陳珠櫻

Gray

Chen, Chu-Yin
．
．
影像投射於整面牆壁，並透過地板上的鏡子反射延伸到地面上，觀眾有如置身於虛擬動畫影片的情境中，參與了另一個時空之旅。影片分為三部曲：啟靈篇、越野篇、再生篇，描述宇宙中生靈蛻化的過程。對陳珠櫻而言，萬物俱存，不過是「能」的轉換與體現，而生命的歷程正訴說著它的變化。透過電腦程式設計, 陳珠櫻所創作的電腦立體行為式動畫，呈現生命由發生到消滅的旅程，色調由冷到熱，從清澈的藍綠到熾烈的火紅。當人生染盡這些色彩，有如在調色盤攪混得出的是「灰」；當生命的火力燃盡，餘溫消卻，留下的亦是一攤「灰」；而「灰燼」象徵「來自塵土，復歸於塵土」的永恆循環。作品的名稱，正補訴著畫面上看不到的生命的背影及其潛在的意識。
．
The images are projected onto the whole wall and extended to the grounds with reflections from the mirrors on the floor.The viewers, placed into the scenario of a virtual animation film, embark on a journey into another time and space. Thisfilm is a trilogy (Enlightenment, Wilderness and Rebirth) that tells the story of evolutions and metamorphosis of livesin the universe. For Chu-Yin Chen, all the objects in the universe are the transitions and manifestations of energies. Theprocess of life is a process of its changes. With designs of computer programs, Chu-Yin Chen creates a 3-D computerizedanimations packed with actions, to present the journey of happening to destruction of life. The tones of colours gofrom cold to warm, from crystal blue and green to heated fire and red. When dyed with these colours, our lives arelike the greyness mixed and stirred on the palette. Once the fire of life goes down and remaining heat is no longer, it isanother tray of greyness. Greyness symbolizes the eternal cycles of “earth-to-earth, dust-to-dust”. The name of the workis complementary description of shadows of life and its hidden conscious not shown in the picture.

瑪麗亞卡拉蔻法

Rulsaka V Temnote

Mariya Kalachova
．
．
對大多數西方文化人們而言，童話在卡通方面已回歸至普通的娛樂。不過，根據經驗，此藝術作品類型具有無可匹敵的能力，透過十分普通易解的珍貴語言，深度地傳達人類情感與社會同情心。此類型優秀的機構，迪士尼有童話作品著述業的優秀群。童話電影在社會文化根基與意義方面，其創意性程序，就交換價值而言，一向不受重視。
．
藉由分析卡通片發展成我們今天所見的童話，我的研究展現一種可瞭解的回歸式童話故事類型。漢斯基督教的安徒生的Den Lille Havfrue ，與迪士尼改編的小美人魚的對比引導出此論述。在本研究中，明白發現著述業的議題，探究此優秀工商業機構電影導演的「聲音」，此聲音故事敘述者必須超越它，如此才能達到童話自述性的目標，避免商品崇拜與不良影響的講述方式。
．
為說明此研究，製作了3D卡通短片，以喚醒一些在受到不良改造之前童話類型所表現的價值與美學。嘗試製作自己版本的Den Lille Havfrue ，並使用童話類型傳達自己所要表達的意義。故事重點在小美人魚，在深海中尋找落海的船員，與他一起跳舞，直到發現他不能在那裡生存。故事表達的訊息是，由於社會不同文化的差異，我們常常讓彼此在可怕的危害之中，而不自覺。影圖像的著迷狀態，創造一種對模糊糾結的死亡反映。
．
For most people in western culture, the Fairy Tale genre has in animation regressed to a mediocre entertainment. In myexperience however, this is a genre that has an incomparable ability to communicate deep human emotions and socialunderstanding through a language that is universal enough for all people to understand and appreciate. The dominantframework for this genre, the Disney Company, has the Fairy Tales’ authorship to commodity fetishism. The creativeprocess and socio-cultural roots and significance of Fairy Tale films have been ignored for their exchange value.
．
My research develops an understanding of the regression of the Fairy Tale genre by analysing the development of animationinto the Fairy Tales we see today. This discourse is driven by a contrast of Hans Christian Andersen’s Den Lille Havfruewith the Disney adaptation The Little Mermaid. Issues of authorship are found evident in this development, questioningthe ‘voice’ of the auteur over the dominant commercial and industrial framework over which a storyteller must transcendin order to achieve an objective, self-expressive Fairy Tale free of commodity fetishism and institutionalized narrative.
．
In response to this research I have created a short 3d animation which tries to recall some of the values and aestheticpresented by the Fairy Tale genre before its institutionalisation. I have tried to make my own version of Den Lille Havfrueand use the fairy tale genre to voice my own message. The story centres on a mermaid who, upon finding a drowningsailor in the depths of the sea, dances with him until she realises he cannot survive there. The message of the story is thatbecause of our socio-cultural differences we often put each other in great danger without realising.

艾莉諾蓋茲–史都華

Virus Series

Eleanor Gates-Stuart
．
．
艾莉諾蓋茲—史都華此刻的研究稱為<病毒>(2006-7)。此件作品呈現：依據生物與非生物技術，融合數位錄影圖像的著迷狀態，創造一種對模糊糾結的死亡反映。
．
Gates-Stuart’s current research, Virus (2006-7), a demise reflection creating obscure twists of biological and non-biologicaltechnological references fused into obsessive states of digital video imagery.

陶亞倫

Light Wall

Tao,Ya-Lun
．
．
陶亞倫的作品中經常使用隱藏的動力機械，與緩慢的電子影像，藉由穩定而循環的頻率，呈現生命中一種幽微的脈動。近年來的作品以「光」為主要的創作元素，並從裝置的形式轉變成以場域及空間氛圍的形式，觀眾必須以身體直接浸淫在他的作品中，被迫以直覺來感受一種「存在狀態的模擬」。在他一篇《停止超速回歸古老身體與創造有機機械》的創作自述中提到：「企圖以身體的古老頻率來拖住巨大的機械動力，使機械運轉的速度，受我們的身體控制，而非機器不斷加速生產，造就利潤與消費了身體。」在當今傳媒消費的時代裏，我們古老的身體似乎跟不上這日進千里的「速度生活」，而今日的電傳網路世界也慢慢的僭越及抹除身體的直接經驗，而陶亞倫則試圖將這「身體經驗」重新喚回，就如同他所說的：「我的創作核心命題是以敏銳的直覺與還原古老身體的節奏，作為人類擺脫被科技物化的良藥，與面對超速機械文明的心靈出口。」
．
本次作品是在一個兩邊皆為鏡子的全黑空間裡，以強光照亮空氣中的懸浮微粒，並藉由無線延伸的鏡射形成一道光牆，這道緩慢上下移動的光牆直接穿越過身體，日常熟悉的知覺經驗，於此頓時效。在這無目的的、並無任何指涉及無限延展的空間向度之間，一種身體最原初的感知被喚醒。(文/ 袁廣鳴，譯者/朱嘉曦)
．
Tao Ya-lun often utilizes hidden motorized machinery and slow electronic images in order to show seemingly tinymovements through a stable and repeated frequency. In recent years, he has chosen ‘light’ as the main element for hisworks. His style has also changed from earlier installations to ones with an emphasis on space and room. Viewers mustsoak themselves completely in his works to use their intuition to feel the “simulation of existence.” His work ZeroIdeology consists of a completely dark space with both sides in mirrors to emphasize the floating particles in the air usingstrong lights. The limitless mirror reflection forms a wall of light, which slowly moves up and down. The purpose of thispiece is to awaken the most primitive sensory feeling of one’s body in a space that has no boundaries, purposes or pointof reference.

駱麗真/張耘之

Spectrum, the sparkling dots

Sappho, Loh and Monbaza, Chang
．
．
「那光譜如同小小點」如曼陀羅般中心放射的光芒，如巴洛克般繁複堆疊出的視覺迷幻，在開場的童音漸漸沒入電音之後，一起為這快轉的萬花筒，擊掌演出。
．
“Spectrum, the sparkling dots”, the light radiating out of the Mandala center conjured up visual magic in complicatedBaroque style, and hit the performance with the fast turning kaleidoscope after the opening child’s singing slowly fadedinto electric sounds.

陳長志

Turn the Radio by Walking II

Chen, Chang-Chih
．
．
藉由「轉台」此項調頻動作，搜索並轉譯(轉碼)圍繞在我們週遭的無線電波。各個頻道間的音場與聲響現成物，在線性時間上排序成一首首即興偶然詩。
．
Turn the frequency modulation by walking through the Sound Installation. A chance poem is sequence of every soundfield and acoustic readymade in linear time.

高軒然

Media Illusion II

Kao, Hsuan-Jan
．
．
台灣在解嚴後，新聞傳播自由開放，各式各樣的媒體日益蓬勃發展，每天重複大量的資訊在人們的生活中，建構出猶如迷宮般的令人難以逃離。因此，本創作乃以表現「媒體」本身以及媒體所傳播的「政治」、「色情」、「暴力」為主要內容，創作的表現形式則挪用Escher的《樓梯》（House of stairs）作品來建構3D 的幻境空間，最後藉由電視機播放完成《媒體幻境II》系列的裝置作品。
．
Since the end of the martial law in Taiwan, the freedom of the press has been released to the populace. All kinds of mediahave been rising and developing. People now seem to be living in a maze, which is surrounded by the masses of therepeated information, and unable to escape from it. Therefore, the content of this work is a presentation of “Media” itselfand the subjects come along with it, which are “Politics”, “Pornography” and “Violence”. To construct the 3D illusion,the Escher’s work, “House of stairs”, is taken here as the reference of the form of this work. This “Media Illusion” serieswas presented in the way of installation via televisions set.

林昆穎

Wave II

Lin Kun-Ying
．
．
一個周而復始運作的球與一個繞著圓心旋轉的圖像，它們之間進行遊戲般的音像實驗。當圖像與球交錯時，便會改變運行方向，而球與圖像之間的距離，就是音高的變化，如此來來回回，不斷的經過、超越落後，產生一種觀賞的趣味。
．
[波]對我而言，是大小因果之間的關係，它不單指向物理現象，而是詮釋生存狀態的述事概念。它具有四個可意會的段落—[相遇、熟識、遠離、消失]，這四個段落互相不斷交錯，最後形成強壯又複雜的關係網絡，一切都在量化的運行中，判準是[時間]，準確的時間讓人有安全感，不準確的時間引起情緒與感官，於是我們人就有感而發，而[波]便是分析時間的想法，不含任何個別意識，只純理性的觀看。
．
The “Wave” is a circle, a cycle, a period. I wish to give a concrete image to this concept. It is definitely related to time.On top of it, I place the emphasis on the correlation of every cycle. A cycle is a period of time that repeats continuously.Simply put, it has a beginning/opening, a developing/the continuing of the theme (cycle), a changing/ a transition, and aconcluding/ a re-opening. To see it from a point of temporality, a single action that allows description is a cycle. I createan electric magnet composed of small parts in constant formation. Many electric magnets construct a circling track, sothat a ball could orbit on it. The ball rolls into the virtual world, controlling a straight line connecting to the center of thecircle. This line embodies the common structure of the cycle.
．
This project not only explores the concept of the cycle, it also expects different audience to examine it in two aspects.One is the cosmology I have hitherto proposed. Another is concerning the technological aspect. Everyone has his/her ownperspective. My objective is to direct these various perspectives to one concept—the logic we are all experiencing in ourliving space.

瑪麗安茱瑞

Woman Fountain

Marian Drew
．
．
女人噴泉為一設置，在現場形成數個依附現場的形式，不過，基本上女人噴泉為一種資料投射圖，投射於粗糙雕像上，很像一個供應管。其投射的意像為，一個裸體的女人，頭部不斷晃動，嘗試呼吸因為水落在她身上及頭上。噴水泉的意像此時倒轉引導水到女人身上。此投射圖並未做任何說明，主要表現雕像陷在因不斷水流而須努力呼吸的循環內。它是個令人不安與不斷湧出的豐富的象徵。
．
Woman Fountain is an installation that has taken several forms dependant on site, but fundamentally woman fountainis a data projection onto a rough sculptural form that resembles a feeding vessel. The image projected is of a nakedwoman whose head is constantly trying to breath because of the water falling onto her and over her head. The image ofthe fountain that spouts water is inverted in this case and draws the water to the feminine form. This projection has nonarrative but aims to work as a sculptural form trapped in a cycle of the effort to breath under the constant flowing water.It is an image of unnerving and draining fertility.

王福瑞

Beyond 0~20 Hz (To Hear What You Can't Hear)
Wang, Fu-Jui
．
．
《Beyond 0~20Hz》作品主要是以0~20赫茲(Hz)（人耳聽不見的正弦波音頻）為音源，從「數位控制」0~20赫茲聲音的音頻與響度，所產生的喇叭「類比錯誤」變化，來重新建構新的聲音，帶領人們聽覺「失感」的重新感知。
．
作品使用八個重低音喇叭（0~20 赫茲音頻在一般音響喇叭、耳機、擴大機無法擬真地傳播這些超低頻聲波）。喇叭在此作品所扮演的不是聲音傳輸的發聲器，而是在數位控制0~20 赫茲的音頻與響度變化，喇叭的物理性錯誤所發出的聲音，喇叭像是發聲的樂器，不同的喇叭有其獨特的音色。
．
從這一連串由「數位控制」音頻與響度的「類比錯誤」喇叭發聲的實驗，架構出全新的聆聽經驗，並對於聲音發送處理有著創新的實驗。同時，喇叭在不同音頻的振動也帶給視覺上無名的顫動；實驗手段的粗暴卻也直接揭露了聲響活力的肉感脈衝。
．
Beyond 0~20Hz proposes to bring the imperceptible to human perception. It aims to achieve this by using 0-20Hz (i.e.the inaudible sound frequencies of sine waves) as the main source of sound, while digitally controlling the frequenciesand loudness of sounds of 0-20Hz. It is so that the device would generate 'analog faults' on the loudspeakers that leadto the production of new forms of sound.
．
Beyond 0~20Hz utilizes a total of eight subwoofers. (By and large, stereo devices such as loudspeakers, headphones orpower amplifiers do not support infrasonic sounds, i.e. those of 0-20Hz.) It should be noted that the subwoofers used inBeyond 0~20Hz are not intended to function as the sound transmitter. Instead, as the variations of sound frequency andloudness are digitally controlled, the physical errors may trigger sounds from the subwoofers themselves, effectivelymaking the subwoofers a music instrument in its own right. As such, each of the eight subwoofers would generate itsown distinctive sound.
．
As a series of attempts to digitally control the sound frequency and loudness are made, Beyond 0-20Hz constructsnew forms of hearing experiences, as well as experiments ways in which sounds can be transmitted, by means oftriggering the 'analog faults' that would prompt the subwoofers to generate sounds. In the meanwhile, the variationsin the sound frequency also lead to visible vibration of the subwoofers which can also be perceived as a visual thrill;on the other hand, the abrasiveness embedded in the way Beyond 0-20Hz attempts such experiments can also be seento inadvertently reveal another sense by which the vitality of the sounds can be perceived: that is, through the touchof the sound-generated pulse.

陳志誠

Glass House

Chen, Chih-Cheng
．
．
我們思慮作品元素或作品導入「進駐」館區展場之關係，進一步看待其與自然景緻、建築體之關係鏈。即此基地場所所在將收容許多個個展，容納具同一性或互斥性之創作（元素）。依此觀點，園林結構可視為體現此藝術思維之具體案例，它是自然環境與（人）身軀活動機能之於其所居之生活空間的秩序性的具體化之顯明課題。但面對今日當下藝術的發展所導引出的「另類園林結構」，它將不只是一種「人化自然所呈之自然景緻微型化」的轉譯作用，它也將是個人參與這次國際展所欲提議的符應於今日消費機制世界所產出（物⁄作品）之藝術新問題：我們所要探討的是在感官世界被機具器械與數位世界駕馭強顯的今日，如何得能以一種在地之台灣文化主體性參照來提議一種進駐與收容？如何得以東方文化中人化自然體呈之質性，也就是自然景緻人為微型化視為台灣主體的一種參與，一種國際展中可提呈的議題，一種既能符合人之立於大地之本原存有之實踐價值，也作為新時代之新美感素之對話平台。當下的文化環境，個體看似具有主動的姿態和開放性的選擇，但由於受制於資本主義意識形態及其價值觀，受制於其體現有如負能量之嫡耗般之消費機制，它如漩渦般吸納了不同的體質範疇的文化趨向，而導致原初質樸之實踐能為與其背離。一種立於大地水平之全人感知，與都會垂直矗立充斥著傳訊透明、貨物流竄…等等之必要收容正是我們的思慮焦點。
．
We concern the relation of elements of an artwork or an artwork itself entering a site at a museum and furthermorethink the connection between its scenery and architecture. Where a site as well as a base is located accepts many soloexhibitions that include identity or opposition of artworks. From this aspect, Chinese garden structure can be treated asa concrete instance of this specific art thought which is an obvious examination reflecting concretization of movementsfunctioned by an organic body in living order. The alternative garden structure developed by contemporary art in today'sworld not only a translation of artificial nature into a miniature of scenery but a new question answering to art making/objects produced by the current consuming world/institute that I would propose in Embodying the Scenery of Ecology, aninternational exhibition at JuMing Museum. That is, since our sensation has strongly dominated by machines, apparatus,and the digital world, we discuss how it can suggest residing and embodying by reference to the local identity of Taiwancultural and how artificial nature in the Eastern culture expresses as well as artificial nature of a scenery miniatureconsidered as participation in Taiwan identity, possible issues suggested in the international exhibition, existing valuespracticing human roots on the earth, and also platforms offering dialogue of novel aesthetics in a new era. In the currentcultural milieu, individuals seem to have proactive gestures and open options. Nonetheless they are restricted to theCapitalism ideology and its value and to the performance of a consumption system like exploitation of negative power likewhirlpools that absorbs culture tendency towards different bodies and realms and results in turning away from practice ofinitial naivety. Our main concern is whole perception that stands on expanding-horizontally land and necessary adoptingin rising-vertically urban areas where it fills transparent transmission, commodities passage, and etc.

魯西恩里昂

Australian values
Lucien Leon
．
．
展覽會展示的這些作品，製作來當作該藝術家ANU藝術學校畢業後研究所候選用作品，其目的在回應如下問題：「傳統列印媒體編輯卡通，如何重組以配合新媒體內文?」本藝術家實踐的重點在藉卡通式製作來宣傳目前政治事件的反應。此方式需要快速製作時間，才能呈現時效性的作品即時呈現在觀眾之前。
．
The works presented for exhibition have been produced as a component of the artist’s post-graduate research candidatureat the ANU School of Art, in response to the question “How can traditional print-media editorial cartoons be retooled toa new media context?”
．
The primary aim of the artist’s practice is to produce and disseminate animated responses to current political events. Theapproach demands quick production time to ensure currency of the works when disseminated to an audience.
．
These particular works have been designed for viewing on small screen devices such as mobile telephones and iPods.They are a response to the ‘Australian values’ dialogue initiated by the Federal government in 2006, where governmentministers sought to clarify those qualities of Australian National Identity and citizenship deemed‘desirable’ in themainstream community.

克里斯多福弗翰姆

Commuters

Christopher Fulham
．
．
通勤者探討生活中一般相關的要素。它深究簡單的空間等待。在忙碌的生活中，學習漠視平常司空見慣與日常例行的事，而遺忘了去好奇生活中每一刻所發生的特殊事物。
．
Commuters explore the ordinary moments that make up our lives; it is an investigation into the simple space of waiting.In our busy lives we learn to ignore the ordinary, the commonplace, and the routine and we forget to marvel at the wonderof it all as moment by moment our lives unfold.

莎拉珍貝爾

Walking With Water

Sarah Jane Pell
．
．
2002年，我開始評論藉發展水中水染作業所進化的人類科技城。水染化一詞用以說明當代表演練習、商業潛水作業與生活支援草案間的研究。此業務的發展包含超訓練的使用說明，這些說明是有關我的體認變化，此作業四周美學的保護，在水中精神之旅與水中身體本體感覺的反應，視為活的實例對研究的挑戰。獻身此策略促使我能在心理測量方面規劃出人類行為表現的新領域，並限制在廣闊的環境內，當作新的活藝術作品。不慎地水染化提供新水哲學，使人類身體位於水域之中。
．
In 2002, I set out to critique the evolutionary technicity of human beings by developing the practice of Aquabaticsunderwater. Aquabatics is the term I use to describe the research between contemporary performance praxis, commercialdiving operation and life support protocol. Development of the practice included transdisciplinary documentation on thechanges of my cognitive awareness, the aesthetics of care surrounding the practice, the spiritual journey and proprioceptiveresponses of the body underwater as a live(d) practice-as-research challenge. Commitment to this strategy enabled me topsychometrically profile and map new territories in human performance behaviours and limits in extreme environmentsas new works of live art. Inadvertently, Aquabatics proposed new aqueous philosophy to situate the human body in/of/asa body of water.

曾鈺涓/李家祥

Flow

Tseng, Yu-Chuan and Lee, Chia-Hsiang
．
．
作品探討在訊息充斥的數位環境中，人類面對壯碩無盡的訊息洪流，無意識間接收訊息，並有意識的對訊息的產生之焦慮感狀態。網路上系統自動抓取之即時新聞影像，在前方螢幕中層疊形成幻影飛逝，新聞訊息轉換之語音從四方傳出。現場參與者之影像被攝並再現於螢幕中之虛擬世界。以手電筒為互動控制介面，當光線照射影像時，影像被放大並清晰顯示，新聞訊息則被清晰唸出。然而當模糊影像不斷飛入，影像不斷的被放大與清晰，文字訊息也不斷的被唸出，形成多層次的影像圖層與聲音呈現，觀者仍然無法清楚辨識新聞訊息的內容，無法掌握訊息的意義。此混雜的訊息閱讀過程，所呈現的感知是模糊與不可知的混雜不確定感。
．
此狀態是一種無法以現象知覺解釋的感知現象，對於不可知的那一端，此端存在的我，在沒有真實顯現的視覺表象中，相信不顯現的虛擬存在。此透過科技媒體所產生的觀看，訊息與符碼在訊息的轉譯中，成為一種假象的存在。觀看者在瀏覽過程中，透過訊息的碎片，想像整體的存在，並在絢爛圖像與聲音交互刺激中，擁有自由的快感，遨遊於虛幻時空中的迷幻異想。
．
In Flow, we want to indicate a situation at which we face. People confront with the huge amount of information. Weconceive differently toward same information in a matter of opinion. We assume that we understand without question. But,how can we really firmly believe our cognition being correct. Do you really know the meanings behind the appearanceor just being caught in a condition of maze? We drift into the information flow to receive reality, however, what is reality.“Flow” offers a unique feeling to the audience. Using the flashlight, a completely new experience of viewing is gained.In the process of interaction facing the confused information, participants get an unpredictable controlling outcome andgo through a psychological moment.
．
The installation consists of a room connected to network, mounted video projections and a camera. Entering the exhibitionspace, the participants will be shot and transform into a mosaic figure. In the projection, the news photos flow out andblur. The content read out to the audience in mix. The participants are represented in the screen superimposing withnews images. The images of information from different geographical distribution and participants in the exhibition spaceshow a unity in the virtual world. The flashlight, as a metaphor of conductor, is an interactive tool. The flashlight lightsthe way to information. Participants can pick to view the photos and hear the narration clearly by waving the flashlight.Participants wave the light wobbling, the images and audio response to interaction right away cascaded. The images andaudio will appear layer by layer and compound with each other. Participants have the control power over those imagesand sound, but are not able to control the final appearance and catch the subject matter.

傑森尼爾森

Between Treacherous ObjectsTreacherous Objects

Jason Nelson
．
．
所有物件，不論商務產物，或製作的機械機制，都連接起來。購買或偷來的物件都在空間內，一個內部移動結構的建築，活躍的深度。危險物件間透過互動幾近3D純空間來建立這些連結組織。那些數位距離的探討產生宣傳與機密，成行與多型態的空間詩論。一個平板銀幕文化，透過游動的滑鼠，建立起來。
．
在網絡上，有一個平面的期望，微薄的厚度與跳躍的超文件。連結是系譜的連結構思間的分支聯繫。危險物件間存在於顯示器內。保持使用者飛行或避開，並產生深度建築的社區。這些結構意指活躍地將構思與物件連結。而沒有使用者移動，插圖自行消失，一個下降的組織，撕裂的影像語義。
．
而名稱，附有百老匯發音，產生虛飾小型廣告牌宣布明顯的模糊結合。而一旦使用者揭露這些內部建構這些消費者型態，它們便會顯示更多移動，藉密碼進入錄影節目。這些超疊印剪輯是另外加入消費主義的層面來聯繫西方文化。它們一半宣傳產生控管與讚美，教導必須不學習訊息外的東西。而同樣地，另一半掩敝這些文化性強的事物、品項與構思間的特別連結。連接這些物件是潛意識與短暫的概念，一種必須透過滑鼠來感覺的概念。
．
All objects, commercial creatures or manufactured mechanisms, are connected. Between what is bought or stolen, flownor born is a space, an internal architecture of moving structures, living depths. Between Treacherous Objects buildsthese connecting tissues via interactive, nearly three-dimensional net spaces. Exploration of those digital distances yieldspropaganda and secrets, spatial poetics in lines and brimming shapes. A culture of the flat screen built to mouse swiminside.
．
There is an expectation of flatness on the web, of slight depths and leaping hypertexts. A link is the link for trees, branchingconnections between ideas. Between Treacherous Objects exists within the monitor. Holds the user to flying or avoidance,and creates a community of deep architectures. These structures are meant to be alive to attach ideas as objects together.And without the user’s movement the artwork disappears into itself, a falling tissue, the torn tendons image semantics.
．
And the titles, with their Broadway pronouncements, create a pageantry, small billboards announcing the obvious andthe vaguely associated. And once the user uncovers these internal architectures, these consumer forms, they can revealmore movement in password arrived videos. These superimposed clips are an additional layer to the consumerisms thattie western culture. They are fifties propaganda created to control and admire, to teach the need to not learn beyond themessage. And similarly one cannot uncover specific connections between these culturally powerful matters, items andideas. Connecting these objects is a subconscious and ephemeral notion, one that must be felt through the mouse.

瓊安傑柯夫

Sonic Tai Chi

Joanne Jakovich
．
．
製作者瓊安傑柯夫說：「每個人都是錯綜複雜的，常自我糾葛不論是年輕或年老。這是個獨特的空間拜訪者，尤其是年輕小孩，都會體驗因他們自己身體移動，而產生的有趣的數位影像與聲音。像大部分生活內的東西一樣，你越互動，你越脫離它!」
．
簡言之，當你在空間移動，照相機與電腦追蹤你，而你的速度與方向產生不同的視聽效果。以較複雜的數位措辭來說，互動的程序由數位電池組成，可捕捉空間內的移動資料，產生形象化，此形象化包含使用者插入的真實影像，這些結合隨意多孔機械裝置。手勢行動使參與者能製作或摧毀基本人工或數位產物的群體，它們由孔維人工生命規則所控制：活性電池有2個或3個活的鄰居，它便活著。如果死電池確實地有3個活鄰居，它便可再活起來
．
“Everyone is intrigued with themselves, no matter how young or old,” said creator Joanne Jakovich. “This is a uniquespace where visitors, particularly young children, will have fun experimenting with digital images and sounds created bytheir own body movement. Like most things in life, the more you interact, the more you will get out of it!”
．
In simple terms, a camera and computer track your motion as you move around the space and your speed and directioncreates different visual and sound effects. In more complex digital terms, the interactive program is made up of digitalcells that capture movement data in the space to produce a visualization comprised of the interpolated real image ofthe user combined with random Cellular Automata. Gestural action allows participants to create or destroy colonies ofbasic artificial or digital creatures, who are governed by Conway’s artificial life rules: If a live cell has two or three liveneighbours, it remains alive. If a dead cell has exactly three live neighbours, it becomes alive again.

葉謹睿

myBirthday=myPhilipGlass

C. J. Yeh
．
．
《Equal》系列的軸心概念，是希望透過電腦軟體程式的撰寫，在觀者與現代主義藝術作品之間，搭建出一種自動化的換算機制和溝通平台。這個創作理念的主要關鍵，在於利用數位科技所蘊含的運算及資訊處理功能，來完成具有創造力及藝術性的轉化或再造。讓所有的觀眾，都能夠搖身一變，個個都成為現代藝術巨將。只要以簡單的鍵盤或滑鼠輸入，就能夠完成和享受當代藝術創作的興奮和喜悅。
．
《E q u a l 》系列中已經完成的有： 《myDa t a =myMo n d r i a n 》、《my Tu n e =my P o l l o c k 》以及《myBrithday=myPilipGlass》等三件作品。透過這些「藝術介面」（Art Interface），我希望完成一種雙向性的repurposing。這些作品的共通點，包括以下兩個階段：
．1）Repurpose現代藝術主義大師的創作概念
．意即是分析現代藝術主義大師的創作模式、習慣以及特質，並且將之簡化成為可供程式語言
運用的邏輯，並且發展出能夠獨立運作的軟體程式。
．2）Repurpose觀者所輸入或提供的資訊
．透過容易操作的軟體介面，讓觀者能夠主動地去參與，並且將觀者所輸入的資訊與現代藝術
主義大師的創作邏輯結合，創造出全新的藝術作品。
．
本次參與展出的，是在2006年完成的《myBrithday=myPilipGlass》。在觀者輸入出生年、月、日之後，利用所取得的數字，排列組合出二十八個變數以及四個不變數；再把年紀以及出生季節列入考量，選擇出頑固低音以及演奏的速度。把這些資訊放入極限音樂的所慣用的簡要、連續性、反覆性及規律性結構，就完成了一個具有Philip Glass風格的曲譜。透過這個藝術介面，觀者除了可以聆聽這首用生日密碼譜成的極限樂曲之外，也可以選擇把曲譜印出來帶回家，為自己與當代藝術的交集留下一紙見證。
．
The gripe many skeptics have with computer-based art is that the medium often takes precedence over the message.“Equal” series is my attempt to focus on the creative process of art and, at the same time, address data input as a metaphorfor the Modernist thought process.
．
Through out this series, what I have been trying to do is using programming language to connect everyday activities withacclaimed Modernist masters. By analyzing the formal elements of these masters’ signature style and then turn them intoalgorithms, I have been able to create art interfaces that enable users to make art in unexpected ways.
．
“myData=myMondrian” has an interface which is a replicated sign-up form for an online dating site. Rather than fishingfor friends, the result upon hitting “enter” is a quick cyber-mastication of one’s personal stats and their subsequentregurgitation in the form of a Piet Mondrian-like composition.
．
“myTune=myPollock” converts computer keyboard into an electric piano, on which visitors are encouraged to play music.Each note corresponds to a simulated Jackson Pollock paint drip.
．
“myBirthday = myPhilipGlass” requires participants to enter their name and birthday, at which point an algorithmtranscribes the information into a Minimalist musical score, then the generated score is played by the computer.
．
There have been many attempts by artists trying to blur the boundary between life and art. I am not trying to do the same.I would like to think that I am creating channels where simple activities that everyone can perform and “high art” cancollide and merged into a unique being that belongs to the digital age.

陳志建

Date Line

Chen, Chi-Chien
．
．
「換日線」為國際換日線(International Date Line)之簡稱，因世界各地太陽所在位置不同形成不同之時間，為解決各地時差問題，而經由國際協議所訂定出；作品是針對現實世界對時間定義的一個問題。幾時幾分幾秒，是當下場域相對於世界與太陽的關係以敘述時間的代號，但對於真正時間而言，這一個當下卻在世界各地以不同的代號被紀錄，台灣的08:00p.m.卻是以07:00a.m.在紐約被紀錄，這個對於時間的紀錄方式僅限同一場域位置才算是合理。
．
於現今網路通訊發達的時代下，距離被劃除了，當你同時瀏覽著世界各地的即時網路影像時，在時區的邏輯下似乎是達到了某種異時共存的狀態，但實際上這些影像卻是在同一個時間發生，時間的定義在這個時代產生了某種矛盾，但對於時間的捕捉卻是恆久的課題，從繪畫、照相、攝影到現在以數位的媒材去紀錄時間和場域，不同的時代以不同的技術和觀點來詮釋時間，本作品即試圖以「歷時共地」的雙時態呈現另一種時間的觀點，並以非線性的瀏覽方式對應這數位時代的閱讀模式。
．
作品以環拍方式對西門町做一日24小時的曠時記錄，重新解構影格次序，將24小時的時間以360段序列影像延展排列，拼貼成一環狀的時差影像，再以程式運算技術對影像進行非線性的跳躍播放。時間以二維的方式運行，2592000的影格壓縮成240秒的時間場進行再現，呈現「歷時共地」的超現實影像。在這樣的時場下，是否需要如同現實般的定義一條換日線？真正的時間是無界線的，如果非要界定，這360 條影像皆可為其換日線。
．
Date Line is the abbreviation of the International Date Line, a universal system of time zones devised by an internationalcommittee to overcome the issue of the sun shining at different geographical locations at different times as the earthorbits. Thus it is 8:00 PM in Taipei at the sane moment it is 7:00 AM in New York. This “now” is represented by differentabbreviations in places around the world. Date Line expresses the artist’s probing doubts on the universally approveddefinition of ‘time’. Shooting a panorama of one specific urban site over the course of one particular day,24 hours worth ofimages are collected in a 360-degree collage, with each long, thin bar an archive of time’s passage during one day. In thisway, sun, moon, day and night mingle and overlap in an alternating order. With the collection of singular moments at onetime and place, I generate a surreal image that allows the past and the present to coexist. Within this time and space, is the‘Date Line’ we use and abide by in reality necessary? Real “time” has no boundaries, but if we absolutely must delineate,these 360 image bars can be our Date Lin.

林珮淳

Virtual Creation

Lin, Pey Chwen

．

．

此作品乃反諷人類一直想藉著各種科技的手法，如生物科技、虛擬實境、基因改造、克隆技術及人工生命等…扮演創造主的角色，以為有了科技就可取代大自然。因此作者創造了一個讓觀眾可以模擬創造者的裝置作品，藉著電腦程式、觸控式螢幕及互動系統，來產生的即時性與互動性的影像，使觀眾得以參與創造蝴蝶的過程而呈現人類的創造慾望。當觀眾走入展場空間內，立即被一巨型的水族箱影像所吸引，而水中有各式各樣的蝴蝶飛舞其中且發出深海的水聲，如沉浸於虛擬的世界裡。此超現實景像的正前方，立有一裝載觸控螢幕的立體台座，以邀請觀眾成為作品的一部份。觀眾可經由手指去參與繪製現有的蝴蝶圖像而完成整個的創造過程，並且看到所繪製的蝴蝶飛舞到螢幕內時，一種虛擬創造主的情愫油然而生，這是我利用科技諷刺科技所帶給人類的虛擬慾望與滿足感。

．

The artwork satirizes that the human’s tendency to play the role as the Creator through various cutting edge technologiesincluding computer software, biotechnology, virtual reality, gene modification, human cloning and artificial life. Thehuman being believes the technology can replace the nature. Hence, the artist created an interactive installation whichallows the audiences to be the Creator. Through the computer programs, the touch screen monitor and the interactivesystem, they can produce timely and interactive images. One can experience the process of creating butterflies; by doingso, the audiences also develop their desires of creating. When one walks into the exhibition space, a butterfly image can befound on the screen. By drawing the butterfly image with their fingers, the audiences can complete the process of creatinga butterfly. As they see the animation of the butterfly flying in the screen, they may experience the role of the Creator. Withthe forefront technologies including an interactive system, computer programs and animations, the artwork ridicules thevirtual creation desires of the human being.

黃博志

Sweet Dream

Huang, Po-Chih
．
．
利用掃瞄機，以掃描的方式產生動態的影像。在掃描的過程中，或是刻意拖拉身體各部位，形成拖影、殘影、立體感的影像，或是移動掃描機，造成影像的錯置。掃描器的高解析度可呈現如微觀攝影般的細膩畫質，所以在掃描前，我先抓傷我的皮膚，如同繪畫的基底處裡，使毛孔放大、破皮、結痂……等。而依據傷害的程度不同，也形成不同的質感，有別於正常皮膚。
．
'Sweet Dream' creates fluid images with the help of a scanner. During scanning, the body parts are intentionally draggedor pulled, so to produce residual, lengthened, or 3D images. Moving the scanner also creates overlapping or misplacedeffect. The high resolution of the scanner helps present a microcosmic photography-like quality. I scratched my skinbefore scanning so that my enlarged pores, grazed and scabbing skin are all shown in different quality than the normalskin. After the processing like the base of painting, the scanned images consist of multi-layers effects.

陳信源

Seeing and Recognized

Chen, Hsin-Yuan
．
．
全球化的連鎖店，已形成一種很普遍的置入式生活型態。如此情境造成我們不論身在何處，對於店家的認知與辨識，將不再完全依賴店家招牌上所書寫的文字，取而代之的是，連鎖店的統一顏色與商標，或是特有的裝置。
．
Manageability attitudes of the globalization chain store generally install in life, Such a phenomenon, The word is notimportant in reading signboards, No matter where we are , Do not read the words to know these shops , The substitute isthe color, with the trade mark or it's peculiar logo.

梅丁衍

Homage to Fanquan

Dean-E Me．

．

．

作者以其獨特的藝術策略去解構對正統的單一詮釋，並對權制運作下權力的單向運輸提出反詰。藉由幽默來化解政治的僵化形式，營造一種啼笑皆非的複雜情緒。這件作品使用簡單的Flash動畫製作，模擬蒼蠅在台北故宮收藏的范寬作品上遊憩，霎時，山石上顯現”毋忘再莒”與”戒急用忍”政治口號。透過隱喻象徵，作者對台灣的文化與政治認同困境作了諷刺。

．

172Artist use his unique interpretive strategies to deconstruct unitary definitions of orthodoxy and attacks the singularapplication of power in an authoritarian system.Mei utilizes humor to break down ossified forms of politics and penetratesdeeply into contradictions of overlapping cultural emotions behind them, creating a series of complex responses that areat once both funny and sad.This work is simply use Flash technique to imitate flies rest and play around on a traditionalChinese ink painting which is collected by National Palace Museum in Taipei. Two popular propaganda slogans that usedto be against Communist China suddenly emerges from the rock face and shocks love-making flies. Through metaphor ofsatire, artist raises cultural and political identity questions in Taiwan.

蘇育賢

Dong-He Hardware

Su, Yu-Xian
．
．
我對任何一種敘述作為藝術的「外延意義」不感興趣(這顯然是一則舊聞)，而往往造成「語言脫序」的感性身體就成了我最熱烈追求的想像。私密是感性身體們彼此間的溝通基地，所以，在第一個層次上，我是以私密作為基本策略來遭遇現實，讓知覺本身作為溝通的工具。在第二個層面，透過質感、姿態以及氣氛上的掌握讓慾望無法理所當然指涉現實，作品本身不與肉身「互為主體」，也就是說，向作品投射過去的慾望並不回到身體作用，而是在一個想像的他處終結。甚至是說，我在”平滑”出新的「崇高」。
．
I am not interested in the kind of discourse as the denotation of art (it is obviously an old news). But, this aspect makes thesense-body of language disorder become my aspiring imagination. The intimacy is the ground of communication betweenthe sense-bodies. Therefore, on the first level, I encounter the reality on the base of intimacy and have the sensation itselfas the tool for communication; on the second level, through the grasp of quality, gesture and ambience, it upsets the desireto infer reality. The work rejects to be the inter-subject of the body. That is to say, throwing to the work, the desire doesnot function effectively on the body but end in the other imaginative place. Or you can even say that I am smoothing outthe new sense of sublime.

張國治

The Series of "Red Tidings"

Chang, Kuo-Chih
．
．
《紅帖》系列主要觀念乃在地文化一種呈現，以紅白為基調，試圖成為在地文化的一次美容，其本質更接近一種後普普藝術的精神，以生猛鮮刺視覺符號展出。形式上主要以「結構」、「組構」概念出發，呈現上可有不同方式來組合應用。
．
This series of photographs are composed with succinctness, abstractness and poetry. And since the Chinese charactersare the subjective elements, this series is hence named as “Red Tidings”.The main concept of “Red Tidings” is to reveala local culture and more precisely, closer to the post-pop art in which visual symbols of vividness and brightness arerepresented.

袁廣鳴

City Disqualified

Yuan, Goang-Ming
．
．
《城市失格―西門町》靜態影像系列，是袁廣鳴2002年的新作。畫面所見，是空曠無人的台北城市，景點選在繁華喧囂的西門鬧區。戲劇化的處理，使得城市猶如一座徹底清場之後的巨型劇場。一時之間，整座城市劇場彷彿去功能化了。
．
作品影像的擬造過程，以傳統相機的實攝，結合電腦技術的再製、再生產與再現。藝術家大量重複「剪下」與「貼上」的動作，將原來車水馬龍與人煙鼎盛的城市抹去，覆蓋上去的，則是取自另外一張張「同一場景」的攝影影像中的「無人」的「片段」。
．
於是，《城市失格―西門町》從實體空間轉換為抽象時間，而且是並置與高度壓縮的前後不一的時間。電子掃描與重新拼接之後的「超平面」影像，每一畫格都來自如假包換的真實。然而，這種經過重置與再輸出的城市畫面，卻形成了一幅「超真實」（hyper-real）――如真似幻――的全新「影像繪畫」。（節錄自王嘉驥『2002 台北雙年展世界劇場專輯』）
．
City Disqualified–Hsimen District, a static image series, was created by Yuan, Goang-Ming in 2002. It shows an openTaipei City with no people, in Hsinmen District which is usually bustling with noises. Such a dramatic processing makesthe whole city look like a giant theater after all the audience was asked to leave. Out of sudden, the whole city theatre lostits functions.
．
The image works are created with traditional photos reproduced, duplicated and represented with computer technologies.The artist repeats cuts-and-pastes time and again, to remove all the people and vehicles from the city, and then covered itwith a people-less picture taken from the same scene. Hence, City Disqualified–Hsimen District was transformed into anabstract time from a physical space. This abstract time is a juxtaposition of highly compressed, varying times in sequence.The super flat image produced with electronic scanning and montages comes from all the frames taken from the reality.However, the city image re-arranged and re-printed becomes a hyper-real picture, a brand new imaginary painting that isbetween reality and fantasy.
．

林豪鏘

Felicitous Dinner

Lin, Hao-Chiang
．
．
「幸福晚餐系列」是件藝術實驗創作，運用Max/MSP/Jitter程式與Sobel運算，並結合影像、聲音、MIDI音樂之間的互動。在短片中，我記錄著回宿舍時，沿途期盼老婆準備的晚餐，那種幸福滿滿的感覺。本作品以老婆準備晚餐的聲音作為輸入控制源，同時邊緣偵測扮演了重要角色。它隨機並且巧妙地勾勒出沿途景緻的輪廓，並且將物體色彩做了不斷的置換，因而產生一種奇幻的效果。由烹調聲音控制而產生的音樂，一樣有種在搖晃視覺裏充滿期盼的感受。於是，我對於幸福晚餐的期待，紛紛化成了音符；眼前的畫面，也都因此有了節奏。
．
This artwork “The Felicitous Dinner Series” is created by using Max/MSP/Jitter and Sobel operations, and based onthe interaction among images, sounds, and MIDI music. This work is created through the following steps: decibeltransformation, tracing of the peak sound, automatic event detection, usage of sound event message, edge detection,generating MIDI music via sound signals, controlling the image processing via sound signals, automatic change of RGBbrightness, and so on. In this video work, the author recorded the felicitous feeling of the expectation on the dinnerprepared by his wife when he was on the road toward his dormitory. In this work, the author inputted the sound gatheredwhen his wife was busy in the kitchen, and then the program automatically generated some MIDI music, and changedthe image of the video so that it got some tempo. Therefore, the expectation on the felicitous dinner became some musicnotes, and all the sights became rhythmic.

亞歷山大基勒思比

Measures

Alexandra Gillespie
．
．
作品「測量」呈現實際與想像的社會/內在壓力與期望人可能或「應該保持」在一個特定的年齡。收集澳大利亞內的速率標記拍照，並重組加入從拿馬蒂國家公園，穿過布瑞德彼拉山脈航程的合成的連續鏡頭，這國家公園以前是衛星追蹤站基地，並成為太空通訊網絡的一部分，用來支援阿波羅號登陸月球的任務。結合追蹤與呈現廣大的時空跨度的概念，澳大利亞城市間長距離駕駛的體驗，與這些旅程呈現的幻想與迴響都影響到本作品。本作品部份的聲音主題是反應並投射藝術家所強調的特定年齡。
．
Measures is a work that came out of the actual and imagined societal/internalized pressures and expectations of where onemight or “should be” at a particular age. Speed signs from around Australia were collected, photographed and reconfiguredwith composited footage of a drive through the Brindabella mountain ranges from Namadgi National Park which wasformerly a satellite tracking station site and formed part of the space communication network used to support the Apollomission to the Moon.In conjunction with this notion of tracking and mapping vast spaces and time spans the work is alsoinfluenced by the experience of driving long distances between Australian cities and the opportunity these journeys offerfor reverie and reflection. The audio texts that form part of the work’s soundtrack are based on the artist’s reflections andprojections around particular ages.

卡薩琳雷恩

Open Mind

Kathleen Ryan
．
．
「開朗」探討一個視覺空間，像倉儲之類的，此探討在於表現人的思想與感情。這個大約5分的影片以蘿拉為中心一位年輕的法律系學生，適應大學獨立生活的新壓力。她「外在」（在咖啡館與大學地點其行為與表情）與「內在」（空洞的倉庫，表現她的思維）間的多層剪輯，快速地顯示表現在臉上與真實想法、感覺與自我欺瞞的態度間強烈的對比。透過象徵性行為來表現這些意思，諸如：拉一條毯子覆蓋在個人的東西上，代表她逃避與人對話。「內」「外」的對比利用顏色與聲音來區隔。咖啡館內的顏色很明亮和諧，代表蘿拉故事「真實的世界」內，一個活潑生動的地方。不過倉庫內的亮度低調且呈現孤寂憂鬱的藍色調，一個常用來表示「潛意識」的顏色。外在世界的聲音在倉庫內具有「水中」的迴音效果，就如在此心靈空間內，蘿拉隱瞞自己想法與感覺的情形。
．
倉庫內物件具有濃厚的意義。當她搬到大學時稚氣私人物件消失了，而極度渴望鋪張文件與書籍在空洞的空間上表現她企圖利用工作來隱藏她的寂寞。一個主要的物件，門，用來象徵誠實敞開心胸面對他人。再出現的中心主題是蘿拉實際關閉了會話的門。不過，最後倉庫拍攝的鏡頭描繪蘿拉窺視著門外，整個結束的鏡頭，蘿拉在咖啡館與老朋友談話，蓄意地並未剪輯回到「內在」，因為當她最後吐露她的思維與感情給他人時—內在便緩慢地顯露出來。
．
Open Mind’ is an exploration on how a visual space, like a warehouse, can be used to represent the mind and emotionsof a person. This approximately five-minute film is of Laura, a young law student, accommodating to the new pressuresof independent university life. Multiple cuts between her ‘exterior’ (her actions and expressions at a café and university)and her ‘interior’ (an empty warehouse setting, representing her mind) soon reveal the sharp contrast between what isperformed for external appearances, and what her real thoughts, feelings, and self-deceptions are. This is done throughsymbolic actions, such as pulling a rug over personal items as in the ‘exterior’ world she avoids a conversation. Thecontrast between the ‘outside’ and ‘inside’ is accented with the use of colour and sound. The colours in the café are verybright and balanced, as it is an active, lively place and in the ‘real world’ of Laura’s story. Lighting in the warehouse,however, is very low-key, with limited tones and an overall desolate blue tinge, as blue is often used as a ‘subconscious’colour. Sounds of the outside world have a more ‘underwater’ echoing effect in the warehouse, as in this mental space,Laura has insulated her thoughts and feelings.
．
Objects take on heavy significance in this warehouse. Childish, personal objects disappear as she moves to uni, and herdesperate spreading of papers and books over the empty space expresses her attempts to use work to hide her loneliness.Akey object, a door, is used to symbolise openness and honesty to other people. A reoccurring motif is Laura literallyslamming the door on conversations. However, the final warehouse shot depicts Laura peeking out the door, and theoverall closing shot, of Laura and her old friend talking at a café table, deliberately doesn’t cut back to the ‘inside’, as sheis finally revealing her mind and emotions to another person – the inside slowly coming out.

林育聖

Trace

Lin, Yu-Sheng
．
．
我使用拼格的方式來製造「動態」影像。《軌跡》裡，我擷取了許多不同時刻所拍攝下的籃球飛行路徑，拼合成為一條球的飛行路徑。某一種「暈眩感」是這件作品最想傳達出來的部分。它不是一個純粹觀念性、思辯性的作品；它希望激起觀者強烈的身體感，一種從現實世界脫逸，但卻沒有方向、沒有目的，甚至在來不急思考的當下再度被拋擲回現實世界的種種先於意識的感官活動。我想透過這樣建立在理性科學思維上的方式來挑戰感性活動，而這也正是我一直所追求的，藝術令我著迷的部分。
．
I used montages to create “dynamic” images. In the work “Trace” I captured the flight of a basketball using photographstaken at many different moments in time and assembling them to show the ball’s trace.The work is really trying to conveya sense of dizziness. It isn’t purely conceptual or mental work. I wanted stir up an intensely physical feeling in viewerkind of escaping the real world and having no direction or goal, and then, without even having to think, being hurledagain into real world sensory activities that come before consciousness.I wanted to use this kind of method establishedon rational, scientific thinking to challenge people’s sensory activities. This is something I have always chased after, andis why art fascinates me.

王仲堃

Thus Have I "Ah~"

Wang, Chung-Kun
．
．
我以「啊～」作為一種被影響的狀態、一種測量地面起伏的反射。作品安排三個並置且不同步的影像，反覆隨機重組合唱出不和諧的頻率。此想法來自我的生活必備代步工具–機車。從A 地點至B 地點的行駛路程，往往是種無聊的消耗。有一次，偶然發現當我騎車隨意吟唱時，聲音會因為路面的顛簸而被扭曲。
．
作品中，我使用了「啊～」這個聲音，它漫無目的，並不代表什麼，但卻是我認為最接近直接反應的測量工具。對於當今身處都會繁華、但卻壓力十足的人們而言，我試圖透過這樣的測量方式，尋找疲憊狀態下被遺忘了的感知。
．
I am in a status of being influenced with the exclamation “A-h!” It is a reflection to measure the bumps and troughs on theground. There are three juxtaposed but not-in-sync images in this work. Unharmonious frequencies are song repeatedlyand randomly. This idea was originated from my daily-life vehicle: a motorbike. The process of riding from A to B isoftentimes a boring exhaustion. On one occasion, I noticed that when I was hymning to the motorcycle, my voice wastwisted due to the bumpiness of the road surfaces.
．
I used the sound of “A-h!” in this work. It serves no purpose and means nothing. However, I think it is the measurementtool that is closest to direct responses. For the pressurized people in today’s metropolitan cities, this measurement isintended to seek the senses forgotten in the state of fatigue.

崔貝克

Out of this place

Ché Baker

．

．

沉溺於這首歌的構思，因為它們所說的事與我們的感受十分貼切對想要卻無力實現的夢。感覺我們有很多可以給的，但這個世界並不允許我們隨心所欲。讓第二人物分享畫面的構想，出自一種信念，認為如果你的夢夠強烈，那麼其他人也會存在其中，一起掃過並得到力量解放他們自己。這首歌激勵我製作此作品，這個事實就是坦言真相的信仰聲明。

．

I was drawn to the ideas of this song because they speak of things which we can all relate to the sense of unfulfillment andwanting something more. Feeling that we have so much to give but the world is not allowing us to break free.The idea ofsharing the vision with a secondary character came from the belief that if your dreams are powerful enough, others toowill be caught up in them, swept along and given the strength to set themselves free. The fact that this song inspired meto create this work is testament to the truth of the statement.

陳萬仁

Good Morning Bill

Chen, Wan-Jen
．
．
在這裡我挪用了微軟視窗的桌布畫面，利用數位軟體的運算技術稍微改變了一些原有的風貌，這裏產生出來的是藍的徹底的天空，不斷重複動作的人物角色(打高爾夫球)，這些元素有個更主要的目的，希望給觀眾的感受是既熟悉且愉悅的，而畫面裡頭所出現的元素指涉的是他們自己本身，不帶有假設性，重返事物本身的意義，崩解了所謂的說明性以及敘事性。影像內容藉由重複，反覆不斷的動作，架空了意義的生產，藉由這樣的狀態，我想單純的去思考所謂影像自身可被閱讀的條件，而這也是我試圖回應媒體的方式之一。
．
As usual, Mr. Bill practice goal in the grassland that we knows very well. The weather is always sunshiny, and the sky isabsolutely blue. He seems doesn’t want to miss this moment, let him enjoy it!

王惠瑩

Avenue

Wang, Hui-Ying

．

．

以數位攝影和影像重組、並置，建構似真實又如夢境的場景，使觀看體驗不同的時間、空間感。

．

Rreconstruction and juxtaposition of digital photos and recorded video to construct sceneries between dreams and realities,so as to provide viewers varying sense of time and space.

陳永賢

Worms Would

Chen, Yung-Hsien

．
．

從老子哲學得到啟發，如他所說：「生死有命，其繼起之物如日夜，都是上天的安排，人類無以為業。這一切都是事物不可避免的天性。」此後莊子亦將死亡視為一生探索的課題。因而，此作品是從一個害怕死亡的人，嘗試以佛思觀念來看待，以及如何接受死亡並調和自我恐懼（由蛆侵略身體來代表）。《蛆•體》在視覺上並不是一種反對前人的論述，而是嘗試去瞭解他們所言的「生與死」，以及當下的數息體驗。
．

The work is based on the saying of the Chinese philosopher Lao-Tsu, ‘Life and death are a part of destiny. The sequenceof day and night, is of God and beyond the interference of men. These all lie in the inevitable nature of things’. Lao-Tsu’s philosophy was taken even further by the later sage Chuang Tzu, who saw death as a worthwhile result of a lifeof work. The work set out these two schools of thought from the point of view of someone who is afraid of death andtries to reconcile those fears (represented by maggots encroaching on the body) with the acceptance through Buddhistthoughts. "Worms Would “ is not a visual argument against the ideas of Lao-Tsu and Chuang Tzu. Rather it is an attemptto understand what they are saying.

方彥翔

Time-architecture III

Fang, Yen-Hsaing
．
．
「時間-建築」系列作品一直朝向對「智識影像」的探索，形式概念與意識需要以影像的方式被敞開，並透過「視像建築」的方式被思考、處理。就藝術家的關注而言，時間性的「視像建築」可以被視為一個熵化的過程，物象、文字、語言、建築、結構、思維在這裡都是一個影像式的延展。系列《Ⅲ》關心的是物象結構與文字、訊息之間的轉換，是建基在「閱讀式」影像的經驗，關於藝術家主體閱讀的經驗，關於這個閱讀的經驗向建築概念的轉移。
．
The ' Time-architecture ' series move toward works on ' the intelligent image ' exploration, form concept and consciousnessneed unfolding by way of image, and is dealt with through the way of ' vision-architecture '. As regards the artist's concern,' vision-architecture ' of the timeliness can be considered as a entropy course, object, characters, language, architecture,structure, thinking are the extension of a image way here. What serial are cared about is the conversion among objectstructure and characters, information, base on the experience of the image of ‘ the reading type ‘, the experience of readingabout artist’s subject, about this transformation from experience of reading to concept of the architecture.

石昌杰

enTAIPEItrance
C.Jay Shih

．
．
【進出台北】以車輛穿梭進出台北縣市橋樑的主觀鏡頭，或慢速，或單格，或快速地移動在城市街道之間，彷彿一場搜尋之旅；作者嘗試透過快速流動的鏡頭，與單格搜尋之間，捕捉一些台北城市豐富的生命力，與遭受到時代速度，與城市節奏，或者牽引或者拋棄的台北市民。本片影像與聲音，將共構編織成一齣速度與時代的台北城市交響曲。另一方面也將從「聯結」這個命題，思考類比影片與數位影片的對照與過渡。本片既是進出台北的記錄，也是進出影片與影帶的探索之旅。
．
“enTAIPEItrance” adopts the point of view of vehicles traveling over various bridges in and out of Taipei. Using singleframe,slow-motion, and fast-motion effects, the image moves freely around the city streets in a journey of exploration.The filmmaker maneuvers between rapid, fluid camera work and detailed single-frame stills to capture the lusciousdynamism of Taipei city and its habitants who are subject to flowing time and urban pacing. It is a contemporary symphonycomposed with the imagery and sound of Taipei city. The ‘entrance’ motif also contemplates the contrast and transitionbetween analogue filmmaking and digital filmmaking. This piece is a documentation of arriving and departing Taipei, andalso a voyage between video and film.

瑞秋珮琪與保羅摩斯哥

Lake Hart

Rachel Peachey and Paul Mosig

．
．

雄鹿湖是個大鹽湖，在南澳大利亞沙漠的中間。它也是烏梅拉禁區的部份一個澳大利亞人使用以及美國軍隊測試武力的空間。作品「雄鹿湖」尋求實體移動，探討半成形的故事與想像物，調查密切追蹤非原著民族與古代風景間過去緊張狀態的情景。

．

Lake Hart is a large salt pan in the middle of the South Australian desert. It is also a part of the Woomera Prohibited Area- a space used by the Australian and the United States military to test weapons capability. The Contextual Villains videoloop “ Lake Hart” seeks to document an improvised physical movement performance that explores half formed stories andimaginings investigating the ghostly traces of past tensions between non-aboriginal peoples and an ancient landscape.