[:Tw]策展论述[:][:en]Curatorial Statement
Exhibition Curator: Ping-Hsiang Chen
Exhibition Information[:]
Exhibition Information[:]
[:Tw]
序
艺术与社会文化发展一直有着密不可分的关系，
[:en]PREFACE
There has been a close relationship between art and social development. Today, in the era of digitalization and information, new media technology is not simply a medium to convey or reinterpret artists’ ideas inside museums or galleries, but a new social discourse system created by artists to let publics illustrate their own unique perspectives to societies. In the future, this representative art form which reflects social diversities, will definitely become part of our lives. Our lives, therefore, are filled with diverse discourses of media and art presentation. ‘Art life’ is what we expect for future technology and new media art. We hope that in the future our living environment would become an alternative museum or a gallery, and under different conditions of environment, technology development, humanitarian history, and life entertainment, we will nourish a new type of perspective and culture. This is Jinshan E-cool’s main objective for organizing the“Hyper Perception New Media Art Exhibition.[:]
[:Tw]论述一
“超感知”新媒体艺术展的策画开启了一个对于科技和新媒体对人类感知和讯息沟通影响的思考。今天我们的生活被庞大的信息吞噬，人类生活的模式也已不再只是受限于一般的物理规则规范，生活中许多的法则受到如程序算法或海量数据等的影响而被决定了应有的”形式”，许多规则是数据化分析后所得到将”分散”趋近”主流”的方式，科技的发展看似创造了广义的多元，看似随机性的数据，实际上却有着一条条预置好的电脑程序在主导着其生成逻辑，而这样的科技发展也逐渐地颠覆改变我们今天的生活与交流方式。
有着电脑资讯背景的日本艺术家杉原聡(Satoru Sugihara)擅长将资讯赋予特定行为模式，并运用海量资讯的互动，将看似无意义、无秩序的0和1数据在资讯海洋中冲撞，自我组织出一如大自然般的虚拟环境。其最新创作<巴比伦的内在世界>，将抽象的数据资料以演算法架构出一个隐喻资讯时代无地域及文化性的空间，人的介入成了此”环境”非自然的外力，资讯行为改变导致新形态空间的产生，电脑与真实世界的对调及交错，此作品仿佛向正以身体姿态探索着本作品万象样貌的观者提问着: 到底你是创造者，亦或是在资讯世界中的被创造者?
与<巴比伦的内在世界>对比的则是出自于施惟捷的<观>。有着多媒体设计背景的艺术家施惟捷，擅长透过传统相机显影及染布印刷技术将数字资讯以不同媒介进行转译，近期他运用了数位空间定位系统、雷射显影技术将二维图像空间化来对宇宙系统及人类感知等议题进行讨论，在<观>作品中，现实图像被解构，拆解成如0和1资讯的光子，每一秒资讯的重新排列构成了不同的静态图像，时间将一层层的资讯矩阵叠合便成为如同动画般具描述性的连续空间事件。人类在宏观的宇宙系统下仅能就微片段的对当下进行应对，虽然宇宙秩序不间断地被打破变动，但这依然仅是宏观系统的超微小片段，看似不稳定的波动依然最终会回归稳定，观者对作品试图的干扰，最终依然会逐渐回归艺术家最初对于此作品设定的状态。[:]
[:en]PERCEPTION 1
The “Hyper Perception New Media Art Exhibition” is designed to inspire thinking about the impacts of technology and new media on human perceptions and communications. Today, we encounter a huge volume of information in our lives and humans’ living modes are not limited to physical rules. Various rules in our lives are affected by programming or big data that determines the legitimate “forms” and rules that are now “fragmented” in order to be put into the mainstream. Technology development seems to create diversity in a broader sense. Seemingly random digits, in fact, present a logic arranged with computer programmed sequences. This technology development gradually transforms our lives and interaction methods.
The Japanese artist, Satoru Sugihara, with his computer science background, specializes in embedding specific behavior models into information. He utilizes big data to create an impact between and among meaningless and unordered ones and zeros in an ocean of information, and organizes a virtual reality presenting nature. His latest interaction work, ‘Inner Babylon,’ incorporates algorithms to construct a space of abstract data that implies a transcending of geographical locations and cultures in the information era. In this space, the intervention of people becomes an unnatural external force of the “environment”. Change of information behavior results in the generation of new types of space and the displacement and overlapping of computers with the real world. This work invites audiences to explore diverse aspects via various body positions to answer the question: Are you a creator or someone who has been created in this information world? In contrast with Inner Babylon, we present audiences with Shi Wei Chieh’s “The Higher Observation.” Shi Wei Chieh is a media artist who reinterprets digital information with traditional camera images and printing on dyed textiles. Recently, he used a digital positioning system to map a two-dimensional image space with laser image technology to initiate discussions on the cosmos and human perceptions. In The Higher Observation, real images were re-formed into photons shown as ones and zeros. Every second, statistic images are rearranged and constructed. Time piles up layers of information to show descriptive continuous spatial events like animations. Humans are only able to respond fragmentally to the present moment. Although the order of the cosmos has been continuously interrupted and changed, this is only a super- micro fragment in the macro-system. Unstable waves will become stable eventually. The interruption of the work by audiences will eventually return to the initial status of the work intended to be presented by the artist. [:]
[:Tw]
论述二
新媒体和数字化作为新时代的原材料正迅猛的侵蚀现实的世界，逐渐地替代例如过去水泥，木材，石料等曾用来构筑现实世界的材料，纯粹性是我们过去建构情感、认知的方式，亦如同语言文字，有其它独特的意涵。资讯及科技的发展，使我们周遭的事物、空间、文化逐渐地转变；物件的多功能性、复合性使其成为了具单一特定功能外可作讯息交流的虚拟界面，当符号开始具有多元的被诠释性，我们如何面对所谓的”认知”? 它是扭曲我们对事物的理解带给我们困惑，还是赋予我们对事物感知的启发?
科技发展始于人类对未知的好奇心驱使，台湾艺术家姚仲涵对于新媒材与人类情感之间的关系十分着迷，<流窜座标>这件作品邀请观众在一个未知的旅程中探索人类最原始的感官情感，一步步小心翼翼的探索开启了观者各种惊奇及想像；听觉、视觉是我们体验世界的基础，观者的各种介入使作品不断地反馈各种资讯刺激各种感官的交错知觉，究竟资讯流对人的冲击是一种对认知系统的讯息传递，亦或是一种无形如压力、温度等无法量化的原生感受?
同样出自姚仲涵艺术家的<时光>，以时钟意象唤起观者对该物件既有功能的认知想像，时间是度量世界运行的方式，也是将世界从静止中解放为动态事件的关键，艺术家运用媒材本身的物理特质对观者产生了一个关于时间情感的压迫，功能上使人对其产生了，坏掉、不准确等负面情感，但也同时对于与实际物件认知差异产生了一种关于数字视觉的惊奇感。新媒体介入既有资讯系统所造成的复合认知、想像、不安或惊奇改变了我们对物件单一及特定性的理解，将资讯定义的角色从社会架构解放回归到了个人身上。
[:] [:en]
PERCEPTION 2
New media and digitalization, as materials in the new era, rapidly invade the real world; they gradually replace the concrete, wood, and rocks that are used to construct the real world. Most objects have clear purposes, like languages and texts with unique meanings. Information and technology development gradually change our surrounding objects, spaces, and cultures; multi-functionality and complexity are integrated into a single specific function as the information flow of a virtual interface. When symbols are interpreted diversely, how shall we face the so-called “consciousness?” Does that distort our understanding and confuse us or help us to perceive things?
Technology development is driven by human’s curiosity towards the unknown future. The Taiwanese artist, Yao Chung-Han, has always been fascinated with new media and its relationship with human emotions. His piece “Scattered Coordinates” invites audiences to begin an unknown journey to explore our initial sensual emotions. Careful steps of exploration initiate the audiences’ surprise and imagination. Auditory and visual senses are essential for us to explore the world. Various methods of audience intervention in information enable them to develop a displaced perception with their senses and give feedback. Is this flow a method to transmit information to our consciousness, or a material we can emotionally or consciously sense like pressure and temperature? Yao Chung-Han’s another piece “Current Time” uses a clock image to attempt to make audiences aware of the perception of an object with certain existing functionalities. Time is used to measure how the world operates and is the key to release us from statistic statuses. The artist makes use of the physical characteristics of materials to create an emotional stress of time on audiences. Through functionality, one may develop negative emotions such as the feeling of failure to function or inaccuracy, but at the same time, a surprising sense may be developed because of different perceptions towards real objects. The intervention of new media creates new composite perceptions, imaginations, anxieties or surprises towards the existing information system and changes our single and specific perception of objects. We are released from the defined roles of information and are able to return to a focus on humanity.
[:]
[:Tw]
论述三
“超感知”新媒体艺术展希望观者去反思我们的环境到底什么是所谓的自然状态？什么是真实，什么是虚拟？这样的界限在今日似乎已变得模糊，当今的生活也因此模糊界线及”多媒体”对资讯的操作而有了对事物新的认知。人的成长和认知随时间经历所逐渐建构而成，时间叠加的人生影像及经历反映了个人的状态，若一个人长时间的生活在虚拟世界中，是否虚拟会因此成了所谓的真实?而如何在虚拟多变的非真实状态下，表达所谓的真实或类真实? 認知角度是本次展览的第三大重点。
<风极体>是另一件出自台湾艺术家施惟捷的作品，此作品透过象征工业时代的大量模矩建构出一个系统，以一根根像芦苇般的装置来捕捉风无形的体态，气体在空间的型态由其所在容器而被定义着，而此作品风的型态则受着芦苇灯光的闪烁及方向呈现，形成了一多型态向量场域(vector field)，看似自然随机的空气粒子被量化为光子，单一模矩则扮演着阐释外力及方向的体态，然而，无论风吹拂的方向、力量，作品依然有着被設定的型态。观者在空间中的观看方式扮演着定义风与作品的互动关系，究竟此件作品主角是光、风还是观众?亦或着是芦苇系统?是否有主客角度的顛置? 作者将参与体验及想像留给了观看者。
<随机的精度>是丹麦艺术家沛史考夫加得(Per Skovgaard)透过数字影像叠合对于身体型态诠释的复合影像作品，他以非常个人的角度去阐述一个他对身体意象的演绎，以光涌现及消逝的物理手法，对形体边界进行叙事性的描绘。绘画是一种纪录人类经验及历史空间事件的方式之一，当大量二维图像叠合，以电脑媒体抽象化物件型态在时间及空间轴里的种种变化，身体意象是否还依然是艺术家想像的身体，还是仅成了幻化的抽象美学? 到底观者阅读到的是作品的真实? 还是自我想像出来的幻象是所谓的真实? 值得观者玩味。
美国艺术家提文瑞斯(Tivon Rice)的<宏观零>，则是一件预置好的机械动力装置，透过霓虹灯管构成仿佛是稳定的宇宙系统，随时间变化有次序性的启动及关闭，现场穿梭的观者及启动器声响被艺术家隐喻为外在介入稳定系统的干扰物质，如同宇宙中的能量体一般，原先有次序稳定运行的空间在摄影机镜头不断反馈资讯下而逐渐产生变化，镜头对空间的捕捉是现实环境片段的纪录，媒体在当今生活扮演着资讯的诠释者，影响着大众行为及集体认知。此作品除了对新媒体及资讯图像构成进行研究，更进一步讨论了空间的再制性，及资讯载体与片段资讯中虚拟与真实的双重性。
[:] [:en]
PERCEPTION 3
The “Hyper Perception New Media Art Exhibition” wants audiences to reflect on the so-called natural status in our environment and think about what reality and virtual reality is. Boundaries have now become blurred and this ambiguity brings us new perceptions toward things with the manipulation of information via “new media.” We grow and develop perceptions along with time, and time piles up life images and experiences to reflect the statuses of individuals. If an individual has long lived in the world of virtual reality, will that virtual world become a real one in the end? Or will that changeable virtual reality present a new or immersed reality? Angles of perception is the third focus point of this exhibition.
‘Windiode’ is another work from the Taiwanese artist, Shi Wei Chieh. It is made through a series of repetitive reed modules which is able to capture the intangible form of wind in the nature. The status of air in the space is defined by the container. The format of wind in this work is presented with shining lights and forms another multiple type of vector field. Natural and random air particles are quantified as photons; a single module indicates the status of external force and direction. Regardless of the direction or force of the wind, the piece has its presumed status, and how audiences view it determines the interactive relationship between the wind and the work. But is the key role in this work lighting, wind, or the audience? Is it the reed system? Is there a displacement between the subject and the object? The artist leaves these questions to the audience and invites them to take part and set their imaginations free. “Random Accurate” is the work of Danish artist Per Skovgaard, who stacks digital images into a composite image piece that interprets body movements. From a very unique perspective, he interprets body images, and with physical methods he shows audiences the appearance and disappearance associated with a bright light pulse to concretely narrate and describe the boundaries of physical shapes. Painting is a method to record human experiences and historical events. When a large number of two-dimensional images are stacked, changes are presented abstractly via computer media in the axis of time and space. Are these body images created due to the imaginations of artists or do they become illusive abstract aesthetics? Do audiences realize the work as a reality or imagine it as reality? The piece requires a more thoughtful consideration from its audience. The work of US artist Tivon Rice, “A Macrocosmic Zero,” is a pre-programmed kinetic installation. Neon light tubes symbolize a stable cosmos, and to show time change, it is switched on and off regularly. Busy audiences on the site and the sound of auto switches are implied by the artist as external disturbing materials that interrupt the stable system like masses in the cosmos. Orderly operated space changes due to the continuous feedback given by the camera, captures fragmented memories in the real environment. Media in our life now plays the role of interpreter for information and influences public behavior and collective consciousness greatly. This piece studies new media and information images, and further discusses the constraints of space and the importance of virtual reality and reality in our fragmented information media.
[:]
[:Tw]
“超感知”新媒体艺术展反映了当今科技、多元媒体及演算程序高速的发展，及其对我们生活的影响。我们希望邀请大众前来以他们身体的不同感官亲自来体验艺术家们透过对数字资讯的转译所创造出独特的空间经验及即时性体验。
策展人 陈平翔 述[:] [:en]
The “Hyper Perception New Media Art Exhibition” reflects the high-speed development of current technologies, multi-media, and computing procedures, as well as their impacts on our life. We invite audiences to come to the exhibition and experience re-interpreted spatial and real-time art pieces prepared by the artists with digital information.[:]
