基於科技藝術創研成果之呈現及擴大對外推廣的重要性，為更進一步促進國際相關領域與學術機構間的交流，中心於2009年規劃設置全臺第一個科技藝術作品常設性的專業展覽室，並於2010年3月完成啟用，2023年科技藝術館啟用後遷移至本空間，展覽室內除展示中心歷年創作研發成果外，亦邀請傑出藝術家作品參與展出。
展覽室啟用以來，國內外參觀團體及觀眾反應熱烈，透過專人導覽介紹與實際操作解說，除有效推廣科技藝術的教育目的，拉近展覽館與觀者之間的距離，並達到促進國際科技藝術機構與學術團體間的互動與交流，期望建立成為具有自我特色與規模的國際科技藝術發展機構。
展覽介紹 Introduction to Exhibition
變形時間 Transfiguring Time
「星系這個概念…它完美地合成一個經驗的圖像，經驗並不固定在單一定點，而是準備轉化多種不同形式，與其他樣式的經驗交會，卻仍然保有其特定的身份。」
《盧米埃星系》法蘭西斯科·卡塞提
不同時期科技的形變與介入，除影響作品的創作類型外，亦影響藝術家創作的問題意識。《變形時間》藉由對臺灣科技藝術、跨領域藝術、新媒體藝術創作路徑感知與思辯維度的重新部署，展開如星系般的經驗圖像。這幅增生中的「圖像」以1980年代做為起點，透過藝術與科技中心與各世代藝術家在跨領域展演、無人劇場、聲音藝術、錄像雕塑、互動裝置、機械動力、程式演算等多元的作品面向相互交織下，形構出游弋於歷史情境和未來向度之間的變動面貌。
Transfiguring Time
“The idea of galaxy…synthesizes perfectly the image of an experience no longer localized in a single point, ready to assume different forms, at the crossroads with other kinds of experience, and yet still characterized by its own identity.”
The Lumière Galaxy, Francesco Casetti
Transformation and intervention of technology in different times not only affect forms of technological art, but also the context of artist’s thoughts. Transfiguring Time attempts to unfold a cosmological experiential image, through the redeployment of perception and speculative dimensions of technological art, trans-disciplinary art and new media art in Taiwan. This growing image departs from the 1980s, where trans-disciplinary projects, un-manned theater, sound art, video sculpture, interactive installation, kinetic installation, algorithm as well as works in various mediums created by Center for Art and Technology and by different generations of Taiwanese artists intermingled, forming fluctuating changes cruising between historical context and future dimension.
作品介紹 Introduction to Exhibiting Works
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《壞運動 Moving Me Badly》2019
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國立臺北藝術大學新媒體藝術學系、藝術與科技中心
跨領域展演
Department of New Media Arts, Center for Art and Technology, Taipei National University of the Arts
Transdisciplinary Performance/Exhibition
《壞運動 Moving Me Badly》以環境劇場型式結合動力藝術、光的裝置及當代舞蹈，混合戶外與室內、展覽與表演的複合型式，打造行動式的多點觀看視角。作品透過不同元素的交織，反映北藝大體泳館硬體損壞暫停營運的狀態，同時隱喻「壞」所潛藏的多重面向，包含正面、陽光的「運動」所隱匿的「壞」。如當代社會時尚的健身房跑步機，為19世紀英國監獄處罰犯人的刑具。而活躍至今的國民健康操則源自臺灣日治時期，臺灣總督府為了完備國民的健康體格以隨時可參與戰爭動員的收音機體操。
Integrating new media arts installation and transmedia performance, Moving Me Badly triggers bodily senses of the audiences through light. It is an attempt to open up a new kind of transdisciplinary art action. Reflecting then conditions of the TNUA’s swimming pool, where the physical infrastructure is damaged and temporarily closed down, while the original sport function is also being released. Moving Me Badly hints on multiple facets of the term “Bad” and furthermore allows the transformation of “bad space and structure” into the key for loosening and opening up the borders of the system. It is also a contact zone where different elements such as new media arts, smog, laser, visual images, sound, wearable device and dance encounter, gather, overlap, confront, converse and integrate. Moving Me Badly is also a call to ghosts of sport punishment and war mobilization history hidden inside the “bad” or damaged space.
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《罪惡之城 SinCity》2013
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國立臺北藝術大學藝術與科技中心、豪華朗機工
自動控制無人劇場
Center for Art and Technology, Taipei National University of the Arts
Luxury Logico
Automated Unmanned Theater
《罪惡之城 Sin City》以機械、影像、聲光的運動組合代替真實演員的在場表演，試圖打破一般劇場以觀看演員表演為焦點的習慣，以創造全新的體驗。其內容描述地球因資訊過度擴張而毀滅的前24小時，四個陌生角色間的交錯與追逐。它試圖探討數位資訊時代下人類生存狀態的改變，翻新一般對於罪惡的想像，將人們隨著資訊湧動，不斷擴大慾望的同時，也被資訊掏空的真實處境，作為一種當代罪惡的詮釋。無人劇場的「無人」對應人類在精神上的空無以及存在的不真實感。
Sin City 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 theater 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. It attempts to explore shifts in the state of human existence in the digital information era, turning the usual concepts of sin on its head. As desire grows, reality is hollowed by information technology to become a modern interpretation of evil. The “unmanned” of unmanned technological media theater responds to man’s spiritual emptiness and falseness of existence.
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《索多瑪之夜 Night of Sodom》2015
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國立臺北藝術大學藝術與科技中心、超領域媒體實驗室、舞臺動力實驗室、超通訊視覺實驗室
無人劇場
Center for Art and Technology, Trans-Disciplinary Media Lab, Stage Machine Lab, Ultra-Communication Vision Lab, Taipei National University of the Arts
Unmanned Theater
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。作品結合視覺裝置與新媒體科技動態演出，以高度象徵與隱喻的表現，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、體感偵測和鐳射光等元素的調度，讓觀眾體驗介於敘事文本、新媒體視覺與劇場情境的嶄新體驗，進而思索科技對生命與感知的操控，構成一個對文明困境與死亡昇華的大型跨域創作。
The Night of Sodom takes its inspiration from Marquis de Sade's novel The 120 Days of Sodom. Using the events of a fictional murder as a narrative frame, the exhibition re-initiates considerations of contemporaneity. A visual installation and a dynamic new media performance, the exhibition relies on symbolism and metaphors. Utilizing digital automation, the exhibition turns schizophrenia, contemporary disturbances and ambiguity into images, light, sound, mechanical movement; body detectors; and lasers. The audience experiences how narrative context, new media visual effects and theatricality interplay each other and further explores the ways technology manipulates our lives and perceptions. The exhibition has constructed a large-scale, transdisciplinary work that deals with the plight of civilization and sublimation resulting from death.
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《未來聲響 TranSonic 2012》2012-2013
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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
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.
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《鏡花水月 Illusory Reflections》2004
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魏德樂•袁廣鳴•吳宗翰•孫弘
虛擬實境互動式裝置
Der-Lor Way • Goang-Ming Yuan
Zong-Han Wu • Hong Sun
Interactive Virtual Reality Installation
《鏡花水月 Illusory Reflections》為「2004 關渡花卉藝術節」委託製作作品。其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.
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《盤中魚 Fish on Dish》1992
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袁廣鳴
錄像裝置
本作品為關渡美術館典藏
Goang-Ming Yuan
Video Installation
The work is in the collection of Kuandu Museum of Fine Arts
地上放置一個白色大瓷盤（直徑42 cm），藉由上方的投影機投影一條金魚在此白盤中，虛像猶如實境，藉由極具東方符號的圓形、瓷盤及金魚，象徵著自身存在的現實及困境，金魚自在的優游於瓷盤中，只不過永遠也游不出瓷盤。
A projector mounted overhead casts an image of a goldfish on a 42 centimeter white dish placed on the floor and creates a virtual image of a fish swimming in a pool. The work relies on the circle, porcelain dish and a goldfish, all prominent symbols in the East, to suggest the reality of existence and its difficulties. The fish leisurely swims around the dish, but can never escape its confines.
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《模糊的對話 Vague Dialogue》2022
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黃裕雄
演算藝術
Yu-Hsiung Huang
Algorithm Programming
《模糊的對話 Vague Dialogue》源自於黃裕雄從2020年開始記錄疫情期間日常生活中與Siri和Google助理對話的內容並轉換成文字，以此建構「中間螢幕」的語意資料庫，透過「自然語言處理」訓練他們學習藝術家的生活模式。作品分別透過GPT-2與GPT-3生成另一種日常，讓這兩種屬於不同世代的自然語言模型，重新建構和他們對話的情境。
Since 2020, Yu-Hsiung Huang has been documenting the text of his daily conversation with Siri and Google Assistant. In Vague Dialogue, monitor in the middle indicates construction of a semantic archive, training the two other monitors through natural language models in order to relearn the artist’s conversational pattern. The work utilizes GPT-2 and GPT-3 to construct another kind of daily life, allowing the two natural language models to rebuild their own conversation context.
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《召喚者 Summoner》2020
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王連晟
電磁感應聲音裝置
Lien-Cheng Wang
Electromagnetic Wave Receiving and Sound Installation
超自然現象經常與電磁波類比，《召喚者 Summoner》如祭壇般，試圖使用人類留在網路上的痕跡來召喚不同的電磁波。正如古代薩滿儀式嘗試與另一維度的神靈取得連結一樣，手機與雲端資料庫的連結，恍如數位時代的降靈儀式。作品鐘擺裝置末端的電磁波感應器在兩臺手機間來回擺動且感測到電磁波時把聲音放大。手機端則裝設連上網路搜尋引擎的程式，將設定的關鍵字「幽靈」、「神」所蒐尋到的網頁文字依序顯示於手機螢幕上。
Spiritual anomaly is oftentimes related to electromagnetic energy. The Summoner acted as an altar, summoning the different electromagnetic waves using consciousness that was left on the Internet by humans. In ancient times when shamans held a ceremony, sometimes we would say they wanted to connect with god, spirit, or higher dimension. These two cell phones connect to a cloud database, just like a descending spiritual ceremony in the digital age. The end of the pendulum of the work is an electromagnetic wave receiving device, and the pendulum will swing back and forth between two mobile phones. When the device senses the electromagnetic wave emitted by the mobile phone, it will amplify the sound of the electric wave. While the two mobile phones were connected to an internet searching application, constantly revealing the search of two keywords, that is “Ghost” and “God”。
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《暗潮 Underflow》2016
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丁建中
雷射、機械動力
Chien-Chung Ding
Laser,Kinetic Installation
《暗潮 Underflow》藉由自然與科技的交匯，生成介於自然與非自然之間的詩意圖景，就如某種形容人的記憶的方式。有時候，像深海底下沉積的沙與屑、泥與土，毫無表情地安身於此。又或如突如其來海水的湧流，將帶著圓潤的、稜角的種種翻滾攪動，於是乎好像想起了什麼風景、故事般，但也隨著下一秒暗潮的逝去，那些具體的記憶又消解成不帶情感的泥屑，層積在厚厚的海床上。
Through the intermingling of nature and technology, Underflow creates a poetic image wandering between nature and the unnatural, as if a way of describing human memory. Sometimes, it is like the sand, scraps, dirt and dust at the bottom of the deep ocean, quietly sleeping emotionless on the ocean bed. Sometimes, however, a sudden water current stirs the polished and sharp fragments, and we seem to remember a certain landscape, or some story, which dies away with the flow the next second. Then, the concrete memory disintegrates again into emotionless fragments, accumulating on the thick sea bed.
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《通靈板 Ouija Board》2019
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劉家銘
機械動力
Chia-Ming Liu
Kinetic Installation
Ouija由法語 「oui」與德語「 ja」 兩個字根組成，它們的字意都等同於英文的 「yes」。在網路連線的情境中，當人類欲與伺服器連線時，首先要透過裝置提出請求SYN，伺服器接收後向裝置回應ACK（yes），裝置必需再次回應 ACK（yes），人機之間的「交互界面」才得以成立。作品將IPv4的四位數字轉換為四格8 bit灰階，並用電腦程式生產了一張全新層次人機共感的「通靈板」。
The word Ouija is composed of the French word “oui” and the German word “ja”, both of which mean “yes”. In computer networks, when humans want to connect to a server, they must first send it a “SYN” request from their device. After receiving it, the server responds with an “ACK (yes),” and the device must respond with an “ACK (yes)” again. Thus, an interactive interface between the two is established. This work converted four-place IPv4 numbers into four panels of 8-bit grayscale image, visually capturing the various nodes of the network. In this way, Lawrence Liu has used a computer program to produce a Ouija Board with a new level of human-machine empathy.
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《淨土-2020 Backup land-2020》2020
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江卓豫
複合媒材
Tso-Yu Chiang
Mixed Media
《淨土－2020》營造出夢的一隅，成片的螢光蕈落在此叢生，並搭配著設計過如同蚊蚋般的燈具，述說著一道如夢似幻的記憶。又，作品讓螢光塗料這種當代材質，介入處理過的乾燥花與漂流木所指涉的自然，創造某種介於幻夢與末日之間，恍如不存在於現世，屬於未來的人工自然情景。
Backup land – 2020 creates a scene of dream. Fluorescent molds grow, narrating a dream like memory. The work allows contemporary material such as fluorescent paint, to intervene into indicated nature such as dry flowers and driftwood. It then creates a future scene of nature that wanders between dream and the end of the world.
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