1105、2105A, 至「中正藝文特區」站即達。 . 搭乘 168、188、188A、209、707、707A、711，至「南平中正路口」站即達。 . 於臺北市府轉運站搭乘桃園客運 9005 路車，至「中正藝文特區」站即達。 . 於臺北捷運劍潭站或圓山站搭乘 9023 路車，至「中正藝文特區」站即達。

指導單位｜桃園市政府、桃園市議會主辦單位｜桃園市政府文化局、桃園市政府藝文設施管理中心出版人｜鄭文燦藝術總監｜莊秀美製作統籌｜王啟仲、温琳琳行政統籌｜陳慧貞行政執行｜簡宏名學術主持人 / 策展顧問｜石瑞仁策展人｜林經堯、林羽婕執行統籌｜林紫湄技術統籌｜王新仁專案執行｜林妙珊、林季姍、陳虹君、錢春華、温詩妤、呂庭瑋、曾羽蓉、林品蕎、林湘榆、徐鈺惠、曹芸嘉、王維靖、邱筱婷、徐元彥責任編輯｜簡宏名、林妙珊、温詩妤視覺設計｜温詩妤、林品蕎、徐鈺惠、王維靖翻譯｜藝高文創展覽宣傳｜林妙珊、林品蕎、林季姍圖像文字授權｜各參展藝術家

330桃園市桃園區中正路1188號開放時間：週二至週日 9:00-17:00 週一及國定假日休展