作品介紹

 

當期展覽展覽回顧

《語林 In the Talking Forest》2012

 

 

曾偉豪 / Wei-Hao Tseng

聲音裝置 / Sound Installation

 

藝術家企圖透過這件作品表達一種身處聲音風景的想像。在環境中,每個對話、每個聲音都有其獨特的頻率,在人與人對話或人與自然環境互動的同時也被這些獨特的頻率穿透,因此藝術家創造了一種可以讓身體接收穿越的視聽感受。作品中的黑色區塊是曾偉豪從一些對話和自然環境錄音擷取下來的頻率圖,當這些圖樣翻轉成垂直時,非常像樹的樣子,所以藝術家希望透過這樣的視覺形式和身體接觸的互動聲音,讓觀眾感受到被聲音穿透的感覺,就像進入一個由話語聲音所構成的森林風景。

 

In this work, the artist wants to convey his vision of a kind of interactive sound landscape. In an environment, every conversation, every sound has its own special frequency. In interpersonal dialogues or in interactions between humans and their environment, these distinctive frequencies of sound pass through us. Therefore, the artist wanted to create something that allowed the human body to perceive this penetrating sound via an audio-visual experience. The black areas in the work are from some conversations and frequency plots Wei-hao TSENG captured from recordings of the natural environment. When these patterns were turned over to stand vertically, the artist felt that they strongly resembled trees. Therefore, he wanted to use this visual form to create a type of interactive sound with a tactile interface that would allow the audience to experience what it is like to be penetrated by sound. It would be just like going into a forest made out of the sounds of speech.

 

 

 

《eBar – 須彌芥子 Macrocosm in the Microcosm》2007

 

 

國立臺北藝術大學

許素朱林俊賢黃裕雄賈義偉

複合媒材暨互動裝置

 

FBI Lab./ FBI Lab., Taipei National University of the Arts

Xiaoniu Su-Chu HsuJiun-Shian LinYu-Siung HuangYi-Wei Chia

Multiple Media and Interactive Installation

 

在《維摩詰經》中的〈不思議品〉提及:「須彌納芥子,芥子納須彌」——在芥子這般微小的果實之中,也能將須彌山上所有的生命包容其中。直觀地來說,桌上放置的容器正代表了一個微小有限的空間範圍,在容器可裝盛的範圍內,投射了許多有機體似的動態影像,這些充滿數位風格的影像正象徵了杯盤中須彌世界裡的無數生命。

 

In “The Inconceivable Liberation” of the Vimalakirti Sutra, it is written that “Mount Sumeru contains a mustard seed; a mustard seed contains Mount Sumeru.”The life that is on Mount Sumeru is also contained in the tiny mustard seed. Intuitively, the receptacle on the table represents a small, limited amount of space. Moving images of numerous organisms are projected onto objects that can physically be contained within this receptacle. These overtly digitized video images represent the infinite life present in the Mount Sumeru that is the cups and saucers.

 

 

 

《流自慢 Ⅱ Flowing Pride Ⅱ》2009

 

 

陳志建 / Chih-Chien Chen

錄像裝置 / Video Installation Art

 

藝術家的前一個作品《流自慢》將城市漂流之意象透過時間切片的方式,以同心圓之紋理拼貼影像時間,陳述一段恍惚的時空觀感。而《流自慢 Ⅱ》將概念推向更單純的時間觀看,再現一段城市裡被忽略的時間,一處荒廢的天台景色,纏繞於天線的帆布所經歷之時間消磨。

 

In his previous work Flowing Pride, the artist uses the drifting images of the city by cutting up the images filmed over a period of time and pasting them together in the form of concentric circles, in order to convey a confused sense of time and space. 
In Flowing Pride II, he develops an even purer form of the contemplation of time, representing a fragment of neglected time in the city. The work features an abandoned rooftop, showing the passage of time while a piece of canvas is entangled in an antenna.

 

 

 

《聲點 Sound Dot》2010

 

 

王福瑞 / Fu-Jui Wang

聲音裝置 / Sound Installation

 

《聲點》是由數百個喇叭所構成的作品,每個喇叭經由晶片運算而產生不同的音頻,有如數百個頻道的聲響在空間中迴盪,透過數百如點的發聲體,大量高速、亂數控制的聲音點之流射,使欣賞者進入超驗的意識流動狀態。

 

The work Sound Dot features several hundred loudspeakers. Through computer calculation, each speaker produces a different audio frequency, so that the space seems to reverberate with the sounds of hundreds of channels. Through several hundred dot-like speakers, numerous high-speed sound dots fly around, taking viewers to a transcendental state of flowing consciousness.

 

 

 

《未來聲響 TranSonic 2012》2012

 

 

國立臺北藝術大學藝術與科技中心

聲音藝術表演

 

Center for art and Technology, Taipei National University of the Arts

Sound Art Performance

 

國立臺北藝術大學藝術與科技中心為推廣聲音藝術,自2008年起舉辦《超響 TranSonic》聲音藝術系列表演活動,2012年擴大舉辦為《未來聲響》聲音展演活動,邀請跨國創作團隊,以聲音創作表演形式為主體,超越聲響的界限,結合聲音、影像、互動控制、樂器與裝置等多媒材跨界聲音藝術表演,以更深入及更細緻的創新實驗,突破前衛聲音美學的極限。

 

First presented in 2008, TranSonic is a sound art performance produced by the Trans-Sonic Lab. Showcasing sound creation as its main program, it reaches beyond the boundary of sound, and attempts to combine diverse media, including sound and light, images, interactive control, sensors, instruments and installations in an interdisciplinary sound performance. It has become Taiwan’s forerunner and leader in cutting-edge sound art events.

 

 

 

《舞動綻放 Twist to Bloom》2009

 

 

國立臺北藝術大學藝術與科技中心

互動裝置

 

Center for Art and Technology, Taipei National University of the Arts

Interactive installation

 

本作品構想起源於太極拳的招式,當中結合了三種動作感測訊號的偵測(壓力、心跳、動作加速),將太極拳中手部及腰部的「sustain」,即「緩緩流動」的動作精神,用電腦加以解析,並結合視覺性的畫面輔助後,與運動器材業者合作開發此智慧型運動器材,引導民眾達到正確有效的健身與復健效果。

 

This project draws on the T’ai Chi movements. Incorporating three types of sensors for pressure, heartbeats and acceleration in motions, the computer is then able to interpret and visualize the slow and sustained flow of movements in the hand and waist, typical of T’ai Chi. Developed in collaboration with sports equipment suppliers, this intelligent device will be a guide for correct and effective exercise and physiotherapy.

 

 

 

《索多瑪之夜 The Night of Sodom》2015

 

 

實驗室聯盟

國立臺北藝術大學:

超領域媒體實驗室舞臺動力實驗室超通訊視覺實驗室 / 

國立中央大學:

多媒體資訊網路實驗室

藝術總監:王俊傑

大型新媒體互動裝置 

 

Linking LAB

Taipei National University of the Arts:

Trans-Disciplinary Media LabStage Machine Lab

Ultra-Communication Vision Lab

National Central University:

Multimedia Information Networking Lab

Artistic Director : Jun-Jieh Wang

Interactive Mechanical Installation

 

本作品以薩德侯爵所著《索多瑪120天》為靈感發想來源,它並非再現書中故事或場景,而是以虛構的事件為敘事框架,重啟對當代性的思考;它包含視覺裝置作品與新媒體科技動態演出,兩個部分的主題相互呼應疊加,形成一個對文明困境與死亡昇華的大型跨域創作。《索多瑪之夜》的動態演出以一個少年謀殺事件為主軸,共切分五個片段:「物的宇宙」、「殺人狂」、「憂鬱」、「解剖學」與「幽靈」。作品透過數位自動控制,將當代精神上的分裂、騷亂與生存的曖昧情境轉化為聲光影像、機械運動、體感偵測和鐳射光互動等元素的調度,呈現高度的象徵與隱喻。視覺裝置的部分,則以「憂鬱/少年」為主軸,展場中央矗立一座巨大絨毛漂浮裝置,另有環繞牆面四周的平面作品,以偽百科全書的方式開展,不同單字對應的拼貼圖像,與動態演出在主題上相互呼應。

 

The Night of Sodom takes its inspiration from Marquis de Sade’s novel The 120 Days of Sodom. Instead of reenacting the scenes in the novel, the exhibition uses the events of a fictional murder as a narrative frame to reconsider ‘contemporaneity’. A dynamic installation and new media performance echo and intensify the exhibition theme, constructing a large-scale, multidisciplinary work that deals with the plight of civilization and sublimation of death.

The performance component of the exhibition revolves around the murder of a teenager, and is divided into five sections:The Universe of Things, Homicidal Maniac, Depression, Gross Anatomy, and apparition. The intention is to identify elements, much like Sade did eroticism, perversion, and cruelty, and deploy them in various configuration with regard to position or action. The artwork is computer automated, interactive, and relates ambiguous situations, fissures and disturbances in contemporary life to video, mechanical movements, body detection devices, and lasers in a symbolic manner. The theme for the installation component of the exhibition is titled Depression/Teenager. Feathers float in the center of the installation, which are surrounded by two dimensional artworks on the venue’s four walls. Organized using an encyclopedic concept, different elements corresponding to words comes together to form these images, and build relationships between the exhibition themes.

 

 

 

《罪惡之城 SinCity》2013

 

 

國立臺北藝術大學藝術與科技中心

藝術總監:王俊傑

共同創作:豪華朗機工

大型自動控制無人劇場

 

Center for Art and Technology, Taipei National University of the Arts

Artistic Director : Jun-Jieh Wang

Co-Creator : LuxuryLogico

Unmanned Technological Media Theatre

 

以機械動力、裝置、影像的運動組合代替真實演員的現場表演,打破一般劇場中以觀看演員表演為焦點的習慣,創造觀眾全新的觀賞經驗。劇情描述地球因資訊過度擴張而毀滅的倒數前24小時,四個角色彼此交錯與追逐的故事。

 

Non Human Theatre is a live performance created by combining and manipulating mechanical power, installations and images in place of human actors, in an attempt to break the habitual focus on actors, performances in a typical theatre experience to create a brand new audience experience.SIN CITY counts down the 24 hours before Earth ultimately destructs from an over proliferation of information, and tells the story of the crossover and pursuit between four characters.

 

 

 

《梵谷眼中 In Van Gogh's Eyes》2008

 

 

廖克楠 / Keh-Nan Liao

複合媒材 / Mixed Media

 

作者在一次登高近距拍攝臺北101高樓的夜色時,從照片中發現該構圖類似於梵谷的作品《星空》。因此以該照片為背景投射在畫布上,透過程式的運算,使觀者以手在畫布前揮動時,即能產生如《星空》的窩流筆觸效果。

 

While photographing night sky atop the Taipei 101, the artist noticed that the composition of the photograph was reminiscent of that in Vincent Willem van Gogh’s masterpiece, The Starry Night. Here, the photograph is projected onto canvas. When viewers wave their hands across the projection, computerized applications will create swirling effects that mimic Van Gogh’s brush strokes.

 

 

 

《鏡花水月 Illusory Reflections》2004

 

 

魏德樂• 袁廣鳴 •吳宗翰 • 孫弘

虛擬實境互動式裝置

 

Der-Lor WayGoang-Ming YuanZong-Han WuHong Sun

Interactive Virtual Reality Installation

 

作品之創作題材取自中國古典小說《鏡花緣》,此書描述百花仙子謫入凡間的故事。作品主要以虛擬實境的技術,創造出3D虛幻的空間,使作品如鏡中花,水中月,看似有,卻是無,近在眼前卻又觸碰不著,呈現出鏡花水月虛無縹緲的意境。

 

This work was inspired by the classical Chinese novel Flowers in the Mirror, a tale of a hundred flower sprites who were banished into the mortal realm. A three dimensional space is created here using virtual reality technology. What can be seen is not necessarily present. Like the flowers in a mirror, or the moon reflected on water, visions appear in front of the eyes, but cannot be touched – creating an environment of ethereality and elusiveness.

 

 

 

Simulate》2016-2018

 

 

林書瑜 / Shu-Yu Lin

動力裝置 / Kinetic Installation

 

科技與數位創作的追尋與開發,不自覺受制,或是有意識地不被制約,經驗著無數的擺盪,試圖在這當中謀求平衡。新的媒材、技術的探索,從反覆使用中去熟悉,卻也容易迷失其中。如同作品生成中包含的自我生命脈絡、普世價值觀、社會氛圍與環境,那些隱隱約約卻又關鍵的影響分子,是能夠主動察覺、選擇、甚至拒絕,又或是被動地接收與仿效,衍生出一種儀式般的制約。

 

The pursue and development of technological as well as digital art work was unconsciously being restricted, or consciously not being restricted. These kinds of art works struggled between the above mentioned situations and tried to achieve balance within. We get accustomed to the explorations of new medium and new technology through repeated usage, but we could also get lost easily. The creation of a work includes life context, universal value, environment and atmosphere of a society. Those vague but crucial influences could be aware of, chosen or even refused, received and imitated passively, hence deriving a kind of restriction, as if ritual.

 

 

 

印象城市_臺北 Imprint of City_Taipei》2018

 

 

張晏慈 / Yen-Tzu Chang

複合媒材 / Mixed Media

 

在石頭刻上文字是古人保存記憶的方式之一。石頭承載紀錄的責任,亦被賦予傳達訊息的任務。藝術家企圖將城市聲音地圖化與觸覺化儲存,將她於臺北各區蒐集聲音,重新混合,並記錄下錄音的地點,以寫實的聲音軌跡「速寫」城市的音景。當觀者觸碰石頭的肌理時,不可見的街道與路徑透過觀者的觸覺,打開聽覺所建立的聲音景觀。在此作品中,石頭不但是記載聲音的象徵物,更是觀者尋覓、聆聽『作曲』的介面。

 

Imprinted words on rocks have always been one of the many ways to retain memories in ancient times. Rock bears the responsibility to record, and the task to deliver messages. The artist attempts to transform urban sounds into storages of maps and tactual sensations. She collected and remixed sounds from different areas in Taipei, documented recording venues and “sketched” urban soundscapes through traces of realistic sounds. When viewer touches the texture of the rocks, sceneries of sound constructed by auditory sense will be revealed through invisible streets and paths, triggered by the viewer’s touch. In Imprint of City, the rock is not only a symbol of documenting sound, but also an interface for viewers in search and listen to sound composition.

 

 

 

《名畫大發現 – 清明上河圖 Explore – Along the River During the Ch'ing-ming Festival》2005

 

 

國立臺北藝術大學 FBI Lab.

許素朱陳秀慧吳昌哲陳瀅中黃裕雄 陳仲辰蔡志威蔡遵弘林雅芳陶亞倫

互動影像裝置

 

FBI Lab., Taipei National University of the Arts

Xiaoniu Su-Chu HsuHsiu-Hui ChenChang-Tse WuYing-Chung Chen

Yu-Hsiung HuangZhong-Chen ChenChih-Wei TsaiTzuen- Hung Tsai

BiBi LinYa-Lun Tao

Interactive Image Installation

 

《名畫大發現─清明上河圖》是國立臺北藝術大學於2004年執行國科會之「文化內容創意加值應用」的計畫內容之一,主題選用《清院本清明上河圖》,針對畫中內容,規劃二十個「互動式主題」,設計成2D、3D動畫或影片等數位影像。透過互動式觸控與影像融接技術,當觀者靠近投射桌並觸摸畫中的標的物,系統將會把所對應的「互動式主題」點之數位影像呈現出來,並輔以深入淺出的文字說明。

 

Masterpiece Discovery was developed in 2004 under the directives outlined in the National Science Council’s “Cultural Content, Creativity and Value Added Application Project”, as implemented by the National Taipei University of the Arts. Using the Qing Dynasty version of Along the River During the Ching-ming Festival as its subject, the work designates twenty interactive themes within the painting for which 2D and 3D animation or video has been designed.  As viewers approach the projection table and touch the objects in the painting, the system will display the corresponding digital images supplemented by concise textual explanations through the application of interactive touch screen technology and image fusion techniques.

 

 

 

《築霧 Fog Building》2011

 

 

蒲帥成 / Shuai-Cheng Pu

複合媒材 / Mixed Media

 

作品構想主要來自藝術家所居住的城市,把周遭生活環境的影像轉換成向量動畫,並將之投影在水霧上面,用線條、點和影像重新定義充滿霧的空間。現下流行的3D 電影是利用兩眼視差構成立體幻象的原理,《築霧》則是轉換 2D 動畫,創造裸視 3D 並且可觸摸的實像,打破現實與虛幻的界線。

 

The concept for this work came from the city where the artist lives. The surrounding environment has been converted into vector animation, and projected on to misty water vapor. The artist redefine the mist-filled space using lines, points and images. The 3D movies currently in vogue create the illusion of three dimensionality using principles of parallel vision, whereas this work uses two dimensional animation to create a tangible third dimension that can be perceived by the naked eye, breaking the boundaries between reality and imagination.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



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