陳志建

Date Line

Chen, Chi-Chien
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「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。
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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。
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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。
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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

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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。

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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
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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。
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'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
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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。
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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．

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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。

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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
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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」。
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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
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《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。
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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
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《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。
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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」。
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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』）
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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.
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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.
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林豪鏘

Felicitous Dinner

Lin, Hao-Chiang
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「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。
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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
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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。
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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.