Tangivirtuality2
Spectacle Extension Looking at Between PositiveElectricity-Plan GhostsofGoogle
觀察作為一種精細而系統性的感知與認知過程，涉及主動地、有目的 的處理訊息。透過觀察，我們收集到有關的訊息，並進一步進行探索， 這往往也是藝術生產的起點。如今，機器的感測器、影像處理、聲音處 理、數據分析、感知與反饋等都成為人的延伸，而藝術家如何在機器 擴延感知下進行創作呢?
「觀察者模式」展覽以行為設計模式來類比與檢視媒體藝術中的機器 角色。當藝術家作為主體時，機器不僅是藝術生產的工具，或是將腦 中概念轉化為作品的中介，更在各階段中扮演重要角色──從觀察 開始──提供了視角與數據，使我們更依賴這些自動化的訊息，並進 一步影響處理不確定性的方式。
機器不僅延伸了人的感官，與人協作，亦成為觀察者：從冷靜的角度 出發，重塑了人與世界被觀察的形貌。隨著機器日益智慧化，人類的 生命與組織模式也漸漸顯露出系統運作的特徵。在這個人機嵌合環 境中，我們需要重新思考藝術如何反映觀察的意義，以及存有的模式。
另一方面，在人與機器相互耦合的情境下，台灣作為一個長久以來消 失卻又被帝國凝視的島嶼，包括對個體意志與科技文化的重視，以及 其複雜的混種狀態，雖然尚未成形，卻已映入眼簾。
進入「觀察者模式」展場，我們會先看到江紹綸的作品〈有形虛擬〉，結 合目鏡觀測和肢體測量，創造出知覺的錯置與虛構，使我們對觀測能 有提問。鄭祖豪作品〈正電計畫〉將大腦迴路運作類比機器運轉，轉化 成電流與噪聲，成為展覽的中樞。接著，謝佩庭作品〈科技幽靈〉使我 們透過Google街景中的人被AI模糊化的詭譎影像，以機器之眼反思 於技術環境的肖像形貌與存有狀態。郭子耘的作品〈景伸〉使用 Slit-scan技術在高鐵上拍攝台灣風景，呈現以機器對外部環境的凝 望視野。最後，呂坤彧作品〈相視一場〉利用3D掃描和偵測技術，呈現 由機器形塑台灣鄉村年長者的感性影像，在相互對視下，人的樣貌彷 彿模糊卻又呈現有另一種清晰。
通過機器與周圍世界互動，藝術家將內在的直覺、情感、思維等轉譯 成創造性生產。我們企圖經由對「觀察者模式」展覽的觀看，揭示機器 如何成為一種新的觀察者，與人類共同塑造一個意義的世界。
Jia-Ming DAY
王福瑞 ＴＷ Fujui Wang
戴嘉明 ＴＷ Fujui Wang is currently an associate professor of the Taipei National University of the Arts, Department of New Media Arts, TNUA. He is also a sound artist and curator specialized in sound art and interactive art whose work has played a key role in establishing sound as a new artistic genre in Taiwan. A pioneer of sound art in Taiwan, he founded “NOISE” in 1993, the country’s first experimental sound label. In 2000 he joined the media art collective “ET@T” and launched the “BIAS” International Sound Art Exhibition and Sound Art Prize for the Digital Art Festival Taipei. He worked for the Digital Arts Center, Taipei and the Center for Art and Technology, TNUA, he has curated numerous exhibitions and festivals, including the 2008, 2009, 2010 and 2012 editions of the “TranSonic” Sound Art Festival and the 2007 to 2009 editions of the Digital Art Festival Taipei. In 2011 Wang Fujui and Yi Lu co-founded the Soundwatch Studio to promote the creation, exhibition, performance and workshop of renovating experimental audio art both locally and internationally.
Jia-Ming Day graduated from the Computer Graphics Department at Pratt Institute in New York and currently serves as a professor and department chair of New Media Art at National Taipei University of the Arts. He has dedicated recent years to exploring the possibilities of animation within the realm of new media. Through his curation efforts, he aims to reinterpret the definition and forms of animation, advocating that it should not be confined to mainstream media and stereotypes. He utilizes a combination of virtual and physical mediums, such as inflatable material, cash machine, 3D printing, turntables, and AR/VR, to seek new forms and subjects that bring life (animate) to the environment. His animation works have been exhibited at international conferences such as SIGGRAPH, HCI International, and AHFE. In recent years, he planned the KuanDu Light Art Festival, which combines landscape and cross-field performances, and has become a key project of the KuanDu Art Festival.
戴嘉明畢業於紐約 Pratt Institute 電腦圖像研究所，現職於國立 臺北藝術大學新媒體藝術學系教授兼系主任,專長為新媒體動畫、 媒體整合設計。嘗試詮釋 Animation(動畫)的定義與形式，曾透過 策展提出動畫不該侷限於主流媒體與刻板印象，他也利用充氣、點 鈔機、3D列印、旋轉台與AR等虛擬與實體結合的方式，重新在生活 環境中尋找賦與生命(Animate)的形式與題材。動畫作品發表於 SIGGRAPH 、HCI International、AHFE 等國際性研討會。近年 來關注光藝術在新媒體範疇發展的可能性，策劃關渡光藝術節結 合地景與跨領域展演，成為北藝大關渡藝術節的重點項目。
王福瑞目前為北藝大新媒體藝術學系副教授，也是台灣早期重要 前衛的數位藝術以及聲音藝術家和策展人，他帶領台灣聲音藝術 進入了新的領域與發展，1993年以先鋒之姿成立台灣第一個實驗 音樂廠牌和出版刊物「NOISE」，2000年加入台灣媒體藝術發展中 少數以互動為主的創作實驗團體「在地實驗Etat」，並推動國際「異 響BIAS」聲音藝術展與「台北數位藝術節」聲音藝術類別。他曾工 作於台北數位藝術中心以及北藝大藝術與科技中心，並策劃多場 相關展覽與活動，包含2008年、2009年、2010年、2012年的「超響」 聲音藝術節，2007年至2009年的「台北數位藝術節」。2011年與盧 藝成立「響相工作室」，持續致力推動海內外聲音藝術相關展覽與 表演以及工作坊，該工作室致力嘗試以創新實驗性的聲音作為主 要核心概念，執行聲音藝術相關創作與其推廣計畫。
Lien-Cheng WANG
王連晟 ＴＷ
Lien-Cheng Wang is a new media artist, open-source education collaborator and audiovisual performer, residing in Taipei, Taiwan. His artistic and research involve interactive devices and real-time sound performance. He uses open source to create installation art and audio-visual real-time performance. The works are committed to a seamless combination of images and sounds created by computer algorithms as well as human perception with the universe and nature. He often utilizes a volume of installed approach to achieve a unique physical perception. Now he is currently appointed as lecturer in the new media department of Taipei National University of the Arts. His works have been exhibited and performed at Linz Ars Electronica (Austria), New Technological Art Award (Belgium), Les Journées GRAME (France), MADATAC (Spain), Digital Art Festival Taipei (Taiwan), Taipei Art Award, etc.
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。而聲音表演常搭配程式 即時生成的影像，與即時運算的聲音演出。曾獲得台北美術獎首獎、
台北數位藝術節互動裝置類首獎、台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、比利時新科技藝術獎等國際知名 藝術節展出。
林晏竹 ＴＷ
Yen-Ju LIN
Lin graduated from the MFA Program in New Media Arts at Taipei National University of the Arts. She is currently a Ph.D. candidate in the Department of Fine Arts at National Taipei University of the Arts.
Lin focuses on the images, symbols, language, aesthetics, and meanings between digital media and the physical realm, attempting to use art as a method of connection to cosmology. She has presented solo exhibitions such as “Long Stay” and “ Stream May Be... Pillow, Stone Can Rinse...”. Lin’s work has also been featured in group exhibitions including “Non-syntax,” “Groundless,” “Video Lounge,” “Taiwan Annual,” “Schizophrenia Taiwan 2.0,” “3rd Outstanding New Media Art Award ‒ Recounting Emotions,” “8th Digital Art Festival Taipei — Data-Neurons,” “The 11th Taoyuan Contemporary Art Award,” and “Nintender,” among others.
Additionally, she has co-curated the exhibition "Epicentrum" for the New Media Art Department of Taipei National University of the Arts at the Ars Electronica Festival in Linz, Austria. She has also co-curated “2021 Zhongshan Hao Rong Yi ‒ Outdated Daily” and “2020 Kuandu Light Art Festival ‒ Quantum Entanglement.”
畢業於國立台北藝術大學新媒體藝術碩士班，現為國立臺北藝術大 學美術學系博士候選人。
關注數位媒介與實體間與的影像、符號、語言、美學和意義，企圖以 藝術作為聯繫至宇宙學的方法。曾舉辦個展「常常在家」、「枕流漱 石」。參與聯展「Non-syntax」、「似是而非」、「錄像廳」、「當代一年 展」、「Schizophrenia Taiwan 2.0」、「第三屆新媒體藝術卓越獎—緒 事體」、「第八屆台北數位藝術節—超神經」、「形而上‒第11屆桃源 創作展」、「嫩天堂」…等等。
另共同策劃奧地利林茲電子藝術節北藝大新媒系展覽「震源」、 「 2021中山好融異—逾期日常」、「2020關渡光藝術節—量子糾纏」等。
ARTWORK INTRODUCTION
Sensory experiences serve as our primary methods to acquire information. The knowledge and intuition derived from these experiences constitute the fundamental basis for human thoughta and cognition. In this artwork, virtual scientific images intertwine with real sensations of touch, inviting viewers to comprehend and create cognitive and perceptual conflicts, offering extraordinary perceptual experiences that challenge the pre-existing cognition of viewers.
感官經驗是我們獲取信息的主要途徑，而透過這些經驗和直覺所獲得的知 識，是人類思維和認知的先決條件。此件作品以虛擬的科學影像和真實的 身體觸覺，讓觀眾透過身體來理解和詮釋所看見的視覺影像，其中試圖創 造認知和知覺上的衝突，以超常的感知經驗挑戰觀眾原有的認知。
Expert in composing images with diverse media, including video installation and 3D animation, aiming viewers' interactions with images at probing relationship between human bodies and modern lifestyle.
擅長以多元的媒材搭配和製造影像,主要以影像裝置、3D動 畫、遊戲引擎進行創作。主題專注在透過影像與觀眾身體的 互動,藉此討論人類身體與當代生活的關係。
ARTWORK INTRODUCTION
This artwork uses 3D scanning to bring real individuals into a virtual environment. Employing techniques like image matting and blurring, it depicts the emotional connection between the artist and their hometown. It also reflects on how, in the digital age, relationships between people often feel more like a virtual state within reality. In the moment of eye contact, there's speculation and imagination about others, accompanied by feelings of unfamiliarity and detachment. Does this detachment also imply a virtual aspect? And could it represent a new contemporary relationship?
作品透過3D掃描技術將真實存在的人物再現到虛擬環境中。以去背、模糊 的手法描繪作者與家鄉之間的情感，並反思在數位時代下，人與人之間的
關係似乎更像是在真實當中的虛擬狀態。眼神交會的當下，對他人的想像、 臆測，伴隨著陌生與疏離。而這疏離之間是否也就存在著虛擬？也是否會 是當代的新關係？
The works starts from personal experience, delving into the relationship between the "camera" and the "subject", emphasizing the conflicting emotions of "opposition", and seeking breakthroughs in contemporary visual expression.
作品以個人經驗出發，探討「鏡頭」與「被攝物」兩者間的關係， 並著重在「對立」的矛盾情緒，並尋找當代影像的突破點。
single-channel video projected onto a suspended projection screen 單頻道錄像投影於浮空紗
ARTWORK INTRODUCTION
The artist Pei-Ting, Hsieh is concerned with humanity's pursuit of self-concept and the sublime, exploring how they collide to spark moments of inspiration, absurdity, and profound contemplation in the age of technology.
關注當代生活經驗的感性延伸，以及對生命與存在發出的探 問。近年來特別著眼於人對於自我概念、精神性與崇高性之 追求，在科技智能時代下所碰撞出的火花、荒謬感與引人深 思之處。
In the sweeping collection of global imagery by Google today, those individuals who happen to be recorded merely by passing through seem to have lost their secret identities as human beings. Instead, they are treated more as information, or even noise, requiring their faces to be obscured by AI intelligence systems. These images, which fully embody optical unconsciousness, seem to reflect a certain contemporary life situation. This artwork re-presents these images, aiming to provoke a profound gaze upon them.
作品中的影像皆是在 Google Earth 實景地圖上作螢幕截取，於全球每處 被 Google Street View 所覆蓋的國度一一蒐集，並加以去背、轉為黑白。
科技與人的關係或可在不同時代的影像中反映出來。若說從前的肖像攝影 召喚了靈光，喚起深刻生命的臆想；如今在Google對整個地表影像的地毯 式蒐集中，那些因正好途經而被記錄下來的人們，與其說被視作「人」，不如 說其更被視為一種資訊、甚至雜訊看待，須以AI智能系統將面容抹去。這些 充分展現光學無意識的影像，彷彿映現了某種當代生活處境⸺今日任何 人都可以輕易地被平放在世人面前，然人卻似乎只是一種訊息、甚至淪為 監控資本的材料，失去了人的秘密身分。此作以肖像的形式再現這些影像， 試探問科技帝國底下，那已然不在、無以回返的幽靈。
ARTWORK INTRODUCTION
Installation: 30cm150cm90cm Image: 11520*1080 (six channels). roller motors, film printing, aluminum extrusion, acrylic. 裝置：30cm*150cm*90cm 影像：11520*1080(六頻道) / 滾輪馬達、膠卷印刷、鋁擠、壓克力
Can we trust what we see? How confident are we in discerning reality? Should we continuously seek the truth? How much of the flashing scenes remain in our memory? It's difficult for us to distinguish between reality and memory. Images are constantly cropped, cut, compressed, and distorted, giving rise to unique and peculiar landscapes. Memories operate similarly, incomplete yet imbued with deeper meanings. Through the lens, we create intricately layered, enigmatic, and beautiful images.
能否信任眼見為憑？我們對真實的辨識又有多少把握？我們是否應該不斷 尋求真相？閃光的景象在記憶中又留下了多少？我們難以辨別現實與記憶 的差異。影像不斷被截取、切割、壓縮和扭曲，造就出獨特而奇特的景觀。記 憶也是如此，雖不完整，卻賦予事件更深層的意義。透過鏡頭的捕捉，營造 出層次錯綜複雜、詭譎而美麗的景象。
Proficient in kinetic installations and videography. His works focus on depicting life experiences, exploring memories, and observing contemporary contradictions and emotions as the core theme.
1998年生於臺北，現就讀於國立臺北藝術大學新媒體藝術 學系研究所。以動力裝置和影像為主要創作媒材，同時參與 跨域表演和科技劇場。作品聚焦於生命經驗、情感、記憶和 日常，以探索觀察帶來的矛盾和情感為核心主題。
Depends on site electronic materials, aluminum extrusion, PLA-3D printing 依場地而定 / 電子材料、鋁擠、PLA-3D列印
ARTWORK INTRODUCTION
Born in 2002 in Yangmei, Zu-Hao, Zheng is a student at the TNUA, NMA. He excels in crafting mechanical structures and dynamics, Zheng's work earned the Silver Award at the 18th KT Art in 2023.
鄭祖豪，2002年出生於楊梅，就讀國立臺北藝術大學新媒體藝
術學系，擅長製作 機械結構、動力、燈光 、感測裝置，對於裝置
的運動 方 式感到好奇，並以自身感官及想像延伸至創作，嘗試
將裝置的互動性提 高，及實驗試新媒材，使創作更豐富增加新
的可能性，作品曾獲「2023 第十八屆 KT科藝獎 互動科技組」
銀獎，入選「國立臺北藝術大學新媒體藝術學系第十屆系展 」。
Zu-Hao, ZHENG
Neuroscientist Marcus E. Raichle suggests daydreaming acts as a stress response, regulating external stimuli. He posits that during daydreaming, brain circuits enter a closed state, generating "random noise" akin to a TV without signal or a sleeping computer. Contrasting this with personal experience, I've noticed unconscious daydreaming is common. Recording its frequency, I've sought to digitize and incorporate this data into my artwork, visually representing the brain's random noise.
腦中的神經回路基本處於關閉狀態，此時的神經活動屬於“隨機噪聲”，就 像沒收到信號的電視機，類似於電腦在休眠模式的時候內部還是會繼續運 作。而我對比自己發現我很常在無意識情況發呆，我開始紀錄我發呆的頻 率，我把紀錄下來，試圖將數據轉譯成數位的方式載入作品之中，使其呈現 我腦內的隨機噪聲也將這個數據以可視化的形式呈現出來。
AUDIO-VISUAL PERFORMANCE
"Resonance of the Virtual" is an audio visual performance that explores identity construction within this dynamic parallel universe. The work delves into the integration of virtual and real, particularly showcasing the diversity of virtual identities through the variations in wire arrangements. This symbolizes the intricate interaction between virtual reality and real life, and the impact of technology on the shaping of individual identities.
The arrangement of wires not only changes the projection of the virtual world but also deeply reflects the complexity of constructing virtual identities online. The constant transformation of these wires represents the dynamic changes of our virtual presence in the digital space.
Although the projections in the virtual world are digital, our increasing reliance on the internet and technology makes this virtuality tend towards reality. However, this does not replace the existence of reality but rather coexists as a parallel world, where we simultaneously exhibit multiple facets.
Li-Chi Hsiao, graduated from Berlin University of Art, is a Taiwanese new media artist whose oeuvre encompasses an array of mediums such as audio-visual, installations, and live performances. Her works talk about her personal connection with the internet and societal dynamics, reflecting a profound engagement with the symbiosis of technology and the individual, inviting audiences to contemplate the convergence of personal narratives within the digital landscape and the broader societal framework.
Li-Chi Hsiao
科技的急遽進展讓我們深陷在數位世界，虛擬與現實的交界漸行漸遠。《虛擬的共鳴》 是一場對於這動態平行時空中身份建構的聲音藝術裝置。
作品探索虛擬和現實的融合，特別在線路排列的變化中展現虛擬身份的多樣性。
這象徵了虛擬現實與真實生活微妙的互動關係，以及科技對個體身份塑造的影響。 線路的排列不僅改變了虛擬世界的投影，更深層地反映了我們在網路中建構虛擬 身份的複雜性。這種線路的不斷變換，代表著我們在數位空間中虛擬性的動態變化。
儘管虛擬世界中的投影是數位的，然而隨著我們對網路和科技的日益依賴，這種 虛擬性漸趨向真實。但是這並非替代現實的存在，而是一種平行世界的同時存在， 我們同時展現著多元的面向。
《虛擬的共鳴》透過聲音、光影和線路的排列組合，邀請觀眾進入這微型宇宙，引發
對數位生活和虛擬身份的深刻思考。作品不僅是感光上的聲光效果，更是對於在 數位世界中，我們真實存在的反思，是一場虛實共鳴的體驗。
蕭力綺，畢業於柏林藝術大學，是一位來自台灣的新媒體藝術家，常駐於柏林與台北。她的 藝術創作跨足多個媒介，包括聲音藝術、裝置藝術，以及現場表演等。透過多元的媒材，他 將探索科技之於人與群體相互交錯的生態系。
蕭力綺的作品常常反映她對網路以及社會變遷的個人感受，呈現出對科技與個體之間複 雜而深刻的交互影響的敏感洞察。她以獨特的視角觀察數位科技在我們日常生活中的角 色，並將其與個體經驗相結合，提出對於科技與人文之間互動的獨特見解。透過她的視覺 和聽覺藝術，觀眾被引導進入一個思辨性的空間，思考個體敘事如何在數位景觀中演繹， 以及這些個人敘事如何與更廣泛的社會框架交融。
AUDIO-VISUAL PERFORMANCE
This performance is a collaboration between two artists. One artist uses a synthesizer to sample and deconstruct the live melodies and phrases played by the other artist on the suona, creating a dialogue that spans across time, humanity, and machinery. Combining tradition and modernity, this performance explores the expansiveness of sound and the interaction of time. Join us in this cross-temporal sound dialogue and listen to the echoes of the past, present, and future in this moment.
Lai began his artistic career with sound and image productions. He explores feedback noise from audio mixers and environmental sounds, creating performances that blend audio and visual elements. His video works are rooted in folk religious rituals and AI art, merging mixed noises and oversampling test tones to immerse listeners in a mysterious soundscape.
以聲音和影像製作開啟創作的生涯。他探索了音頻混音器的反饋 噪音和環境聲音，創作出融合聲響和視覺的現場演出。他的影像作 品植根於民間宗教儀式和人工智能藝術，將電子噪音和聲音取樣 融合在一起，使聽眾沉浸在神秘的聲音景觀中。
新媒體藝術學系教師
Day Jia-Ming
戴嘉明 ＴＷ
Jia-Ming Day graduated from the Computer Graphics Department at Pratt Institute in New York and currently serves as a professor and department chair of New Media Art at National Taipei University of the Arts. He has dedicated recent years to exploring the possibilities of animation within the realm of new media. Through his curation efforts, he aims to reinterpret the definition and forms of animation, advocating that it should not be confined to mainstream media and stereotypes. He utilizes a combination of virtual and physical mediums, such as inflatable material, cash machine, 3D printing, turntables, and AR/VR, to seek new forms and subjects that bring life (animate) to the environment. His animation works have been exhibited at international conferences such as SIGGRAPH, HCI International, and AHFE. In recent years, he planned the KuanDu Light Art Festival, which combines landscape and cross-field performances, and has become a key project of the KuanDu Art Festival.
戴嘉明畢業於紐約 Pratt Institute 電腦圖像研究所，現職於國立臺北藝術大學新媒體 藝術學系教授兼系主任,專長為新媒體動畫、媒體整合設計。嘗試詮釋Animation(動畫 )的定 義與形式，曾透過策展提出動畫不該侷限於主流媒體與刻板印象，他也利用充氣、點鈔 機、3D列印、旋轉台與AR等虛擬與實體結合的方式，重新在生活環境中尋找賦與生命 (Animate)的形式與題材。動畫作品發表於 SIGGRAPH、 HCI International、AHFE等國際 性研討會。近年來關注光藝術在新媒體範疇發展的可能性，策劃關渡光藝術節結合地 景與跨領域展演，成為北藝大關渡藝術節的重點項目。
Jun-Jieh Wang
王俊傑 ＴＷ
In 1984, he started working with video, and became one of the pioneers of new media art in Taiwan. Wang received the Hsiung-Shih New Artists Award in 1984 in Taiwan. In 1995, Wang received the Berlin Television Tower Award for his video installation Little Mutton Dumpling for the Thirteenth Day. In 2009, he received the Taishin Arts Award in the visual art category for his video installation David's Paradise. Jun-Jieh Wang is currently professor at the Department of New Media Art of the Taipei National University of the Arts. Wang has been active on the international contemporary art arena from an early stage. Invitations to major international exhibitions came from, among others, the Venice Biennale, the Gwangju Biennale, Taipei Biennial, the First Fukuoka Asian Art Triennale, Asia-Pacific Triennial of Contemporary Art, Ars Electronica Linz, Transmediale Berlin, Dogo Onsen Art and European Media Art Festival etc.
1984年開始錄像藝術創作，為臺灣新媒體藝術的開創者之一。曾獲雄獅美術新人獎、 德國柏林電視塔藝術獎及台新藝術獎視覺藝術大獎等殊榮。作品受邀參加威尼斯雙年 展、光州雙年展、台北雙年展、亞太當代藝術三年展、柏林超媒體藝術節、歐洲媒體藝術 節等國際性展覽；亦曾策劃多項大型當代藝術展覽，包括「漫遊者－國際數位藝術大展」 （國美館，2004）、「異響－國際聲音藝術展」（北美館，2005）、「台北雙年展：(限制級) 瑜珈」（北美館，2006）、「台北數位藝術節」（當代館，2009）、「再基地：當實驗成為態度」 （臺灣當代文化實驗場，2018）等，推動跨領域藝術深具開創性。現為國立臺北藝術大 學新媒體藝術系教授，除了教學、創作與策展外，王俊傑亦積極參與政府及民間多項公 共補助、審議與諮詢委員，涉獵多元且全面，不僅活躍於當代藝術領域，在組織及行政 能力上亦具豐富歷練。
Der-Lor Way, born in 1963 in Keelung, Taiwan, holds a Ph.D. in Computer Science from National Chiao Tung University. He is currently a professor in the Department of New Media Art at Taipei National University of the Arts. He also serves as a member of the Public Construction Commission of the Executive Yuan and the Small and Medium Enterprise Administration of the Ministry of Economic Affairs. His main areas of expertise include interactive technology art, virtual reality, and artistic imaging technologies. He has published 13 SCI journal papers and dozens of conference papers both domestically and internationally. Additionally, he holds patents in the United States and Taiwan, and serves as a reviewer for various journals and as a program chair for significant international conferences.
1963年生於台灣基隆，交通大學資訊工程博士，目前任教於國立台北藝術大學新媒體 藝術學系，現任行政院公共工程委員會委員和經濟部技術處小型企業，主要專長為互動 科技藝術，虛擬實境，藝術化成像技術等，共有已發表13篇SCI期刊論文，國內外學術研 討會議論文數十篇，另擁有美國專利發明與中華民國專利發明，擔任各類期刊審查委員 與重要國際會議議程主席。
Yuan Goang-Ming
袁廣鳴 ＴＷ
Born in Taipei, Taiwan in 1965
Now lives and works in Taipei, Taiwan
Yuan Goang-Ming is recognised as a pioneer of Taiwanese video art, and one of the most influential artists working in the field of new-media art today. Combining symbolic metaphor with the language of technology his works explore ʻthe perplexing state of the world today’, referencing topics as diverse as climate change, the refugee crisis, and the rise of populism.
自1984年開始從事錄像藝術創作，為早期台灣錄像藝術的先鋒。1997年畢業於德 國卡斯魯造型藝術學院，獲得媒體藝術碩士學位。目前任教於國立台北藝術大學， 新媒體藝術學系教授。近年來創作，環繞著當今生存處境的的困頓與憂懼及「戰爭 的日常化」與「日常的戰爭」為主軸，呈現當代的生存狀態及不安。 1965年生於台灣台北 現居住、工作於台灣台北
Shih-Wei Sun 孫士韋 ＴＷ
Dr. Shih-Wei Sun received the B.S. degree from Yuan-Ze University and Ph.D. degree from National Central University, Taiwan, in 2001 and 2007, respectively, both in Electrical Engineering. He is a Professor with the Department of New Media Art, Taipei National University of the Arts, Taiwan. His research interest includes: computer vision, sensor applications for mobile devices, and applications for human-computer interface. Dr. Sun advised the technical production for the tech-art installations and performances, exhibited in Taipei Fine Art Museum and Songshan Cultural and Creative Park, which are the most representative exhibition places in Taiwan, in 2013 and 2015.
孫士韋博士於2001年及2007年分別於元智大學與國立中央大學取得電機工程學士 及博士學位,並於2012 年起任教於國立臺北藝術大學新媒體藝術系,目前擔任教授。 主要研究領域包含電腦視覺應用、行動裝置感測應用、與人機互動技術應用。孫博士 於2013及2015年,指導國內大型科技藝術展演作品之互動科技導入,於當代藝術指標 性展演場域-台北市立美術館及松山文創園區展出。
Chun-Chi LIN 林俊吉 ＴＷ
Chun-Chi Lin is a new media artist. He has received the Günther-Schroff Art Scholarship from a German entrepreneur and his works have won the Best Video Art Award in the audience choice category at the ZKM (Center for Art and Media) Karlsruhe Germany Video Art Competition. His works have been exhibited in various countries and cities, including Taiwan, Germany, Belgium, France, the United States, and Mexico.
He has previously served in the Department of Information Technology Services of the Academia Sinica, working as a systems analyst and the leader of the Multimedia Group, where he participated in the execution of the National Digital Archive Program. In recent times, he has been devoted to innovative teaching and has developed two Massive Open Online Courses (MOOCs) titled "Photography - Image Formation and Narrative" and "Photography and Action" to promote photography through online platforms.
林俊吉，新媒體藝術家。曾獲得德國企業家Günther-Schroff 藝術獎學金，作品獲ZKM （德國藝術與科技中心）錄影藝術競賽觀眾票選最佳錄影藝術獎，並於臺灣、德國、比 利時、法國、美國、墨西哥等多個國家與城市展出。
Fujui Wang
王福瑞 ＴＷ
Fujui Wang is currently an associate professor of the Taipei National University of the Arts, Department of New Media Arts, TNUA. He is also a sound artist and curator specialized in sound art and interactive art whose work has played a key role in establishing sound as a new artistic genre in Taiwan. A pioneer of sound art in Taiwan, he founded “NOISE” in 1993, the country’s first experimental sound label. In 2000 he joined the media art collective “ ET@T” and launched the “BIAS” International Sound Art Exhibition and Sound Art Prize for the Digital Art Festival Taipei. He worked for the Digital Arts Center, Taipei and the Center for Art and Technology, TNUA, he has curated numerous exhibitions and festivals, including the 2008, 2009, 2010 and 2012 editions of the “TranSonic” Sound Art Festival and the 2007 to 2009 editions of the Digital Art Festival Taipei. In 2011 Wang Fujui and Yi Lu co-founded the Soundwatch Studio to promote the creation, exhibition, performance and workshop of renovating experimental audio art both locally and internationally.
王福瑞目前為北藝大新媒體藝術學系副教授，也是台灣早期重要前衛的數位藝術以及
聲音藝術家和策展人，他帶領台灣聲音藝術進入了新的領域與發展，1993年以先鋒之 姿成立台灣第一個實驗音樂廠牌和出版刊物「NOISE」，2000年加入台灣媒體藝術發 展中少數以互動為主的創作實驗團體「在地實驗Etat」，並推動國際「異響BIAS」聲音 藝術展與「台北數位藝術節」聲音藝術類別。他曾工作於台北數位藝術中心以及北藝 大藝術與科技中心，並策劃多場相關展覽與活動，包含2008年、2009年、2010年、 2012年的「超響」聲音藝術節，2007年至2009年的「台北數位藝術節」。2011年與盧 藝成立「響相工作室」，持續致力推動海內外聲音藝術相關展覽與表演以及工作坊，該 工作室致力嘗試以創新實驗性的聲音作為主要核心概念，執行聲音藝術相關創作與其 推廣計畫。
曾服務於中央研究院資訊服務處，任職系統分析師暨多媒體小組組長，執行國家型數 位典藏計畫。近期則致力於教學創新，製作「攝影—影像造形與敘事」與「攝影與行動」 兩種磨課師（MOOCs，大規模開放式線上課程Massive Open Online Courses）課 程，於網路平台推廣攝影。
Lien-cheng Wang
王連晟 ＴＷ
Lien-cheng Wang is a new media artist, open-source education collaborator, and audiovisual performer based in Taipei, Taiwan. His artistic and research interests involve interactive devices and real-time sound performance. He uses open-source technology to create installation art and real-time audio-visual performances. His works are committed to the seamless combination of images and sounds created by computer algorithms, as well as the connection between human perception and the universe and nature. He often utilizes a volumetric installation approach to achieve unique physical perceptions. Currently, he is appointed as a lecturer in the new media department at the Taipei National University of the Arts. His works have been exhibited and performed at Linz Ars Electronica (Austria), New Technological Art Award (Belgium), Les Journées GRAME (France), MADATAC (Spain), Digital Art Festival Taipei (Taiwan), Taipei Art Award, etc.
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。而聲音表演常搭配程式即時生成的影像，與即時運算的聲音演 出。曾獲得台北美術獎首獎、台北數位藝術節互動裝置類首獎、台北數位藝術表演獎 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、比利時新科技藝術獎等國際知名藝術節展出。
Yu-Hsiung HUANG
黃裕雄 ＴＷ
Yu-Hsiung Huang’s specialty is the integration of transdisciplinary research between interactive technology and new media art, including the translation of cultural history through technology media, the connection of interactive technology and the virtual world. He is currently a lecturer in the Department of New Media Art, National Taipei University of the Arts. In recent years, his creations have focused on the conflicts and contradictions between media technology and humanities and art, using artificial intelligence, machine learning, programming languages, sensors, etc. to interpret the relationship between humans and media technology.
黃裕雄擅長融合互動科技與新媒體藝術之間的跨學科研究,包含文化歷史透過科技 媒體譯、互動科技與虛擬世界的連結等。現為國立臺北藝術大學新媒體藝術學系講師, 近年創作專注於媒體科技與人文藝術之間的衝突與矛盾,透過人工智慧、機器學習、 程式語言、感測器等來詮釋人類與媒體科技之間的關係。
Shu-Yu Lin
林書瑜 ＴＷ
Shu-Yu Lin graduated from the department of New Media Art at Taipei National University of the Arts and currently lives and works in Taipei. The artist observes natural and scientific phenomena, translating personal experiences and perceptions through interactive, mechanical, and light-based spatial installations. These works poetically present the state, circumstances, and inquiries of individuals in contemporary society.
畢業於國立臺北藝術大學新媒體藝術學系碩士班，現居住、工作於臺北。藝術家將自然 、科 學現象的觀察，藉由互動、機械動力、光影等空間裝置，轉譯自身經驗與感知，詩意地呈 現人在當代社會的狀態、處境與提問。
作品曾獲「台北數位藝術獎」首獎、「台南新藝獎」，入選「宜蘭獎」、「桃源創作獎」、「全國 美展」、「台北數位藝術獎」。曾任安娜琪舞蹈劇場《永恆的直線》、關渡光藝術節《壞運動》、 何曉玫Meimage Dance舞團《極相林》煙霧設計。
PROJECT CO-DIRECTOR
計畫共同主持人
Fujui Wang
王福瑞
Jia-Ming Day
戴嘉明
VENUE 2024 _ Sept. _ 4-8
AUDIO VISUAL PERFORMANCE Sept. 5 Thu.19:30
策展人
林晏竹 CO-CURATORS
Lien-Cheng Wang
王連晟
Yen-Ju Lin
ＡRTISTS
參展藝術家
Daniel Chiang
江紹綸
Kun-Yu Lu
呂坤彧
Pei-Ting Hsieh
謝佩庭
Tzu-Yung Kuo
郭子耘
Zu-Hao Zheng
鄭祖豪
AUDIO-VISUAL ARTISTS
音像表演藝術家 Li-Chi Hsiao
蕭力綺
Tsung-Yun Lai
賴宗昀
Ya-Nun Huang
黃雅農
NEW MEDIA ART FACULTY
新媒體藝術學系教 師
C hu n-C hi Li n
林俊 吉
De r- Lor Wa y
魏德 樂
Fujui Wan g
王福 瑞
G oan g - Mi n g Yu an
袁廣 鳴
J i a- Mi n g Da y
戴嘉 明
Li en-C h en g Wan g
王連 晟
J u n -J i e h Wan g
王俊 傑
Shih -We i Su n
孫士 韋
Shu -Yu Li n
林書 瑜
Yu - H s iu n g Hu an g
黃裕 雄
ADMINISTRATIVE ASSISTANT
行政助 理
Ya -Wen N i en 粘雅文
國立臺北藝術大學 新媒體藝術學系 Department of New Media Art,TNUA
Department Overview
VISUAL DESIGN
視覺設 計
Zu e i a Lu 呂淑雅