Spring up 聲機勃勃

Spring up​​

The sound-sensitive installation of Spring up are comprised of motor mechanisms that seem to contain small life-like organisms. These organisms are very shy, sensitive and curious, and have the ability to hear and see just like humans and animals. When they hear sounds from their surrounding environment, they stick their heads out to observe this world. When their surroundings are quiet, they will promptly extend their heads outward. An even quieter environment leads them to come out even more. Yet, the slightest sound will immediately cause them to retreat back into their shells until all is silent once more. The inspiration for this artwork is derived from the experience of hiking. In the forest, a person can feel the presence of sunlight, birds, flowers, grass, trees, and bugs. Yet, these organisms will promptly go into hiding due to your presence. However, if you remain quiet for a period of time, they will get used to you and proceed with their normal activities. The sound-driven devices focus, reflect, and complement each other, while an endless and implicating conversation emerges amongst the viewer, environment, and space. This artwork expresses the changes and reactions to an environment caused by the introduction of people and sounds.

2013, Sound-Sensitive Installation, 60cm*60cm*120cm


聲機勃勃

《聲機勃勃》聲音敏感裝置,由馬達機制組成的裝置作品,彷彿像擁有生命的小生物一般,這些小生物們非常害羞、敏感和好奇,它們像人類或是生物一樣有聽覺和視覺,聽得到環境的聲音,會探頭出來觀察這個世界。當環境安靜下來時,它們便會立刻探頭出來,更安靜的話,它們會更出來;但當有輕微聲響時,它們便會立刻躲起來,直到安靜為止。此作品靈感來自於爬山,在山林中,你可以感受到陽光、花鳥、草樹及昆蟲的存在,這些生物們會因為你的介入,而躲藏起來;但如果你安靜在那裡一段時間後,當牠們習慣有你存在時,牠們又開始出現及活動著。以聲音驅策裝置,彼此對焦、映照、相生,從而與觀者、環境和空間衍繹出一篇篇意涵無盡的談話,藉此希望創造出,環境因被人類或聲響介入之後,所造成的改變與反應。

2013年,聲音敏感裝置,60cm*60cm*120cm


Cluster: 5th Digital Art Festival Taipei 2010

Cluster: 5th Digital Art Festival Taipei 2010

Date:2010/11/26~2010/12/05
Venue: Digital Art Center, Taipei

Since 2006, the Digital Art Festival was hosted by Taipei City Government and executed by its Department of Cultural Affairs. From the first festival Aura Spurt at Zhongshan Hall, Openplay (the second) at Red House in Taipei Ximen space; while Trans (the third) and Funky Light (the forth 2009), both at Museum of Contemporary Arts Taipei. To be in accordance with the Private Sectors Participation in Public Construction Act, the execution was then handed over to Digital Art Center Taipei since its inauguration in 2009.

The Festival consists of five main activities: International Digital Art Exhibition, Digital Art Awards (including Digital Art Awards Taipei, Digital Art Criticism Awards, K.T. Creative Awards), Live Performance, and Digital Art Platform. Local artists and their counterparts from abroad joined in the Festival to convey their concern for humanity and their keen observations of society through digital art. By employing various types of media, friendly artworks will be presented to the audience, who by participating in activities and performances can experience the fascinating digital art.

To encourage more participation from the public and to provide more diversified activities, the 5th Digital Art Festival specially incorporates two new projects “Taipei Digital Art Festival – Exhibition Organizing Project" and 2010 “The First Digital Art Performance Project" sponsored with a budget of more than NT$1 million along with the “Digital Art Center, Taipei Residency Program," in an attempt to inspire more talented artists to partake in the Festival, fusing their creativity through the platform of the Festival, to share with Taipei citizens.

Titled “Cluster,” this year’s Digital Art Festival aims to bring visitors a refreshing combination of old and new. With the multiple meanings of “Cluster,” the Digital Art Festival obtains a balance among the different themes of the show. This way, the Festival will resemble an unceasingly expanding system, which continuously pours in energy and brings new perspectives to the fundamentals of digital art, ultimately pushing them forward.


2010 第五屆台北數位藝術節 Cluster 串

日期:2010-11-26 ~ 2010-12-05
地點:剝皮寮歷史街區+DAC 台北數位藝術中心+西門紅樓+台北歌德學院

自 2006 創辦的《台北數位藝術節》(Digital Art Festival, Taipei),今年已進入第五屆,以「Cluster 串」主題,由台北市政府主辦、台北數位藝術中心(DAC)精心策劃,將從 11 月 26 日正式於「剝皮寮」開幕,並從即日起到 12 月 5 日同時於台北的四個主要場地:剝皮寮、台北數位藝術中心、西門紅樓、台北歌德學院,如歲末嘉年華般熱鬧展開!

本屆台北數位藝術節「Cluster 串」的策展理念為:串近你我之間的距離,串起數位時代新思維!為期十天的藝術節主軸活動,大致分成六大項目:數位藝術展覽、專家導覽、創作論壇、數位藝術工作坊、數位藝術表演、數位藝術評論獎頒獎及發表。今年的台北數位術節規模為歷年之冠,不僅參展作品件數看得出數位藝術的蓬勃發展,同時還有來自海外各地共18位的國外藝術家帶著作品來台共襄盛舉。各場展演內容及場地簡述如下:

「剝皮寮」登場:404 國際電子藝術節,創辦於 2004 年的國際知名電子藝術節,由歐美和拉丁美洲等數個文化機構共同舉辦。每年邀請世界各地具代表性的網路藝術、影像、動畫、錄影、音樂、視聽裝置、表演等作品巡迴全球,今年第七屆 404 將首度巡迴到亞洲,第一站就來台北;內容有 17 件國際數位藝術新作及一場研討會。國際數位藝術邀請展,是台北數位藝術節與國際接軌的橋樑,本次邀請到今年奧地利電子藝術節剛出爐的金尼卡獎得主-日本知名音藝術家黑川良一(Ryoichi Kurokawa)、法國數位藝術家-西里爾˙布里索(Cyrille Brissot)、西里˙埃爾南德斯(Cyril Hernandez)、加拿大跨領域藝術家-讓-弗朗索瓦˙拉波特(Jean-François Laporte)及法國重要當代藝術家之一吉雍˙巴黎(Guillaume Paris)的作品。

 K.T. 科藝獎,鼓勵以「數位」媒材的純粹藝術創作獎項,內容有五件互動科技、六件數位遊戲、七件電腦動畫。2010 魔幻動畫展,延續 2009 年第四屆台北數位藝術節的國際動畫精選專題,邀請來自歐美、澳洲、日本、台灣等近 50 部作品;如去年奧斯卡最佳動畫短片日本導演加藤久仁生的作品「積木小屋」、奧地利電子數位藝術節前兩年的電腦動畫類大獎 Madame Turli-Putli 及 HAAKI 等片也將於此播映,帶起動畫熱潮。台北數位藝術徵件獎,與藝術節同時創辦,前四屆皆收到百餘件專業數位藝術作品,獲獎者極獲各界肯定與支持,今年獲獎作品有互動裝置、聲音藝術及數位音像等共計15 件作品。

 於「台北數位藝術中心」展出的國際交流駐村創作展,由年度四位榮獲交換駐村的台、德、法青年藝術家新作在此與您互動,台灣藝術家-陳韻如、黃致傑,來自德國的可思汀‧艾葛琴(Kerstin Ergenzinger)和法國的吉雍.曼明(Guillaume Marmin),連結了網路、音樂、影像、機械及空間裝置,邀您深入探討其中的奧妙美學。

 「台北歌德學院」德國錄像藝術特展-RECORD > AGAIN! – 40jahrevideokunst.de – Teil 2由 ZKM 數位媒體藝術中心館長Peter Weibel所策畫,年初曾於德國奧登堡艾蒂羅絲媒體藝術中心(Edith Russ Site for Media Art)展出,藝術節期間(11/26 至 12/17 日)於台北展映!內容為 1960 至 1980 後期的德國早期錄像藝術,展出的 50 多件作品不僅具有歷史重要意義,以現代眼光來看更是迷人。

  最後於「西門紅樓」登場的第一屆數位藝術表演獎,是今年首創的數位藝術表演首獎的第一場演出《交響樂計畫-壹、機械提琴》(Symphony Project–I. Violin)由編舞家黃翊、與聲音藝術家王仲堃,打造一個舞蹈與互動樂器的全新表演。此外,主辦也企劃了三場創作論壇、數位藝術工作坊與剝皮寮展覽的專家導覽,各活動的詳細介紹與最新訊息更新,敬請密切查詢台北數位藝術節「Cluster串」官網。

International Artist in Residence Exhibition

國際交流駐村創作展

2010 第五屆台北數位藝術節 Cluster 串

Purification 淨化

Purification​​

Purification created during artist-in-residence in New Zealand at Unitec, the integration of local Maori myths, symbol and Nu Shu, trying to continue or construct new mysterious characters. The concept comes from both water and water surface, symbolizing purification, transformation, fusion and breakthrough of the psychical structure. The reflective water surfaces work as mirrors that tend to break what we normally see in the world, while the images under the water and the join-in of participants brings ripples, conversion, blurring and tranquility that represent a kind of spiritual purification and transformation. As human thoughts are soaked and washed by the flowing water, it always crisscrosses with duality such as clean and dirty, pure and filthy. However, as water wash away the dirt and return cleanness to us; it also throws away the smudges in life and the imperfection of society, letting us experience a sense of purity. There is a sort of beauty called tranquility after rippling; wind stops, waves slow down, and our minds become as still as the water.

Purification is an interactive multimedia work, via special program design, projected by two projectors onto a 120゚arc screen and one on the ground. While audience walk into the exhibit area, the image projected on the ground would turn into ripples; meanwhile, they can also watch the images on the wall, experiencing the quietness away from the crowd and din. Everything is back to the beautiful beginning, which is a good chance for pondering upon the meaning of peacefulness and desire-less-ness.

2010, Interactive installation, Depend on the space


淨化

女人如水,水是潔淨的媒介,又是生命的維持者。

〈延續一連串神秘的話語〉似乎可以適用於目前為止我的每一件作品,作品大多以秘密文字書寫及圖像符號為題材,透過參與者的介入創造出另一層虛擬意象,藉由彼此情感的傳遞方能轉化其意義。

《淨化》於紐西蘭Unitec駐村期間所創作的作品,融合當地毛利神話和圖像及女書文字,試圖延續或是建構出新的神秘話語,作品以水及水面為整個中心思想,象徵了淨化、轉變、溶合及突破的精神結構。具有反射性的水面在此彷彿突破了世界萬象的鏡面,而水中的影像與參與者的介入產生了漣漪、轉變、模糊至平靜,則代表著一種彼此心靈的淨化和轉化。當思想被流動性的水濕潤及滌清,往往交錯著潔與穢、淨與垢,通過水去垢還淨,拋捨人生和社會的塵埃,體驗了漣漪後的澄淨,風停了,浪靜了,所以心靜如水。

《淨化》是一件多媒體互動作品,由二台投影機經由程式同步投射在一個120度弧形螢幕,另一台投影畫面投在地上,當觀眾走進展區時,地面上的投影畫面便會產生漣漪,同時觀眾也可觀看牆上的影像,就在這來來回回的人群中,經歷了喧嘩之後的安寧,沉思在靜思,恢復了初時之狀,平和無求。

2010年,互動裝置,依場地而定


Mash Up-Europen Media Art Festival

Mash Up-Europen Media Art Festival

Date:2010/04/21~2010/04/25
Venue: Kunsthalle Osnabrück

Productions by internationally renowned media artists and the innovative works of new masters from the academies will be presented at the 23nd European Media Art Festival (21-25 April 2010). The EMAF is one of the most influential forums of international Media Art. As a meeting point for artists, curators, distributors, gallery owners and an audience of specialists, the festival has a great impact on the topic and aesthetics of Media Art. Each year the festival offers its visitors a current overview of new experimental films, performances, lectures, an exhibition and the Media Campus.

The frame of content of the festival is ranging from personal and political subjects or formal experiments to provocative statements.

The motto of the 2010 festival is MASH UP, reflected in film programmes, lectures and specials. Today, the reinterpretation and re-coding of media content, works of art and music take place in popular culture and art alike. In the process, mashing up citations and references evolves into the aesthetic, satirical and subversive stylistic device, where it also infringes on the rights of third parties.

Festival Guide -Mash Up 2010

EMAF_Festival_Mash Up2010_photos

EMAF – Osnabrück

Starry, Starry Night​ 星群

Starry, Starry Night​​

In this work, every participant is a star in the heaven. With each other of them, they communicate, create and illuminate, so that they sparkle into a starry, starry night.

Starry, Starry Night is about environmental issues, this work is to awake people’s concern for environment. In the work features the interaction of the Internet and the interaction of different regions and times and interaction of the speech recognition in the exhibition, changing the shape of society through intentional interaction. This work is composed of 5 spheral installation symbolizing 5 continents of this planet. Chinese, English, French, German and Japanese will be used for these installations. Through the internet and Google AJAX Search API, the environmental issues related news, blogs and forums are selected. When getting negative news, such as global warning, floods, droughts, hurricanes, tornados, and earthquakes, the installations will be inflated which symbolizing the burdens the globe has borne. On the other hand, the installations will be deflated when getting positive news such as energy saving and carbon reduction, green energy industry, alternative energy and International Meat Less Day, this refers to less impact on the earth. But the point is that by this work I hope the attract people’s concern for the globe, so that we really try to “350Love Earth”, and environmental protection IS NOT a slogan.

2010, Interactive installation, 100cm*100cm*100cm*5


星群

在這個作品,每一位參展者就像是天上的繁星,他們互相對話、互相參與創作、互為主體,同時也互相照映,讓彼此產生光芒並交織出一片絢麗的星空。

《星群》作品,探討相關環境議題為主,此作品使用網路,與地域性、時間性的互動,以積極介入的方式改變社會的型態,透過藝術創作為環境發聲,用軟性的訴求喚起人們對環境的省思。

作品由五顆球型裝置構成,以中、英、法、德及日五國語言,分別呈現於五顆球型裝置,象徵著全球五大洲,透過Google AJAX Search API即時擷取全球相關環境議題的新聞、部落格及論壇,當搜尋到環境議題負面消息時,如地球暖化、洪水、旱災、颶風和地震等,此球型裝置會即時不斷地充氣膨脹,象徵地球的承載量愈來愈重,直到關心及宣導活動相關新聞出現時,如節能減碳、綠能產業和替代能源等,此裝置會排出氣體,也代表著承載量的減輕及釋放。

藝術家陳韻如,也企圖創造「350愛地球」標語,觀眾可在展場裡,大聲喊出標語,可立即改變球型裝置的顏色變化,也可在部落格或facebook上輸標語,此標語會即時控制球型裝置作放氣動作,同時也藉此喚起大家對環境議題的重視,而非只是一個口號。

2010年,互動裝置,100cm*100cm*100cm*5


Monologue 非墨之舞

Monologue

Monologue is about psychological experience of women. Inspired by women’s diaries and “Nu Shu” which is an old writing system in China used only among women, “Monologue” tries to convey women’s internal and external contradictories which comes from the conflicts between the personal emotion and external constraints. Besides, “Monologue” is also reflection on traditional culture, aesthetics and patriarchy society. Therefore, dance, Chinese music, multimedia animation and interactive installation are combined and employed. The images of animation present the style of Chinese calligraphy. Dancers’ movements respond to the soft but intense characteristics of Chinese calligraphy. However, the interaction between dancers and that between dance and animation are sometimes violent. The contrasts symbolize the constraints on and the conflicts of women.

​As an interdisciplinary work, “Monologue” combines new technologies and the elements of classical art from Chinese dance, music and calligraphy. New Technologies such as Flash Programming, IR Sensor Installation, WiiRemote are employed in this work. Through the new technologies, classical images and dancers’ interaction with each other and with the animation, “Monologue” present the idea of rethinking tradition and the relationship between tradition and women.

Group:
Creator: Chen, Yun-Ju
Programming: Chien, Chun-Te
Choreographers: Huang, Hsin-I and Hsieh, Yu-Jung
3D Animation: You, Teng-Chih
Music: “Man-Yen”, “Yin”: Chen, Cheng-Wen     “Under the pine” : Jen, Chen-Hui

2009, Interactive Performance, 18’00”


非墨之舞

《非墨之舞Monologue》乃企圖整合舞蹈、多媒體影像、中國音樂、互動裝置等跨領域表現形式,以女書的概念呈現多種3D動態影像與符號,並以舞者肢體與影像作相互交織之對話,而書寫出女性在父權文化中之無奈狀態,但藉由女書化為群鳥飛翔與竄流之意象來敘述女性內在的吶喊,最後舞者以手中的互動介面自信地畫出白色筆觸而塗去女書,展現女性在企圖逃離父權文化的束縛後終獲釋懷。

《非墨之舞Monologue》藉由了解女性經驗如何形構主體自覺,以個人成長背景回顧與主體經驗為敘述,在動畫影像上,以搖曳樹枝的陰影及如刺繡動作般地黑色線條意函,輸出書寫著「女字」、「女書」,表達傳統女性被定型、被規訓的狀態。而在舞蹈上,藉由舞者女性身體詮釋「她」、「她們」與「我」、「我們」之女性主體自覺意象,象徵欲衝破主體束縛與去除內心的掙扎。

2009年,互動表演,18’00”


Play 兒戲

Play

The memories replay. The camera records the designer playing the white toilet paper in the white space. Seeing and dealing the self in the video, the designer recalls the plying in childhood.

2007年、錄像、單頻道錄像 (有聲,彩色,01’30″)


兒戲

記憶以「倒轉」的方式進行,不斷將以前痛苦的回憶倒轉及重播在我心裡。
《兒戲》以較反諷、嘲弄及阿Q精神的手法來調侃自身的感受,在面對「自我」這個對象的過程中,處理「自我」的感受及如何表達,這白色的場域裡我與空間在玩耍,不停地玩弄、揮舞著用來療傷及擦拭傷口的衛生紙,重新思考回憶與我的關係,如果說「黑盒子」是「飛航記錄器」,它能夠記錄意外發生前一段時間,駕駛艙與塔台的通話記錄以及飛機的航行資料,那「白色場域」是「記憶儲存間」,以同一種角度、同一種模式喚起曾經流逝不美好的童年回憶,一切的回憶在這白色場域中不停來回、跳躍、舞動及遊走在現實和想像空間裡,似乎也找到屬於自我回憶及療傷的方式,來面對這揮之不去的童年記憶。

2007, Video, Single channel video (Sound, color, 01’30″)