9.22-9.102022 Exihibition Brochure Taipei National University of the Arts, Underground experimental field Dept. of New Media Art The 9th Department Exhibition A look through the interfaces between virtual and reality.
A look through the interfaces between virtual and reality. 之概念與意象，嘗試進行展覽主題策劃。之發展與實驗，期盼提供跨年級的創作與展演平台。本次展覽嘗試匯聚參展作品並選拔出入圍及參展作品，再依實體展覽進行獎項決選。展覽聚焦於新媒體藝術系展為本系重要展演之一，參展人由大學部與碩士班的學生組成，經徵件、審核 望向虛實與界面之間 01 需要翻譯
媒體藝術/本次參展作品，體現出「在虛擬與現實之間傳遞、過渡與遊移」的態勢，同時不乏基石。，我們終將迎來虛擬超越現實的節點，而現實仍以多元的樣貌提供原型與想像的關於真實的追探，始終是科技與藝術的核心課題。在技術日益躍進與擴張的時代科技藝術長期對於影像的關注與出擊，其中觸及「影像與再現、 透明 社會以及觀看課題 身處於高速奔向虛擬的年代，在迎向時代課題與世代焦慮之際，「渡」如同作為幽多元的形式、文本與意識相互交織，在不同載體與界面之間傳遞、及建構。、再現日常及歷史造訪」等。多層次的橫跨於時間與空間，進行課題與感知的梳理疆界；有些則站在數位的臂膀，進行擬仿、轉化與重建，包含「感知操弄、數位原生等」。於此同時，部分作品乘著科技的浪頂，拓展藝術與科技的移與調度著。微的抵抗與反擊，一種跨度於時間與空間的相互辯證；一個過渡於虛實之間的界面、行動與進程。 02 需要翻譯
1 Counter Stairs Stairs Key Vision 2 3 4 65 7 8 8 9 03
1 Human Upgrade 2 W_k_p_d_a 3 Data-verse taipei 4 Do you know what time the cows in our school sleep? 5 A story of the future 6 In front of a scenery 7 The Unrecognized p.17p.15p.13p.11p.9p.7p.5 8 Digital Ecology‒The Twelve Sages in Bamboo Grove p.19 9 Ghost of Google p.21 A distance gazing of window light p.25p.23Go Back Go Back p.27Between Shadows p.29Opening Ceremony & Performance p.31Organizer, Staff list 04
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The outbreak of the epidemic has reminded us about the fragili ty of human life, both physically and mentally. Living in the same environments with humans, cockroaches have survived for 300 million years and still show no sign of weakness, on the contrary they thrive as a species. We can't he lp but start to think about the relationship between humans and cockroaches. Taking this concept as a starting point, we designed a cockroach suit that imitates the cockroachʼs neurological system. The low-frequency electric sho ck patch stimulates the muscles, allowing us to have a cockroach-like ne ural response system. Through this work, we rethink the relationship between humans and the environment. relationship, and imagine the possibility of our e xistence in the future.
Human Upgrade / En-Chi Chuang，Cheng-Wei Chen，Gi-Rong Lion Media：mixed2021 media, Three-channel video 06
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With Wikipedia, things are magically connected. Like, going fro m "壽司(Sushi)" to " 西方美術史(History of Western Art)" is only two mouse clicks away; t he same goes from "秋刀魚(Saury)" to "墨西哥總統(President of Mexico)".
W_k_p_d_a / Chieh-Yi
This work attempts to allow a machine to automatically read lin ked Wikipedia articles over and over, explore the process of human pursuit of knowledge and the logic behind it; subsequently using all the machine-known data to reconstruct a Wikipedia page, reflecting that humans have followed this same s ort of logic to construct a huge universe called knowledge for themself. Before the page is fully reconstructed, the unfilled "unknown" makes it look like an ancient stele that has broken in many places. Instead, it ac cumulates data bit by bit over time, gradually restoring its original appearance. Chiu Projector,
Media：Raspberry2022 Pi,
TV 08
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Data-verse taipei / En-Chi Chuang，Cheng-Wei Chen，Chieh-Yi Chiu，Gi-Rong Lion Media：Double2021 channel real-time video
Living at the intersection and the blending of the eras betwee n analog and digital, the internet has never been clearer to be our new frontier. The main purpose of this artwork is through manifesting the internet world of our i magination, a "Data-Verse" , to convey the idea of the internet as a different Ecosphere of humanity. By using 3D graphics to visualize the process and using various forms of internet data to control aspects of the objects in this "Dat a-Verse" , we're trying to stay true to the inner workings of the Ecosystem of t he internet and at the meantime try to make connections between these two realitie s, the analog and the digital.
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Do you know what time the cows in our school sleep? Shang-Ching Tsai Media：Single-channel2021 video（Performance art）, black and white silent Do you know what time the cows in our school sleep? Do they sta nd up while sleeping? Maybe sleeping on their stomachs, with their eyes ope n? Or do they not sleep at all? You probably donʼt know the cows in our school have a dedicated 24 hour stream, and maybe you can catch it at midnight and get an insig ht on how they YouTube:sleep. New Ben TV 12
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とに今のNFTとよく似てて、使えない商品となるのです。とって文化の価値は何か、その必要性とは？こういう矛盾が、私を文化という複雑は概念に想像を膨この作品はSFの台本を基にビデオアートで再現したもです。今を視点に未来の生活を定義しながらculture.紹介したものです。日本語をナレーションにし、観客との距離を開け、私の母国語でこのストーリーを伝えたいと思いました。この台本が誕生する前に「文化」の意味を考えていました。Z世代の私たちにらませ、台本では「文化売買」という形式で文化は継承されていくようにたどり着きました。面白いこ
This artwork is presented by science fiction and image narrative , it introduces and defines ways of living in the future from nowadaysʼ point of vie w, not telling any stories but setting up its conception of the world. Japanese voice dubbing, is to create a distance between artwork and the audience, also convey a story using my native language. Before this script was born, I was thinking about the meaning o f culture. As a member of generation Z, the awareness of culture is decreasing, when the concept of global village is coming, what are the necessities o f culture? But I still met lots of friends fighting for their own culture as I was thin king about this question. I started to imagine culture in the future when I was in a pickle. The future world mentioned in the script, they convey their culture by “trading culture”. What interesting is, itʼs similar to the NFT that is popular no w, there isʼt a entity or a “stuff” that can be used during the trade, just like
/ Hojo Shino Media：single-channel2022 video (color, sound) 14
A story of the future
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The sequential relationship between light, shadow, and sound is related to each other in the form of multiple probabilities, and adding the div ision of virtual day and night, forms a virtual world by itself, and because it extends infinitely in the form of probabilities, the exhibition reaches a state of no rep etition and end point.
In front of a scenery / Chih-Yang Chen Media：mixed2021 media 16
Using special glasses made of polarizers as the source of visua l stimulation, and with the harmonious coordination of multi-channel reverberation and ambient lighting, the five senses except vision are infinitely enlarged d ue to the weakening of vision, by doing all this, it evokes the audience's mind to a previous perceptual experience, awakens the imaginary picture of the image of the s pace, subsequently creates an image beyond the visual image.
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The Unrecognized utilizes the architecture of Taipeiʼs MRT stations to recreate a familiar yet alien artificial landscape, allowing the viewers to roam through a deserted dreamland.
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The Unrecognized / Chia-Yun Song Media：projection2022
In anthropology, the academic term "non-place" refers to spaces that are not historical and do not contain a sense of belonging nor human re lationships. Prominent examples are places that were created in response to urbanization, such as airports, highways, and supermarkets. City dwellers spe nd a lot of time moving around and living in "non-places", in which they rely th eir spiritual needs on highly replicated, artificial landscapes. A "place” becomes a “p lace” because memories are created and connected to it. In “non-places” where no memories adhere, the sense of belonging could never be found, turning us , the residents, into permanent visitors.
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Digital Ecology‒The Twelve Sages in Bamboo Grove / Yi-Chia Huang Media：video2022 installation，Color，Sound，light tube 20
Starting from everyday online images and the flowing identity of “ugly zoological specimen”, this work attempts to create a sound field that seems real but paradoxical. it fits the identity that has lost the functionalit y of the zoological specimen, but not like the animal as usual. Via the spread chains of contemporary images, I manually reorga nize the images and then place them in the microscopic observation box, trying to create a spectacle-like visual experience and the audience watches a spe cific scene through a single peephole.
Digital nature exists in certain visible and invisible dimensio ns, and only by involving in the spectacle can the audience grasp information t hrough the small hole.
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Ghost of Google / Pei-Ting Hsieh Media：holographic2021
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projection
The images in the work are all screenshots from Google Earth, c ollected from all areas covered by Google in the world. The images are all focus ed and condensed into a subjective way of viewing. In the live view of Google Ea rth, the camera does not intend to stare at anyone, but just passes and records ever ything - and this unconscious point of view is often displayed in broken, mutilat ed, and dislocated images. The blurred faces blurred by google is a function of au tomatically detecting and erasing faces in response to privacy regulations; these anonymous people who have lost their identities have been pinpointed by satellit e systems and the Internet to jointly calibrate In the latitude and longitude of the world - can they be regarded as a "portrait" reflecting the living conditions of con temporary people?
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Provided thereʼs a wall with an opening, what would be seen?
A distance gazing of window light / Bih-Ru Wang Media：video2022 installation (color) 24
The Underground Art Museum has always been a "fluid" exhibition space, with temporary compartments and changing spatial flows. The work "Loo king from afar is the light of a window" is a process attached to the re-build ing of false walls. By leaving an opening on the temporally made wall, this opening is a passage, which may lead to the corners of mountains, forests and cities. It re flects the scenery out of the window in the past, the view of the window that is u nable to be united in a model city.
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"Go Back Go Back(怎麼回宿)" is a gamified single-channel virtual video viewing space, which is named after the homonym of “How to Backtrack（回溯）”, The making of the game is based on the environment of the school th atʼs close to our lives, by using the department hall and school dormitory as the metaphor ingredi ent of stress and comfort respectively . During gameplay, players will go back and forth in the repetitive point-symmetric structure, looking for a way to escape from the pressure. Thereʼs no so-called “ending” in the game, but th is unusual circum stance has made another kind of “ending” form . Ultimately the entire process is to express an inescapable and inconclusive fate. From virtual space to real life,trying to turn objects and nat ural phenomena into the sustenance of psychological phenomena , and deduce the rela tion layer-by-lay er . In order to let players think about their role, purpose a nd situation in the reincarnation space. The content shows the situation we encoun tered in our life experience,blindly pursuing something , powerless to prevent th e situation from falling into a dead end on the road of life.
installation，Color，Sound
Go Back Go Back / Fuchia Yang，Abner Cheng Media：video2021
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The work traces back to the White Terror period, trying to find the way of remem bering in this day and age. The inspiration of the work comes f rom the terror of being half awake and half asleep. You won't be able to determine whether the sights seen during that period were dream or reality. No matter it being fear or wonders, it all becomes a blur after your mind clears. The horr ors of the memo ries of the white terror wonʼt be able to recreate by me, as al l I can do is from the struggles I find in the state of half asleep, half awake, trying to give the dead and the persecuted, some kind of quiet condolences in this state of immeasurable time perception. Shadows / Chen Coarse salt, Glasses, Old wall, Suede curtain
Between
Lily
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Media：Single-channel2021-2022 video(10min,color,sound,1080P),
fieldexperimentalUnderground-TNUA 18:00Mon.2022.9.12 OpeningPerformanceCeremony&29
意識之中。意象，帶領觀核心，轉譯為聲音與影像，試圖創造一個作品結合團隊4人各自的心境，以文字為一起進入我們私密的潛 null 懦 王嘉郁、翁國愷、唐昱翔、陳妍/ 2022 Lucid Dream 清醒/夢 / 陳誌陽、江愷希、張珈瑄、陳妍 2021混雜我們各自夢境的荒誕，使內容各自互為文本，拼湊成一略帶敘事性的冒險。 30需要翻譯 需要翻譯 需要翻譯 缺圖 需要翻譯
E世代迪杰練舞室 劉張妙齊、潘人賓、莊佳宜、施坤芳/ 2021在當今視頻社會化時代，人類身體成為媒體世界中的接收者與載體，不斷被複製模仿後重新記憶的肢體舞蹈，逐漸建構出數位再製年代的人類身體。 31 需要翻譯 需要翻譯 需要翻譯 需要翻譯
總召｜丁常恩、蘇乃 俞 活動｜陳誌陽、江愷希、高哲翻譯｜劉吉榮、朱亦萱、許睿智論述｜丁常恩、蔡政澔、張沛晴 淯 、余宗霖、王暉 公關｜陳妍 、吳黛 行政｜徐浩瀚、唐昱翔、李士朋、楊柏以總務｜吳佩純、韓承芯、胡品孜攝影｜朱紹筠、陳政維、邱傑義、莊恩齊宣傳｜林慧儒、楊茗柯、張珈瑄、林琮澔、翁國愷、王嘉郁、白維田、廖婉凌、蔡尚騰展與場事務統籌｜李頡、簡祐呈、蕭以昕、陳諭萱 32 需要翻譯
開幕表演 // 9.12 18:00 臺北藝術大學新媒體藝術學系地下美術館第九屆系展
