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《名畫大發現 – 清明上河圖 Explore – Along the River During the Ch'ing-ming Festival》2005
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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 Hsu•Hsiu-Hui Chen•Chang-Tse Wu•Ying-Chung Chen
Yu-Hsiung Huang•Zhong-Chen Chen•Chih-Wei Tsai•Tzuen- Hung Tsai
BiBi Lin•Ya-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。
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《一百萬個心跳 One Million Heartbeats》2006
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國立臺北藝術大學 FBI Lab.
許素朱•林經堯•陳家文•陳瀅中•林俊賢•林世昌•余孟杰•張耿豪•張耿華
互動式無線感測網路藝術
FBI Lab., Taipei National University of the Arts
Xiaoniu Su-Chu Hsu•Jin-Yao Lin•Carven Chen
Ying-Chung Chen•Jiun-Shian Lin•Shih-Chang Lin
Meng-Chieh Yu•Keng-Hau Chang•Geng-Hwa Chang
Interactive WSN Net Art
《一百萬個心跳》是一件由展場參與者的身份與行為所建構的互動式網路裝置行動藝術，主要乃探討數位時代的社群行為。民眾的性別、血型、生肖等身份資訊與心跳脈搏、情境感知的行為，將會決定胎兒的最後孕育情形與樣貌。
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《LLSP Laser – Lamps – Sound Performance》2006
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姚仲涵
複合媒材
Chung-Han Yao
Multiple Media
本作品改自作者於即時演出時所彈奏的一個自製樂器，演奏者於一道綠色的雷射光間彈奏，當身體碰到雷射的時候，日光燈將通電亮起，於日光燈周圍放置類似麥克風的裝置，將日光燈微小的噪音輸入電腦之後放大，雷射從發射到接收的距離之內，可用感應器判斷手的位置，並控制聲音的高低。作者將控制的方法對應到身體，進而尋找一個身體與演奏的關係，並產生一個新的演奏方式。
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《eBar – 靈幻跳影 Painting Bar》2007
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國立臺北藝術大學FBI Lab.
計畫主持人 : 許素珠
複合媒材暨互動裝置
FBI Lab., Taipei National University of the Arts
Director : Xiaoniu Su-Chu Hsu
Multiple Media and Interactive Installation
在繁忙緊湊的生活中，身體不知覺的禁錮了我們的靈魂，我們可望透過超現實的幻想，讓我們的靈魂器官一一脫離軀殼幻化成自在的幽靈。本作品結合多點觸控感測與影像偵測技術，讓在此休憩啜飲的人們，藉由本作品的表現方式，使自身的幽靈器官隨著影像變換悠遊其間，並藉以縮短人與人之間的疏離感。
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《eBar – 須彌芥子 Macrocosm in the Microcosm》2007
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國立臺北藝術大學FBI Lab.
許素朱•林俊賢•黃裕雄•賈義偉
複合媒材暨互動裝置
FBI Lab., Taipei National University of the Arts
Xiaoniu Su-Chu Hsu•Jiun-Shian Lin•Yu-Siung Huang•Yi-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.
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《境非心外‧心非境中 – iFog 創意空間 iFog – Creative space》2008
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陶亞倫 • 王福瑞
大腕影像股份有限公司
「數位創意生活應用技術研發」學界科專計畫
計畫主持人：許素朱
互動裝置
Ya-Lun Tao • Fu-Jui Wang
BULKY Animation Studio
Innovation Application and Technonogy Delelopment of Digital Life Project
Director : Xiaoniu Su-Chu Hsu
Interactive Installatio
作品以山水畫為動畫藍本，建構在一個長方形的暗室空間，上方裝置大型超音波水幕，並設計一組軌道與馬達自動驅動控制系統，使水幕裝置可緩慢的前後移動。將此暗室空間視為一個虛體不存在有前後景深的煙雨山水畫境，而大型移動式水幕裝置則被視為畫境的延展與壓縮器，水幕前後移動時產生景深與視點移動的立體山水動畫影像，使觀眾能走入畫境並悠遊於山水畫之中。
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《梵谷眼中 In Van Gogh's Eyes》2008
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廖克楠
複合媒材
Keh-Nan Liao
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.
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《光面漫游 Surfing on the Ray of Light》2009
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莊志維
互動裝置
Chin-Wei Chuang
Interactive Installation
本作品藉由日常生活中常見的日光燈管，重複緊密排列的平面樣態，透過電流傳導進而產生質變，在物理原子微量撞擊中以新的型態再次重新組裝。眼前的光透過身體觸碰而即時變化，形成區塊、擴張、飄移，無立場、無個性的狀態，以一種看似強硬卻又光滑柔軟的方式安靜地移動，一幅一幅光的漫游。
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《流自慢 Ⅱ Flowing Pride Ⅱ》2009
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陳志建
錄像裝置
Chih-Chien Chen
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.
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《舞動綻放 Twist to Bloom》2009
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國立臺北藝術大學舞蹈學院、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.
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《萬有引力的下午 L'Après-Midi de la Gravité》2010
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國立臺北藝術大學藝術與科技中心
藝術總監：王俊傑
科技表演劇場
Center for art and Technology, Taipei National University of the Arts
Artistic Director : Jun-Jieh Wang
High-tech Theatre
一個獻給大人們，關於愛、記憶與發現的童話。本製作運用了新媒體數位技術，包括身體感測、全景貼圖投影、調光薄膜等新式材質，激發科技表演劇場的新可能。劇情呈現當代人際關係，描述兩個互不相識的現代男女，一位四十歲出頭女人，一位是初入社會的年輕男子，他們都處於人生中某個轉折的狀態，正在尋找未來。一個是失去親人的悲傷，一個是初入社會與失戀的茫然，透過他們，探討如何在重重難題後，重新獨立面對自我，變得更為完整成熟。劇中的重要場景設定在「奈及利亞」，奈及利亞是全世界七成舊電視的回收國家，也是全世界雙胞胎生產率最高的國家，劇中女主角追尋意象亦在此被點出。環環相扣的主題，共有八個傘狀的片段，相互連結，但又可以獨立成篇。
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《聲點 Sound Dot》2010
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王福瑞
聲音裝置
Fu-Jui Wang
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.
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《暴風中心 Storm Center》
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王世邦
複合媒材
Shih-Bang Wang
Mixed Media
本作品乃是模擬爆風情境的空間裝置，觀者只有在外圍，才能感受到最完整的風暴能量，越靠近暴風中心，對它存在與否的判斷依據將逐漸喪失，由距離的遠近改變風暴能量的變化。另一方面作者也企圖透過此作品的呈現，探討人與空間的關係，引領觀者的思緒能進入有如黑洞一般的空間裡。
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《再生運動 Regeneration Movement》2011
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王連晟
複合媒材裝置
Lien-Cheng Wang
Mixed Media Installation
藝術家使用其他方式，讓原本用來連接電腦但遭淘汰的二手光碟機，重新活了過來。它的養分來自於網路上的資料，當觀眾站在並置的光碟機前，有如置身於資訊的洪流之中，此種身體感，正是來自於快速製造中已被廢棄光碟機無機的運動產生。
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《築霧 Fog Building》2011
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蒲帥成
複合媒材
Shuai-Cheng Pu
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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《語林 In the Talking Forest》2012
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曾偉豪
聲音裝置
Wei-Hao Tseng
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.
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《Simulate》2016-2018
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林書瑜
動力裝置
Shu-Yu Lin
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.
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《印象城市_臺北 Imprint of City_Taipei》2018
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張晏慈
複合媒材
Yen-Tzu Chang
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.
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