@臺北數位藝術節成果回顧展研究整理
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年份屆數展覽主題策展理念 Curatorial Concepts中文論述網址英文論述網址
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2006第一屆靈光乍現 -- 雖遠猶近,雖近猶遠 Aura Spurt -- Remoteness Nearby國際性的靈光 藝術節慶是發聲與群聚的最佳管道,然而其一切評價皆關乎最初始的定位與格局, 「靈光乍現---雖遠猶近,雖近猶遠 Aura Spurt -- Remoteness Nearby」即具備國際化的理想與氣氛, 邀請之藝術家以國際性深具代表者為主,提昇國際能見度,也使該藝術節成為國內外數位藝術創作者交流觀摩的平台。 不僅可豐富台北的都市意象,擴充國際化的面向,帶動觀光人潮,並成為亞太數位藝術重鎮。 多樣性的靈光 將有別於傳統的大型藝術主題展,擺脫嚴肅、難以親近的形象;而藉由活潑、多面向的色彩, 以熱鬧的活動、清楚的表達擴大與市民參與的意旨,將藝術生活帶入數位科技與網路架構已相當成熟的台北市。 「靈光乍現---雖遠猶近,雖近猶遠 Aura Spurt -- Remoteness Nearby」以數位藝術活潑多樣的表演內容, 分別在動態表演、靜態展演、藝術講座等大項,規劃安排國內外知名藝術創作者, 作品囊括影像網路電音舞蹈等形式,以包羅萬象的手法與媒材呈現各異的精神內涵, 為觀者提供數位藝術豐富多元的面貌,以及在多樣性的藝術作品之中,提供新的價值氛圍。 藝術性的靈光 台北每年數位內容的展示仍以商業為主,並以消費電子產品為大宗,對數位藝術性質的展演似乎較少認識。 「靈光乍現---雖遠猶近,雖近猶遠 Aura Spurt -- Remoteness Nearby」在極具親和性的展演活動下, 懷抱對藝術比重與品質的堅持,確實達到展現台灣數位藝術創作能量的願景,使藝術不至於在節慶中迷失焦點, 並在各大國際性數位藝術節中站穩自己的位置。活動的主題將不同於同時期美術館中的台北雙年展、公共藝術節, 以及有著相當歷史背景的金馬影展,作出清楚有別的區隔。 「靈光乍現---雖遠猶近,雖近猶遠 Aura Spurt -- Remoteness Nearby」是平易而愉快地貫徹數位藝術本身的分享與娛樂性格。 數位藝術因其有別傳統媒材的表達以及欣賞方式,容易使觀者產生親切的互動以及投入參與; 其實,數位藝術是最符合生活化、與大眾最貼近的藝術形式,並大多以展演者平易詼諧的手法,貫徹藝術生活化、 娛樂化的理想。「靈光乍現---雖遠猶近,雖近猶遠 Aura Spurt -- Remoteness Nearby」 藉由豐富多樣的展演活動促發民眾的學習,建置活動網站,活動後並有專刊的印製發行, 充分利用數位藝術的互動特徵,加強這樣的特性,以開放的態度提供參與者最多的交流機會, 以此落實數位藝術教育的目的,提昇藝文族群對數位藝術的賞析能力,也藉由數位科技對藝術與大眾的穿透與影響, 在感知的空間與時光之間,產生參與的愉悅。 Aura of Cross-Culture Art festivals are the best occasions for speaking out or gathering people. Nevertheless, the credit of an art event is decided entirely by the direction and themes it sets out in the first place. Aura Spurt-- Remoteness Nearby aims to, in the short term, bring an international perspective by inviting eminent artists from all over the world to take part and, in the long term, prepare Taipei as a platform for the exchange of digital artists at an international level. Additionally, the event highlights the cultural assets of Taipei, a city looking forward to playing a more active role in the Asia-Pacific area. Aura of Diversity In contrast to stereotypical art events that distance themselves from the public with overly academic issues, this event sends out a clear message through colorful, animated activities that the public is welcome to get involved. Such public involvement is especially promising in Taipei, a city with quite a comprehensive infrastructure of digital technology and networking where people are familiar with the application of such innovations. Aura Spurt -- Remoteness Nearby consists of performances, exhibitions and lectures, exhibiting works include a variety of images, network, music and dance created by eminent local artists as well as well-known artists from all over the world. Their work presents diverse issues with different media, maneuvers and fashion, meanwhile, it brings out provoking points of view and values. Aura of Artistry There are many fairs focusing on digital technology every year in Taipei, nevertheless they focus on the transactions of consumer goods. Aura Spurt -- Remoteness Nearby presents the dynamics of digital art creation in Taiwan and further reveals the potential and possibilities for the local digital art community. The goals of serving art in digital forms that form the focus of this event are firmly established, and serve to distinguish the event from the various other art events in Taipei. Despite the cogitative nature of artistry, Aura Spurt -- Remoteness Nearby is sharing and amusing. Compared to conventional art creation, digital artwork usually is inspired by daily life, therefore it is close to daily life. This is reflected in the fact that many digital artists favor presenting their art in a humorous, entertaining style. Aura Spurt -- Remoteness Nearby is also educational. In addition to the activities of the event proper, the website and publications are the most convenient learning tools for interested people. Many programs are interactive --a unique advantage of digital technology-- to provide an environment for exchange as open as possible. To art lovers, it is an opportunity to communicate with art in digital forms; to the public, it is an enjoyable occasion to learn about the relationship between art and technology.
http://digitalartfestival.tw/daf06/aura/idea.html
http://digitalartfestival.tw/daf06/aura/idea-e.html
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2007第二屆OPENPLAY 玩開數位藝術與生活結合

近年來,數位藝術已經成為各個領域的流行語,其表現形式的多變與內容意涵的豐富,使其不僅成為最富親和力的表現媒介,更是兼具深邃與新穎的藝術概念。數位藝術全面觸發了感知經驗的重新啟動,無論是創作者的興奮心情或是觀眾的樂觀期待,都能在此獲得適當的回饋與啟發。

憑藉其高度的渲染張力,數位藝術已超越過去任何一種藝術形式與派別,為我們帶來的最普遍且直接的創意分享迴路。也就是說,現在就是數位藝術與生活結合的時代,不用等待未來。

認知模式的全面更新

數位藝術蓬勃發展的趨勢中,美學上的思維與評論也同步反應著當代認知模式的更新,而這種當代潮流的廣泛參與的情況,與過去思潮迥異之處就在於全面性的參與而非由少數菁英所組成的論壇。
由於數位化工具與全球資訊網路的同步傳播,世界不但轉化為一連串可以複製的數碼,更因為時空概念的壓縮,讓我們已然置身人類文明以來最普遍化的質變之中。檔案藉由分散式的儲存與下載模式在網路上複製流通,巨大的運算式也可利用電腦資源分時處理,形成無限大的超級電腦,我們每天都在這樣的數位時代中共同演化。
機械時代文明進化的類比軌跡,已經不足以延伸詮釋數位時代的進化速率及其圖例,而此時所謂的藝術究竟如何表現其時代的面貌,突然成為一個難以在歷史經驗中找到合理論證的全新命題。

與其建立美術史的脈絡與詮釋系統,倒不如改以輕鬆的心情,直接去感受數位藝術究竟能為我們帶來何種陌生的經驗,並且享受在生活中偶然相遇的驚喜。

開放的心態與新的內容

數位技術與概念對於藝術創作而言,既可以說是一種形式上的創新,也可以說是一種內容上的進化。所謂形式上的創新是顯而易見的具體事實,隨著技術的更新,藝術表現的手法當然新穎,作品也能擁有更多樣化的發展潛力。但我們更關心的是數位概念為藝術創作所開拓的新境,即內容上的進化才是數位藝術真實的生機,否則較之於數位化的全世界,所謂的數位藝術到底有何值得自詡不凡的成分?
開放的心態是數位時代的必然結論,我們也已經非常習慣於隨著數位工具與網路的普遍應用,來自世界各角落的創意不斷熱情上演,彼此交換信息。創意的成果已經不限於在美術館的主題展覽中才得以分享,而是藉由鍵盤滑鼠的操作在螢幕上具體呈現,並藉由多樣性的媒體重覆傳遞其內容,擴張其影響力。不但觀眾與創作者的距離驟然接近,其彼此之間的界線也越來越模糊,觀眾隨時都可能變身成為另一位新的創作者,如此自由創作與分享的情況,正是我們這個時代的主流趨勢。

創意分享的藝術節慶

開放的心態,既是數位時代的必然結論,當然也是台北數位藝術節活動的前提。數位藝術作品大多不用先自備背景知識即可親近與欣賞,不會與觀眾產生隔閡,是最貼近大眾的藝術形式。並且,藉由豐富多樣的展演活動讓民眾能有機會參與,充分利用數位藝術的互動特性、平易詼諧的表現手法,最能貫徹藝術生活化、娛樂化的理想。節慶式的活動強調此一特性,以開放的態度提供參與者最多的互動機制,同時也是創意分享的最佳管道。
此次藝術節包括了國際邀請展、台北數位藝術獎、數位藝術表演與創作論壇等四大主軸。除了邀請國際性深具代表的藝術作品與表演,提昇本活動的國際能見度之外,另一方面,玩創意早就不只是藝術家或專業工作者的專利,我們希望藉由無條件限制的徵件活動,讓台北數位藝術節成為國內外創作者交流觀摩的平台。這個活動的意義,不再只是一個藝術展覽,而是大家都有機會表現自己的共同舞台,只要擁有創意與實踐力,每一個人都有機會變成展出的藝術家,以最自然的態度表現自己的創意。
當然,一般觀眾仍然得以藉由親身參與這場藝術節慶活動,感染創意分享的樂趣,在生活之中的處處增添驚喜。

玩得開心、盡情發揮

人類文明進化的目的絕非不斷提高生產力,而應該是回歸人性化與自在快樂的生活。數位時代高效率的生產工具已經提供了全新的實踐力,同時也有助於我們有更多的閒暇時間分享生活創意,其發展模式是透過網路的連結,讓每一個節點各自演化,並能共同營造美好的願景。
由創意的萌芽到付諸實踐的過程中,保持輕鬆的的心態經常是創新發明的必要條件,無論是產品研發或是藝術創作,我們已經對思想創意將帶來更優秀的品質有所共識,此時提高生產力與維持開心的生活已成為互為表裡的概念,而盡情發揮創意正是各領域活力的泉源。
透過數位化科技、藝術、人文與科學的結合,可以激發出更多的創意和可能性。以數位藝術的科技理性,融合感性的人文關懷,展現台灣的文化、藝術與創意產業的豐富面貌。在逐步建構屬於台灣特色的文化產業的同時,也達到與國際接軌的終極目標。

國際視野與本土特色

由於台灣位處東西文化的轉運重要地理位置樞紐,擁有多元化的社會、優質的文化、豐富的生活形態與創新的環境,配合台灣文化的強烈海洋性格,在常年累積下來的成熟商業活力與豐富的國際視野,提供了我們建構人文環境的新契機。
我們已經熟悉台北有眾多以產業為主的國際級展覽活動,而一個能代表台北的數位藝術盛會,將來自全世界的代表性作品齊聚一堂,將更具有指標意義,讓台北成為具有內涵的數位城市。一個國際性的數位藝術節活動能建立城市的特色,不但能吸引來自全世界的目光,活潑熱鬧的系列活動推廣表演,將國際知名藝術家與作品齊聚台北,與市民共享創新的世界潮流。
同時,國內擁有的世界一流的資訊環境,更是發展創意加值的最大助力。例如:台灣在數位落差的程度上是全球最低的地區,台北市2006年就曾以完備無線網路建設,被國際權威機構評選為全球最聰明的城市之一。這樣的環境下所培養的人才,即將在不久的將來,在這一波知識經濟的巨浪上,展現無限的創造力與帶來實際的利益。
具有本土特色的國際視野正是台北數位藝術節的價值之所在,我們一方面引進最新的世界潮流,一方面也結合國內相關資源,提出適合本土發展所需的企劃,達成數位藝術與資源整合的目標。

積極參與、分享成果

台北數位藝術節不僅是一個藝術展覽,更是定位在走出美術館、走入人群的綜合性展演活動。因此在活動的策劃上,是要將數位藝術透過具親合力的表演藝術、誘發遊戲動機的互動作品,以及透過網路延伸擴大參與藝術節的族群。這些活動設計的元素,都在鼓勵所有市民積極參與這個分享創意的節慶,無論任何背景觀眾,都能從活動中感受到歡樂的節慶氣氛、分享豐收的成果。
The merging of digital art and livelihood

In recent years, digital art has become a popular idiom in a wide range of areas, as its diversity of expression and variety of content have made it the most approachable medium as well as a profound and novel artistic concept. Digital art has reignited fully perceptual experiences in that it provides suitable feedback and inspiration to both the excitement of the creator and the positive expectation of the audience.??

With high levels of intensity, digital art has surpassed all previous art forms and styles to give us the most direct and prevalent circuit of creativity sharing. In other words, now is the time that digital art and livelihood merge – the future has come.
Total update of the paradigm of cognition

In the trend of flourishing digital art, aesthetic thought and criticism also reflect a total update of the contemporary paradigm of cognition: the widespread engagement with a current trend differs from past thinking precisely in that the forum consisting of a few elites has been replaced by full participation.?

Digitalized tools and simultaneous transmissions on the global information network have transformed the world into a series of replicable digital codes, coupled with the compression of the idea of space and time, placing us in the middle of the most sweeping qualitative change to human civilization. Files are copied and circulated on the Internet through distributed storage and download modes, mammoth computations can rely on time-sharing processing, which in effect creates a supercomputer of infinite capability. It is in such a digital age that we are evolving every day.

Analog tracks of the progress of civilization in the mechanical age cannot be extended to interpret the speed of progress in the digital age or its legends. Suddenly, how so-called "art" should represent the facets of time becomes a brand new proposition lacking reasonable argument over the course of history.

Instead of trying to define the position of digital art in art history or create systems of interpretation, it may be better to relax and feel directly the strange experiences digital art can bring while enjoying the surprise of life's chance encounters.

Open-mindedness and new content

In terms of creating art, digital techniques and concepts translate to an innovation in form as well as an evolution in content. While the former is an obvious, concrete fact – with newer techniques of course come newer forms of representation, giving the works more diverse potential for development – it is with the latter, the new possibilities presented by digital concepts, that we should be more concerned. Namely, the true vitality of digital art must lie in the evolution of content, otherwise, how can so-called "digital art" boast of any exceptional component that would distinguish it from the general digitalized world?

Open-mindedness is the inevitable conclusion of a digital age, as we have indeed become used to the constant passionate displays of creativity from all corners of the world and the exchanges of information between them with the pervasive application of digitalized tools and the Internet. Results of creativity are no longer confined to themed exhibitions in museums, but can be presented tangibly on a screen through tappings on the keyboard or a click of the mouse, its content delivered repeatedly via a variety of media to increasing impact. Not only has the distance between audience and artist shortened drastically, the boundaries between the two roles have also blurred, as an audience can easily morph into another artist. The freedom of creation and sharing is the mainstream of our age.
Festival of art for creativity sharing

Since open-mindedness is the inevitable conclusion of a digital age, logically, it is also the premise of the Digital Art Festival Taipei. Most works of digital art can be approached and appreciated without the prerequisite of background knowledge, and for the audience, there is no barrier – it is a form of art closest to the public. In addition, the rich variety of exhibition and performance activities allows people to participate, as proper utilization of the interactive, accessible, fun presentations of digital art can best realize the ideal of living, entertaining art. This feature is emphasized in the festival organization, which adopts a liberal attitude to provide participants with the greatest interactive mechanisms possible and the optimal channels for sharing creativity.

This year's festival includes four main areas: international exhibition, Digital Art Awards Taipei, live performance and artist forum. On the one hand, highly representative and world renowned artists are invited to exhibit and perform to raise the international profile of the event. On the other hand, since being creative has long moved beyond the exclusive prerogative of artists and professionals, our call for works has no particular requirement, in the hope that DAF Taipei can serve as a platform for local and international artists to communicate and engage in exchanges. The event is significant because it is not simply an art exhibition, but also a common stage on which everyone has the opportunity to show off; with creativity and power of realization, anyone can be an exhibition artist and express his or her individual creativity in the most natural way.

Of course, one can still take part in this festival of art as a member of the audience, and feel the joy of creativity-sharing as well as the many pleasant surprises it adds to life.?

Full on fun and play

The purpose of progress in human civilization is definitely not to raise productivity non-stop, but to return to a human way of life that is carefree and happy. In the digital age, highly efficient production tools already offer brand new powers of realization that can also help us enjoy more leisure time for the sharing of creative living, a model of development where each node linked on a network is allowed to evolve on its own and collectively create a wonderful vision.

In the process of an idea's germination to its realization, a relaxed attitude is often essential to achieving inventive originality. Whether regarding product development or art creation, the consensus is that innovative thinking would lead to better quality, and raising productivity and maintaining a fun lifestyle have become two sides of the same coin, with being creative as the source of vitality in many areas.

Through the combination of digitalized technology, art, culture and science, more creativity and possibilities can be stimulated. The technological rationality of digital art fused with cultural sensibility and concerns makes it ideal to display the richness of Taiwan's art, culture and creative industries. At the same time, this can help in the gradual construction of a distinctively Taiwanese cultural industry and achieve the ultimate goal of connecting with the world.

Global perspective and local features

With its important geographic location and pivotal position in cultural exchanges between East and West, Taiwan has a diverse society with exceptional culture, varied lifestyles and an innovative environment. Together with the strong oceanic influence in its culture, the accumulated mature commercial energy and ample international perspective, Taiwan can now take advantage of a new opportunity to construct its cultural environment.

We are aware that Taipei is already the venue of many international industrial exhibitions, but a feast of digital art that is representative of the city and gathers cutting-edge works from around the world to the city will be even more significant for Taipei's status as a digital city with cultural substance. An international digital art festival can distinguish a city by attracting the world's attention; but more importantly, the series of vibrant, lively activities of the event can draw internationally renowned artists and their works over to share innovative world trends with its citizens.

Furthermore, the world-class information environment of Taiwan provides optimal assistance to the development of creativity as an added value. For example, Taiwan is considered one of the regions without digital gap in the world, and in 2006, Taipei City was selected by an authoritative international rating agency as one of the smartest cities in the world for its comprehensive wireless network infrastructure. The talents nurtured in such an environment will surely stay on top of the knowledge economy wave and display their infinite creativity to bring tangible benefits in the near future.

The value of DAF Taipei lies in its global perspective with local characteristics. While introducing the latest world trends, we will also bring together local resources to propose plans most suited for domestic development, and in turn attain the goal of resource integration related to digital art.
Active participation and sharing of achievements

DAF Taipei is more than an art exhibition – it is oriented towards a combined exhibition and performance event away from the museum and amongst the crowd. Therefore, in the curation of the activities, we aim to let digital art reach out to a wider festival-going crowd through approachable performance art and interactive works that induce motivation for game play. The elements in activity design are intended to encourage all citizens to participate actively in the creativity-sharing festival, so that regardless of background, they can experience the joyous festive atmosphere and share in the rewarding achievements.

Please come to have fun with an open mind. We hope to spark off a new spectrum of creativity in natural interaction with each other, and to define DAF Taipei by the participation of the artists as well as the audience, as it becomes part of our wonderful collective memory.
http://digitalartfestival.tw/daf07/openplay_03.html
http://digitalartfestival.tw/daf07/openplay_en/openplay_03.html
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2008第三屆超介面 Trans介面與數位時代
  數位時代裡各種介面的作用,是將機械化的電流轉譯成彼此相通的訊息,透過人機之間的輸入與輸出、遠端的連線,延伸成為一個資訊的網絡。我們不用憂心無法回應如此高速變動的科技發展,因為憑藉著介面的代理就能本能地感受著數位化的世界,而解析度與取樣頻率成為真實性的標準。
  所謂的數位時代的意涵,一方面是以無限延伸、電子化的精確運作為基礎,一方面是人的感知活動透過介面、格式化的全新經驗來體現。 儘管對一般認知而言,其運作原理仍屬不透明的過程,但這卻無礙於我們依靠此一工具建立文明與世界觀,數位介面已然深化成為感知經驗的內容。

超介面的意涵
   介面之間的連結永遠是超越單一介面的網路的建構,即介面的功能原本就包含超越本身與向外擴張的隱喻。沒有一個介面是以獨立存在而被設計製造出來的,所有的介面都是一個整體系統架構下的通道,除了完成自身的特殊任務之外,也將同步傳遞訊息給其他介面,包括終端的顯示介面也是透過人的作用以複雜的方式回饋給系統,而這就是超介面的基本概念。 就人文活動而言,超介面也可視為超越與詮釋的介面。
  創意傳遞的過程,由原發的概念到觀眾的現場感受,就如同透過顯示介面將電子流轉化成為可辨識的螢幕資訊。過去,所謂「媒體即訊息」可說是傳遞工具也附加了本身的品味或偏見,如今在以介面作為傳遞訊息的認知裡,不必要的雜訊已經被消除,我們可以更清晰地穿越在創意與創意之間,也就是最樸素的瞬間對應。

身體的延伸與重建
  使用數位或科技的手段是希望透過與本質相同的的圖像,讓視覺更純粹、思想更精確,當我們身處於此一時代的數位化狀態,必須先拋下所有記憶包袱,讓身體進入一個放空的全新經驗,無負擔地直接去感應,此時因為眾多複雜的感受使得語言僅有的詞彙也不堪使用。
  透過介面,人機之間的交互運作讓我們變身為智慧型態的精密機械,電子眼取代視網膜的功能,在網路空間裡,世界成為肌膚及神經末梢的延伸,世界已經透過身體的新經驗而具體實現,而當下的知覺已經自明,無需等待頓悟或再現。


超越時空的狀態
  時空觀念與認知是相對的,亦即文化建構的結論。當代的時空觀念與認知,由於數位工具與新介面融合著身體感知經驗的迅速發展,已經進入時間重疊與空間扁平同步、多元的數位時代。數位藝術作品作為回應時代的產物,必然也會表現出這種超越時空狀態的趨勢。
  本屆台北數位藝術節國際邀請展的作品,將透過多樣化的介面,讓觀眾得以穿越不同的時間與空間。包括結合網路與無線通訊的元素、身體與影像產生的互動模式、遊戲與空間分享、多樣幻變的時空形體圖像…等,呈現的一個感知更新的狀態。
The Era of Digital Interface
    The digital era brings various interfaces to machines in the form of electrical currents, intertwining into an informational network between remote connections and I/O of human-machine interfaces. We should not be concerned towards responding to these fast-paced technological advances, as the new interfaces will act as the intermediate medium for us to directly experience the digitalized world. The standard of reality is now decided upon the resolution and sampling rate.
    Definitions of the digital era include boundless extension of electronic precision as well as the all-new perceptional experience achieved through various interfaces and formats. Even though general understandings of the basic principle lacks transparency, this does not prevent us from relying on this tool to create the civilization and worldview that we currently live in. The digital interface has already melted into our lives as sensational experience.
What is -Trans-
    Connectivity between interfaces is always one step ahead of the single interface network, wherein the originally intended functionality of the interface covers oneself and the external expandability. No single interface will be designed to work by itself alone, but rather as a passage of channel in a complete system; partly to accomplish the specialized task as designed, but also to synchronize information to other interfaces. The display interface at terminal systems is an example of such principle, whereas the human function is relayed to the system through complex mechanisms. This is the basic concept of -Trans- and from the aspect of culture and art, -Trans- can also be seen as the interface to transcend and interpret above all.
    Communication of creativity, from the original conception to the live experience of audiences, is not dissimilar with the process of converting electrons into distinguishable patterns through the display interface. In the past, the phrase “The media is the message” explains the tool of communication with a touch of bias; today, cognition of interface message relay has eliminated all unnecessary noise. We will be able to go from one creativity to another creativity with clarity, going by instant reaction in the most simplistic form allowed.

Extension and Rebuild of the Body
    Going by the digital or technological means is to purify the sense of vision and sharpness of the mind through visuals of similar qualities. When we stand at this state of digital era, all residual baggage in the head must be thrown away for the body to enter a never before experienced journey. No extra weight burdens the senses and words become meaningless under the explosion of all stimulations.
    The interactions of human-machine interface have transformed us into smart and precise machinery; the electronic eye takes the place of our retinas and the Internet space becomes an extension of our skin and nerve endings. The world as we know now is presented to us in an all-new experience, and our cognition knows not to wait anymore.

Transcending Space-time
Space-time and cognition is a concept of relative matter, where the conclusion arrives at the end of the culture & arts passageway. Contemporary space-time cognition has entered the digital era of overlapping time and flattened space, diverse and synchronized developments of blending the new interface with the human body is progressing rapidly. Digital art is such product of the era and will therefore present this trend of transcending space-time continuum.

The invited works form the world, core part of Taipei Digital Art Festival 2008, will present to the audiences a journey through time and space. We will be combining the elements of Internet and wireless connectivity, interactivity of body and images, games and sharing spaces, and transforming shapes etc. to demonstrate an updated version of the human perception.
http://digitalartfestival.tw/daf08/idea.html
http://digitalartfestival.tw/daf08/idea_en.html
5
2009第四屆光怪 Funky Light光怪來了!無所不在,無所不能,稍縱即逝且無可捉摸。

人類自有文明以來,從數位化開始到今日世界,倚靠科技的進展似已到了幾近全能的地步,這個極致的人類智力展現,超越了過去三百萬年地球歷史總和。神造世界已成遠古神話,人們似乎愈來愈確認,由人類智力所營造的科學,改變了過往的一切世界觀。而今日的科技奇景,對照神創世界的未知過去,它所顯現出的極端性,提示了我們仍未釐清的巨大文明幻象及本質。

依舊約創世紀中的描述:「地是空虛混沌,上帝的靈運行在水面上,上帝說要有光,就有了光…」。上帝所造世界的第一日,是由光來區分日與夜,光明與黑暗。作為第一個被上帝創造的神聖之物,也是一個無法捉摸之物,在文明的科學領域中,光卻是以電磁波的形態和原子運動來傳播能量,光成了現實之物,而非神蹟的降臨。在歷史的軌跡中,進步科學與神造萬物的說法常處於兩個極致的端點,而今日科技成了當代的新型信仰,它所追求超越現實的手段,已漸漸轉變為造物者的角色,它與上帝說要光就有了光的景象變得難以區分,到底誰才是真正造物者?今日科技創造了明天,而明天是否又將創造另一個未知?科技與上帝變得分野模糊,它們所呈現的虛幻形象開始不分軒輊。

如果把「光」做為對當代科技與造物力量的一種隱喻,那麼今日人類扮演的新造物者角色所創造的一切最新科技,將也同時存在著現實與神話的雙重性。舉凡基因工程、複製技術、宇宙探險等,特別是傳控空間(cyberspace)裡的網際網路,標示了當前最具代表性的科技應用,不分時地的巨量資訊挪移與所有可能的客製服務,科技正像天網般的呈現在多度空間裡,它驗證了如光一樣的具有神奇的造物性。在不斷的延展之中,人們一方面享受應用著科技的便利,另一方面卻也同時衝擊原有文化底層的價值,例如基因複製技術與物種倫理、網際網路與人際關係等等,這些徘徊在實用主義與矛盾之間的種種現象,使今日世界充滿了幻象與錯覺,猶如從神聖的上帝之光轉變為電與動能之光;像電影的首次發明一樣,看似擬真的連續影像卻是由光與片斷圖像所生成,人們沈浸在想像之中,真實世界的模糊性亦加劇產生,而今日科技的神奇,又絕非一百多年前的電影發明時代所能比擬,真實與非真實的世界相互被取代,我們已被攏罩在一個超大的虛擬現實(mega-virtual-reality)之中。

在超大的虛擬現實世界裡,所有可見事物的意義變得抽象,詮釋邏輯亦被完全打破,我們如何在這樣極端化的環境中進行對科技與文明的思考,逐成為一個重要課題。「光怪」(Funky Light)既是一種戲謔且無具體形象的霓紅閃動,更是以光作為科技極端發達的隱喻,並對今日科學文明本質採取再探討的手段。怪獸並不真的存在,存在的是現實造物者與其背後的虛像,還有如何思考與再詮釋現實的問題。

第四屆台北數位藝術節以「光怪」為題,企圖更為聚焦科技文明背後的虛幻性與本質探討,尤其在國際邀請展的部份,多位重量級創作者的作品或以光來表現當代世界的虛實幻境,或以互動裝置再詮釋造物者的身分,引出藝術語言對當下文明的多重思考,幾項新穎的創作類型亦開拓了本地的科技藝術視野。此外,利用最新互映技術(mapping)創作的開幕演出,以及鮮少被推介的法國當代聲音藝術之閉幕表演,都是不可錯過的精彩設計。

甫於今年成立的台北數位藝術中心,將成為今屆台北數位藝術節的主要推手,作為台灣第一個數位藝術中心,它所扮演的重要平台角色不言可諭,在累積了三屆數位藝術節的經驗成果,本屆將聯結台北數位藝術中心、台北當代藝術館、華山創意園區等展演空間,並整合台北數位藝術獎、數位藝術評論獎、創作論壇、數位內容學院動畫日、KT科技藝術獎及工業技術研究院等平行項目及單位,共組成今年的台北數位藝術節。作為台灣唯一的數位藝術節,它不僅是一項與數位藝術相關的年度活動,更企圖在科技媒體的新知領域中,整理出具有獨特觀點的當代議題與探討。
Funky Light is here! It is Omnipresent, Omnipotent, Instantaneous and Unpredictable

Since the inception of civilization and the development of digitization in the modern world, technology has played an almost omnipotent role; the ultimate expression of human intelligence has surpassed the combined history of the previous 3 million years. God creating the world has become an ancient myth; instead, increasing numbers of people seem to believe, that science has reshaped the world perspective. Today’s advances in technology, when compared to the unpredictable past of the world created by God, exudes a sense of radical change, which is representative of the gigantic cultural illusion and intrinsic quality that has not been clarified.

According to the description in Genesis “The earth was without form, and void, and darkness was upon the face of the deep. The Spirit of God moved upon the face of the waters. God said, let there be light: and there was light.” The first day God created earth, light was employed to distinguish between day and night, brightness and darkness. As the first sacred object to be created by god, light is also unpredictable; in the field of civilization and science, light propagates energy through magnetic wave form and movement of atoms. Light has become something real, not just God’s miracle. In the trajectory of history, the progress of science, and the belief that God is the Creator of all beings are usually opposing viewpoints. However, today’s technology has become the new faith in modern society; its surrealistic approach has gradually been transformed into the role of the Creator. Technology has made God’s phenomenon of “Let there be light” indistinguishable, so who is the real Creator? Technology of today has created tomorrow, but does tomorrow create yet another unknown? Technology and God have become inseparable, and the illusions they present are equally impressive.

If “light” is a metaphor of modern technology and the force of the Creator, then the latest technologies created by men as the new role of the Creator, also possess the duality of reality and myth. Genetic engineering, cloning technology, space exploration, especially the Internet within the cyberspace, are all representative of the application of technology; as a result, a huge volume of information is transmitted regardless of time and place, and fully customized services are also available. Technology is like a sky web that exists in multiple dimensions; just like light, it has proved itself to be a magical creator of things.

Continuously expanding, men have enjoyed the convenience brought about by technology, however the cultural values of men have also been impacted, such as genetic cloning and ethics, the Internet and interpersonal relationships etc. The phenomenon that lingers between pragmatism and contradiction has made the world of today full of mirages and illusions, just as the Holy light of God has been transformed into the light of electricity and kinetic energy. Like the invention of movies, light and segments of pictures produce the seemingly realistic, continuous image; people immerse themselves in the realm of imagination, resulting in the increasing vagueness of the real world. The technological marvels of today are infinitely superior to that of movies made over a century ago; now the real and virtual worlds are almost undividable and we are surrounded by a mega virtual reality.

In the mega virtual reality world, the meaning of all visible objects become abstract, while the interpretive logic has been completely broken; how we conduct thinking towards technology and civilization in such a radical environment has become an important issue. “Funky Light” is a bantering neon flash without any substantial imagery; it is also a metaphor of technology development based on light. Furthermore, the contemporary scientific civilization is reexamined. Monsters do not really exist, rather what is real are the creators of reality and the illusions they create, as well as how to contemplate and reinterpret the problem of reality.

The 4th Taipei Digital Art Festival is based on the theme of “Funky Light”, and attempts to probe into the illusion and nature of technology and civilization. In terms of international exhibitions, many renowned creators have either utilized light to express the virtual reality of the modern world, or interactive installations are used to reinterpret the identity of the creator, in order to induce the multiple thinking of artistic language towards contemporary civilization. Several innovative creations have also opened new frontiers for domestic technology art. In addition, the opening “mapping” creation, as well as the closing performance by the French contemporary sound art, are spectacular performances not to be missed.

Opened this year, the Taipei Digital Art Center is the important driving force behind the 4th Taipei Digital Art Festival. As the first digital art center in Taiwan, its crucial role as a platform cannot be emphasized enough; having garnered experience from 3 previous digital art festivals, this year collaboration is sought with Taipei Digital Art Center, Museum of Contemporary Art Taipei and Huashan Creative Park. In addition, cooperation is also sought with the Taipei Digital Arts Awards, Digital Art Criticism Awards, Artist Forum, Digital Content Institute Animation Day, K.T. Creativity Awards and Industrial Technology Research Institute etc. to form this year’s Taipei Digital Art Festival. As Taiwan’s first digital art festival, it is not merely a digital art related annual event, but also attempts to sort out unique contemporary issues and discussions in the new field of technology media.
http://digitalartfestival.tw/daf09/idea.html
http://digitalartfestival.tw/daf09/idea_en.html
6
2010第五屆Cluster 串叢集運算的串聯,緊縮人與人的距離關係
科技始終來自於人性?愈貼近人們習性的科技,愈無法避免個人隱私的曝露,多數程式提供量身訂作的使用模式之設定,或是個人資料認證的存取等,都是為了方便在網路上進行非實體的交涉行為,這不僅影響個人的思考習慣,也容易造成使用者身分的曝光,尤其位於社會階級較高的貴族,他們在數位時代中毫無隱私可言,現今的網路大眾傳播媒介造就了此現象,它與早期以報紙為主要媒介的社會結構大相逕庭。2010年擁有五億使用人數的最大社群網站Facebook更是將個人真實身分從虛擬的網路推往現實的世界,朋友的關係鏈它像是一串串葡萄,在關係鏈裡的任何一人都可以共同分享一則新聞,甚至可以串連匿名知情者所公開的資料,從中尋找人物或者事件真相。一串串葡萄般的關係鏈,它像一串串音符推疊起來的「音堆」(tone cluster),它的互動和分工模式像Cluster(叢集)運算技術,由於Cluster運算的技術運用和網際網路的普及化,叢集運算結合網路等於串連了密布全球網絡的眾多部電腦,它突破了地球村的概念,換言之,這是一個大型且完全的運算體。但在平行運算系統的架構裡,事實上網路連結的每一端都是各自為政的孤島,主體緊連的另一端主體不單是相互分享資訊、分攤工作而已,主體和主體之間在超越語言、國界、社會規範等價值相互產生影響,使新媒體藝術時代凸顯了主體性相互輝映的特質。
Cluster串的數位時代新思維
雖然Cluster在技術或實際應用上有一個規模底限,但Cluster運算概念可從機械與機械之間延伸思考人與人之間的互動關係。第五屆台北數位藝術節就在一個底限的資源或範圍內,以過去累積的經驗和日益擴增的藝術各領域展演形式建構一個小型的社會型態。在全球資訊溢出的狀態,過去的時間和空間結構被改變,時空的被壓縮使得日常生活的步調加快了,無論在異地或足不出戶的數位工作者,皆可透過網絡空間與外界共同完成一件事,既有效率又可節省時間,此合作關係凸顯現代人既疏離又處於虛擬社群之中的距離關係。2010年台北數位藝術節將「Cluster串」作為整體活動名稱,意旨Cluster的成效需依照各個單位以及區域資源重新配置,如果數位藝術節能夠在每一主軸取得相當的平衡,便像一模組不斷擴大系統規模,相互在數位藝術本質上灌入能量或新思維而不容易產生滯留不前的窘境。

「串」是由單個字符所組成的象形文字,也可稱它為特殊線性表。串在字義上的解讀相當直接,但在具體的說法上又顯的抽象,它與Cluster之間的關係被建立於行為的路徑,除了具連續性的關係或聯繫二者的互動之外,「串」在數位時代中包括了另一涵義「串習」,指的是一種科技在生活中已內化的習慣。微視第五屆台北數位藝術節在2010年規劃的徵件項目,國際邀請展策展團隊、數位藝術表演獎、德法交流駐村以及藝術評論短文之首屆徵選都是經驗串聯的分工型態,台北數位藝術獎、K.T. 科藝獎至今也邁進第五年,涵蓋了聲音、表演、視覺、學術等藝術領域,以一種新的藝術型態呈現;來自阿根廷的404國際電子數位藝術節和ZKM(Center for Art and Media Karlsruhe)德國錄像藝術特展皆首度參與2010年台北數位藝術節,創作者來自於全球各地,各自帶來了自身的經驗和個體的獨特性,形成多個區塊狀的據點,由每一區塊相互牽引、碰撞而聯集成一個發光體(台北數位藝術節)。表面上看來它(發光體)串聯了許多數位藝術平台,每一單位交集的過程中經常發生矛盾、延宕狀況,但仍須保持整體的正常運作,只能在每一受到影響的層面上取得適當的平衡點,因結合而撞擊出未知的新東西也是今年台北數位藝術節主要訴說的重要課題。
Cluster computing series, compressing the distance between people
Does technology always come from human nature? The more technology matches the habits of people, the less people can avoid the problem of privacy in public. Most programs provide custom-made configuration settings or accesses to personal data authentication in order to facilitate the non-physical behavior of negotiation in the cyber world. This behavior not only affects the individual's thinking habits, but also is likely to cause the problem of user’s identity in public. In particular, the nobles, those of higher social class, have no privacy at all in the digital age. Today's mass media of network creates this phenomenon, and it is very different from the early social structure in which newspapers were the main medium. In 2010, Facebook, the largest social networking website, with 5 hundred million users, brings the true identity of individual from the virtual network to the real world. The chain of friends is like a bunch of grapes. Anyone in the chain of relations can share a piece of news. It is even possible to connect to and collect all information provided by anonymous insiders, which is looking for a real person or a truth. As bunches of grapes, chains of relations are similar to strings of notes in music which stacks as “tone cluster”. Its mode of interaction and division of labor are similar to cluster computing. Because of the application of cluster computing technology and popularization of Internet, working of cluster computing with Internet is equal to organize a global network by threading many computers densely covered all over the world. It breaks the concept of global village. In other words, this is a large and fully operational body. However, in the structure of parallel computing system, each end of the link is in fact an isolated and autonomous island. The connection between one main subject to another is not only to share information and work with each other, but the interaction of different values between subjects beyond the limits of languages, boundaries and social norms also highlights the characteristic of the era of new media art where each subject complements the other.
New ideas of Cluster
Although there is a scale limit for the technical or practical application of cluster, the concept of cluster computing can be extended from the relations between machines to the interactions between people. The fifth Digital Art Festival, Taipei based on a scale or range limit of resources, builds a small community pattern according to the experiences obtained in the past and the increasingly amplified forms of art exhibitions in various fields. The global information overflows, the previous structure of time and space is changed, and the compressed time-space accelerates the pace of daily life. Any digital worker in different places or at home can complete a job through the Internet. That is efficient and time-saving. This partnership highlights the alienation of modern man within virtual community. 2010 Digital Arts Festival, Taipei will use “Cluster”as the title of the overall activities. That means the result of Cluster should be in accordance with each unit and the reconfiguration of regional resources. If the Digital Art Festival, Taipei adjusts well the balance along each axis, it will form a pattern that continues to expand the scale of the system, and pours energy or new ideas into the nature of digital art so that it will not be trapped in the dilemma zone.

The chinese character "串" (literally translated in English as ‘series’) is a glyph formed by a single character. It is also called as a special linear form. The meaning of the word "串" can be interpreted directly, but it seems very abstract to use it in a specific situation. The relationship between the Chinese character and cluster has been established in the path of behavior. In addition to the continuous relationship or the interaction between the two, the word "串" in the digital age includes another meaning that is "series of learning", referring to a technology that has been internalized as habits in life. Take a look at the projects sought at the fifth Digital Arts Festival, Taipei 2010, the curatorial team of International Digital Art Exhibition, the Digital Art Performance Award, the Germany and France artist-in-residence project, and the first selection of digital art short essays, these are the experiences of the series of division of labor. The Digital Art Awards, Taipei and the K.T. Creativity Award, which also celebrates its fifth year this year, including sound, performing, visual and academic art, both present a new art form. The International Festival of Electronic Art 404 from Argentina and the ZKM(Center for Art and Media Karlsruhe)of “RECORD > AGAIN! – 40jahrevideokunst.de – Teil 2”in Germany both take part in Digital Art Festival, Taipei 2010 for the first time. Artists come from all over the world. Each of them brings his/her own experience and the individual uniqueness to form a number of strongholds as blocks, and the blocks pull and collide with each other to integrate into a luminous body (Digital Art Festival, Taipei). Apparently it (the luminous body) is a series of a lot of digital art platforms, conflicts and delays occur frequently during the intersection of each unit, but the normal operation of the whole needs to be maintained. The only solution is to obtain the proper balance among each affected aspect. It is also an important issue in Digital Art Festival, Taipei this year, to talk about something new and unknown produced by the impact of combination.
http://digitalartfestival.tw/daf10/idea_tw.html
http://digitalartfestival.tw/daf10/idea_en.html
7
2011第六屆越域 Cross「越域」原初的概念來自於當前的網路和軟體使用規範的無際邊界、數位空間與物質空間的模糊界定等,因而延伸出政治的、無盡可能的問題。以被視為數位版權法躍進的事件為例,「越獄」(Jail breaking)使消費者可以逃出電腦業者獨家電信供應商的電子監獄,為此美國2010年版權法之修改,智慧型手機的使用者將被允許合法下載手機軟體;具爭端的問題還包含自由軟體(Free software)的多元授權條款與資源共享的反資本行為,「自由」與「分享」在數位資本主義之中形成一股反動力量。2011年第六屆台北數位藝術節面臨資源限制的窘境,形成碎型結構的活動型態;面對科技和藝術各領域跨越籓籬之課題一直是台灣持續討論的議題;以及非實體物質存在的空間所產生的事件與現象,故取同音之《越域》(Cross)作為主題概念,具有數位時代的慣用語彙反應其數位現象種種發生的事件。

在數位空間裡「事件」的延伸
每一「事件」都是因特定的地理環境或特定的空間而發生,思維也隨著不同的環境而變化,發生事件的地點、場所成為重要的因素。數位空間成為今日另一個真實的環境,與歷史的地理相異處在於數字運算過程中發生的錯誤演算,卻創造了另一新的物件、1980年中旬出現第一隻病毒,它可透過網路在數小時內蔓延至全球,侵占個人電腦的存取空間、一件軟體原始碼可匯集眾多人的智慧,發展出多種的自由軟體等現象,形成一個不存在現實空間的真實場域。若要描繪出「事件」和「地域」之關係輪廓,數位時代的「域」就像是一個充斥著錯綜複雜的網絡線空間,看不見線的方向、長度和維度,難以掌握線的構成和移動方位,多個端點的無限連結交疊出的「事件」,無法預料或依循事件發生的秩序和規則,它已經打破了傳統的結構再進行重組新秩序。數位空間在各種可能之下發生的個體化事件,不僅只是獨立存在的單一問題,反映出當下的社會現象及延伸其他秩序,譬如早期駭客(Hacker)指的是一群持有共享主義理念的網絡專才,他們因反對霸權的抵制而積極解決問題、方法及分享資原,但在一個尚未形成規則的數位域裡,有另一群自稱駭客的破壞者(Cracker),僅擁有侵入保安系統的能力,扭曲了原初駭客的態度與理念,卻自成一格,然而這樣的事件也只在數位環境之下才會發生。

由外面至內在的主體化過程
「域」在各學門之中釋義皆不同,觀看的視角大相逕庭,在文字字義上解釋為在一定疆界內的地方;在抽象代數中的概念為加、減、乘、除四則運算的代數結構;數位域所指的是從一個領域過度到另一個領域的訊號,在過度之中找尋最佳訊號。如果在藝術範疇裡談論域的議題,不僅是圍繞於疆域界線與範圍、技藝的合作或超越、場域空間的氛圍等藝術品分析,除此之外,在藝術品之上思索與探討自身受到周圍環境的影響而內化的一個過程,將有可能開闢「越域」、「跨域」一條討論的路徑。簡言之,日常生活中的習慣將會是主體的構成之根本,網路社群、即時通訊、虛擬實境等數位科技已經成為這世代生活中的一部分,人類的行為模式已將外在的數位物件內化成習慣,因此主體與主體的問題更為複雜。

綜觀各學科,在數位藝術之中談論的「跨域」已不再只是藝術家和藝術家的事情,或是與藝術家之間達成的共識。然而,在非共識的相異體系下的主體,若無法察覺主體與主體的內化過程之間的差異性,「跨域」就會演變成使用科技作為藝術創作的媒介,因技術上的突破而造成跨越領域的假象。數位藝術無論在創作或評論之中,對於另一陌生領域的跨與越是經常被討論的議題,也是創作者所面臨的難題。在科技園區裡的工程師從未想過自己也可以用自己熟悉的語言創造藝術品,面對藝術也有不同的理解程度,這就是主體的特性,兩個不同領域的跨越將會是主體化的過程。

跨、越
人們最常以單一的平面思維想像越界(域),同時心中已對界域有了既定的概念,則以主體為中心對外界定範圍或意涵,例如主體跨越主體之外想像中清晰的那一條界線,由「域」到「他域」的橫跨,無論是技術與藝術,或是自我的超越,在數位藝術裡平行橫跨已無法跨越另一領域或另一主體。各領域的分界點越來越模糊,越域卻顯得困難,似乎容易產生迷失與不明確的狀態,對於跨越界線的想像往往是線性思考,跨與越倘若能在兩個(以上)主體之間產生褶疊與內在化,建築於Z軸的縱向發展,不但可以測量他者的主體位置,而且在「兩者之外」產生新的面向。

「當域不再是域,他域亦非他域」時,「越域」(Cross)絕非是純粹的一對一的跨越或聯結,延伸出另一個真實的時間和慣性的數位域。更準確的說,在數位域裡「越域」意旨一種「翻攪、改變、重新組合、創造新物」的運動過程。 「域」假使以「空間」概念進行描繪或譬喻之,就如同是相鄰的空間構成,這裡所指的相鄰的空間絕非是以平面的狀態存在,而似植物的根莖(塊根)分布的概念,是一種三維分佈並涵蓋時間的相鄰位置,每一空間之間有著無限可能的連接方式(單點與無限多點的連結),無方向性的連結方式像似佈滿線的空間無法辨別開端與結束;這樣的開放系統建立在交互作用上,非線性及非因果關係,而是創造出複雜的、不斷變動的多樣性。

政策先決模式
第六屆台北數位藝術節在執行上面臨政策決定活動規模以及資源緊縮的窘境,在一個諸多限制的條件模式下,「數位藝術表演徵選計畫」是其中面臨執行困難的徵件獎項,為了鼓勵年輕的數位藝術家持續參與數位創作徵選,數位藝術基金會於今年首度與廣藝基金會共同舉辦百萬數位表演徵選,數位藝術表演需要具規模性的人力、器材和場地,此獎項同時也凸顯視覺藝術和傳統劇場對於數位藝術表演不同的解讀,從徵選的過程思考其中的衝突點。 在活動五大主軸之中,「國際邀請展」多數作品將發生的事件(即時性與偶發)以文件方式呈現,異於以往互動、遊戲 性的作品,更具數位時代微觀事件的本質內涵,符合今年台北數位藝術節《越域 Cross》的理念。
The original concept of cross is a portrayal of the current digital world – web and software with unrestrained terms of use, and the opaque line between the digital space and the material world. That gives rise to political questions with infinite answers. Take the evolution of digital copyright laws for example: Jail-breaking allows consumers to escape the electronic prison imposed by telecom and computer monopolies. The US copyright law amendments in 2010 granted smart phone users the right to download phone apps. Another equally contentious issue is that with free software. With its loose authorization clause and resource sharing capability, free software has been questioned as being anti-capitalist. Freedom and sharing become a reactionary force within digital capitalism. With limited resource, the 6th Digital Art Festival Taipei is presented in a fractal fashion. Crossing the boundaries between technology and art has long been a topic of interest in Taiwan, so are the events and phenomena in the virtual world. Hence, cross is chosen as the thematic concept – a word living up to the terminology of the digital times and reflecting the digital phenomena and events.

Extension of “event” in the digital space
Every “event” takes place due to its specific geographical environment or space. Our thinking changes as our environment alters. The location and occasion of an event become important factors. The digital space is now another reality. What differentiates it from the historical and geological environment is that a mere glitch may produce a whole new object. Mid 1980s saw the birth of the first computer virus. Via the Internet, it could spread to the entire globe within hours, invading into personal computers. The source code of a software application is a product of collective wisdom. It opens up to various types of software, which form a real field that does not exist in the real space. In trying to draw the contours of the relationship between event and field, one should see that field in the digital times is depicted as a space filled with complex web cables. The direction, length and dimension of the cables are invisible, making it difficult to gauge its composition and direction of movement. Infinite linkages between multiple terminals create events. Anticipating or following patterns and rules becomes impossible, as events break away from their conventional structure and recreate a new order. Individual events born out of the various possibilities in the digital space are not individual questions that exist independently. They are but reflections of social phenomena and extensions of other orders. For example, in the earliest days, hackers were a group of Internet specialists with a conviction to share. Against the authority, they pursued solutions and shared resources. Meanwhile, in the digital field where rules had yet taken shape, another group of crackers (self-declared hackers) acquired the mere strength of hacking into security systems. The original hacker philosophy was distorted. These crackers became a separate category. Such events could only happen in a digital environment.

From outside to internality – Subjectivation process
Field is defined differently in different disciplines. Perspectives may vary greatly. Literally, field is a territory with defined boundaries. In abstract algebra, fields are the algebra structures for addition, deduction, multiplication and division. A digital field is a signal of the transition from one field to another; it also represents the pursuit of the best signal in the transition process. In art, discussions about field usually concern boundaries and scopes, collaboration of skills or transcendence, ambiances or other subjects of artwork analysis. Contemplation about artworks and that about how one is influenced by his/her surroundings – an internalization process, may also open ground for discussion about cross. Put simply, daily routines become the basic component of an entity. Cyber network, real-time communication, virtual reality – these products of digital technology have become part of the life of the current generation. Our mode of behavior causes us to internalize external digital gadgets; relations between subjects as a result become all the more complex.
A mere glance at today’s various academic disciplines says it all: Cross is no longer a matter between artists or a consensus between them. When subject in different systems (those without a shared consensus) fail to discern the nuances of their internalization processes, cross becomes merely a type of art creation using technology as its medium. It could at best be regarded as a fake cross, made possible by technological breakthroughs. Be it digital art creation or criticism, crossing into an unfamiliar territory is a frequent topic and also an obstacle for artists. Engineers working in science parks have never imagined they could make art out of the computer language they are so familiar with. There are different levels of understanding to a single artwork. Such is the nature of subject, and crossing two different fields becomes a process of subjectivation.

Cross
We are used to imagining ourselves crossing boundaries on a two-dimensional basis, and our perception of boundaries is pre-defined. We push outwards using ourselves as the center and define scopes or meanings on our own. The line between subjects is only imaginary. Crossing from one field to another in a paralleled fashion, be it technology, art or self transcendence, is no longer (at least in digital art) possible. Boundaries are becoming more and more opaque, and crossing more difficult. Artists could easily fall into a state of loss or uncertainty. Crossing is often imagined on a linear basis. If crossing can tolerate overlaps or internalization between two (or more) subjects and develops vertically along an imaginary z axis, not only can subject gauge the location of one another, they can also produce a whole new dimension.
When field is no longer a field and the other field no longer so, cross is not simply a one-to-one leap or a union; it extends to form another real time and inert digital field. To be more specific, in a digital field, cross is an active process of “tumbling, changing, reconstructing and creating”.

In spatial terms, fields are like spaces built on one another – not in a two-dimension way but similar to how the roots of a plant ramify. It is a three-dimensional distribution defining how spaces connect with another in time, and the connections between them have infinite possibilities (single or multiple joints). These connections are without direction – much like a space filled with overlapping threads where one cannot tell where they begin or end. Such an open system is also built on a reciprocal basis. It is non-linear and does not include any causal relations. It creates complex and ever-changing diversities.
Policy priority mode
The execution of the 6th Digital Art Festival Taipei faces two predicaments: policy priority, which limits the scale of the Festival, and limited resource. Digital Art Performance Competition is one that encountered particular difficulty. In order to encourage young artists to continue their participation in digital art competitions, Digital Art Foundation and Quanta Arts Foundation co-organized a digital performance competition with a million-dollar award. Digital art performance requires manpower, equipment and venues on a larger scale. The competition is a perfect opportunity to observe how visual art and traditional theater interpret digital art performance differently, and it allows us to identify points of conflict.
At the International Digital Art Exhibition – one of the five components of the Festival, most artworks are events (instantaneity and happening) presented in text. Unlike previous interactive and entertaining pieces, these event-based artworks are reflections of the micro events of the digital times, corresponding to this year’s curatorial philosophy – cross.
http://digitalartfestival.tw/daf11/idea_tw.html
http://digitalartfestival.tw/daf11/idea_en.html
8
2012第七屆第二自然 Artificial Nature文/邱誌勇
「第二自然」(Artificial Nature)所談論的不是虛擬媒體科技世界的現實意義,它是自然,卻不是人們所想像的自然;它是人工產物,卻不再單單只是人工製品。其初始概念源自於對「後人類景況」(posthuman condition)中,人類、環境與其他物種(無論是有機體或無機體)在各種媒體科技急速發展下已然模糊的界線,甚至混雜成一種新(後)人類的想像,並進而伸延出對「自然與人工」以及「環境與生態」的思考。

肇因於各種生物科技的發展、科學的精進,與醫學的發達,二十一世紀可謂是邁入一個「改造」的紀元。從始於養生觀念的身體進化,到各式各樣雕塑身軀的美容醫學;從征服自然生態的人類意志,到與其相互依存的共棲思維,人類藉由技術/科技來滿足對理想身體的企求,以及對生活世界的想像。早期,馬克思(Karl Marx)以「歷史唯物論」(historical materialism)說明了人類因己身慾望,利用(或發明)生產工具,促動了社會形態的轉變。在高度發展的科技文明時期,馬利許(Bruce Mazlish)則一反技術/科技作為工具性的位置,宣稱人類與機械的互動關係已經不能單純地將之放置在主客體的關係中,並認為人們已經逐漸將自己社會的演進過程與機械工具的發展融合在一起,且當代社會的人類將同樣的科學概念用來協助解釋自己的工作、他擁有機械的工作以及物質的演進,以致我們已經無法思考沒有機械協助的人類文明是怎樣的情景。在這個轉折中,人們已經無法將兩者間的關係單純地切割。如今,米契曼(Carl Mitcham)建議人與機器、科技之間的關係應是一種「共處」(being-with)的關係,因為機器、科技對人來說已不再僅是一項工具:相反地,機器反而成為人類生存的利基,人類的生存終將無法脫離機器與科技的輔助與強化,而此一關係更讓人類邁入一個後人類的時期。

重要的是,身處後人類景況中的人們該如何面對其所感知的世界?人們面對科技創造出的擬真文化時總是認為其終將取代物質世界,且以一種非物質的、象徵的世界呈現,成為一種超越物質性的真實。有論者認為,當代科技媒體世代中的物質文明(包含電視、錄影機、電玩、動畫或是虛擬實境)某種程度而言都將人類帶領至一個去物質的非自然(人工)世界;更甚之,媒體科技設計者可以創造任何想像的世界,扮演上帝的角色,仿生自然,因而在無需任何實在(actual)基礎之上,任何的世界圖象都將成為可能,並超越了自然與非自然的二元對立。換言之,新媒體科技不僅能創造一個不同於現實的世界,它也可能是始於對現實世界的模擬。因為虛擬科技對真實的模擬,最終必將造成真實的消逝,取而代之的是一種如同布希亞(Jean Baudrillard)所言的超真實(hyperreal)。因而,我們不得不思考當代數位媒體科技帶領人們進入了一個什麼樣的世界?它果真是一個非物質性、想像的世界?或者,藉由數位媒體科技所創造出的擬真文化,已經成為人們認同的文明生態。有鑑於此,本屆台北數位藝術節提出「第二自然」作為命題,宣稱人們應將數位媒體科技所創造的自然視為生活世界的一環,或是真實世界的延伸,並跳脫自然與非自然間的二元對立。

此外,本屆數位藝術節亦藉由第二自然想像數位藝術生態。在生態學悠久的歷史中,德國生物學家以研究動物與外界環境關係的學問作為起始點,爾後作為一種科學領域與研究取向,生態學的系統觀快速地被應用到社會學、政治學,甚至藝術學中。在台灣,數位藝術節的發展進程一直受到傳統西方典範影響,強調分門別類清楚的創作領域,較為忽略跨領域(interdisciplinary)發展的趨勢,無法綜觀整體數位藝術發展的生態。因而,第七屆台北數位藝術節以跨領域不分類方式徵件,打破傳統窠臼,為台灣數位藝術發展開創新的視野。而在既有五大活動主軸—國際數位藝術邀請展、數位藝術徵件獎、數位藝術表演、數位藝術平台,以及教育推廣活動之上,更特別擴展魔幻動畫展的規模,除來自於法國安錫動畫影展與加拿大渥太華動畫影展的作品外,更增加與「第二自然」策展主題相關之國際動畫作品,以及台灣暨華人動畫精選。同樣在數位藝術平台中,也增設當代西班牙錄像藝術作品專區,作為台灣與西班牙在媒體藝術上的交流平台。此外,為展現對數位藝術生態的想像,數位藝術節更結合電玩遊戲產業與展示科技,以「年代記」、「電玩電影化」、「聽覺:從電子單音到交響樂」,以及「末世想像」等主題策劃藝術性的展出。


http://digitalartfestival.tw/daf12/idea.html
英文版的網站找不到,無法點擊
http://digitalartfestival.tw/daf12/home_en.html
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2013第八屆超神經 Data-Neurons「超神經」(Data-Neurons)的概念結合了當代全球網絡社會中兩個重要的核心議題——「巨量資料」(Big Data)與「神經元」(Neurons)。從二十世紀末最後的十年開始,無論是各個社會中的經濟、政治、媒體與文化等面向皆因數位資訊的快速流通與數位媒體科技的強力驅使而發展出「資訊時代」(information age),更促成「網絡社會」(network society)崛起的歷史新現實。這個組構在「全球化」與「數位化」雙鉸鏈之上的歷史新現實,促使流動的資訊結構體系成為新社會型態的具體徵候,且當此流動性資訊空間成為社會中支配性過程與支持功能的新物質形式之際,人們可用三個物質支持層次的結合加以描述:由電子脈衝構成第一個物質支持;進而由其結點與核心構成的第二個物質支持;以及佔有支配地位之管理精英的空間組織成為第三個重要層次。而在此新資訊結構的組織模式裡,巨量資料已逐漸滲透於文化領域,更進而在當代科技文化(techno-culture)中扮演如同中樞神經系統(central nervous system)的角色。

從傳統資料庫(database)被視為一種電腦化的資料保存系統開始,其結構化的資料集合已出現快速膨脹的勢態,「巨量資料」概念的出現不但指涉著當今資料結構的規模已無法使用一般軟體擷取、管理與處理;更讓看似平凡瑣碎的資料被集結彙總,並透過各種演算法的分析後,展現出另一種高價值的面貌,使資料從資訊處理進入到知識應用層面。更甚之,也因為數位科技的快速轉變與發展,讓我們生活世代中的資料庫不僅成為一種顯著的文化敘事;同時也構成一種關係性的、網絡性的方法,並被用以收集並創造出獨特的文化底藴。以致,資料結構與美學之間的固有關連,已從其所攜帶之資料承載容器的潛在關係,或軟體構成要素所建立的實際關係,逐步發展成「資料庫美學」(database aesthetics),啓發來自個人的、文化的,以及媒體的等各種不同形式的可能性。

不言而喻,當代數位藝術的創作實踐便蘊涵著資料庫邏輯,其獨特的性格一方面在大部分線性與漸層資料庫,以及指令之間存在著一種緊張;另一方面,結構中資訊的重設與重製似乎亦存在著無限可能性,讓資料結構、資料流,及其可採取的視覺形式之間產生不可避免的張力。因此,「資料庫美學」這個經常用以描述並應用巨量資料邏輯的美學辭彙,已經成為數位藝術領域中不可避免被談論的重要命題。它可以是任何形式的資訊、過濾後的資料集合,或是視覺化的資訊。在此種觀念中,資料庫美學業已成為一種潛在概念、知識信念、社會行為的視覺模式,更是一種文化形式。

更重要的是,除了一般視覺化資料集合不會確切地顯現出資料庫的基本結構之外,許多數位藝術的創作都皆以透過巨量之量之內的資訊來創造意義,且描繪著文化上的弦外之音,使其成為一種展現文化價值與文化協定的超敘事手法(hyper-narrative strategies)。如同曼諾維奇(Lev Manovich)所言,「資料庫」與「敘事」天生處於敵對狀態,各自宣稱擁有創造此一世界意義的獨特權力,因為資料庫將我們的生活世界以品項目錄的方式呈現,拒絕世界的實際運作狀態;而敘事則需要一個主角、敘事者,需要文本脈絡、故事情節,以及因果關係等表面上並非透過表列次序式的結果。然而,這並非意指資料庫與敘事之間是彼此互斥的形式,透過數位藝術的實踐,人們可以見識到其敘事元素仍然是以一種資料庫結構來組織,同時互動性敘事或超敘事亦可被理解為一個資料庫多重軌跡的總合。因而,當組成元素互動並開啟重組之際,其對傳統敘事元素與資料庫結構的同時強調可見一般。

有鑒於此,在被稱為「巨量資料實踐元年」的2013年,第八屆台北數位藝術節提呈出「超神經」作為策展命題,除承襲第七屆開始以跨領域不分類方式進行徵件,更在既有五大活動主軸—國際數位藝術邀請展、數位藝術徵件獎、數位藝術表演獎、數位藝術平台、魔幻動畫展、以及教育推廣活動外,增設「HH電子音樂與視覺表演的開幕表演」、「台北數位藝術中心(DAC)與法國里昂當代音樂中心(GRAME)的跨界合作表演—《絲緒Threads》」、「電玩藝術專題展」,以及更符合本屆策展主題的「數位設計專題展區」,以及「德國ZKM APP藝術競賽大獎專題展」的展出,讓當代前衛的數位藝術創作共同體現巨量資料的文化形式成為當代數位生活世界核心的命題。
http://digitalartfestival.tw/daf13/idea.php
英文網站無法同樣無法點進去策展理念
http://digitalartfestival.tw/daf13/home_en.php
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2014第九屆平坑時代 Ecosystem從根本上來說,數位時代就是一個平坑時代。

「坑」是數位時代的重要隱喻,一個「坑」就是一個在特定時間內必須被完成的任務。在這個數位工具充斥,但時間資源稀缺、加以問題必須快速被解決的年代,我們已經無法被動地等待不可預期的現代主義式烏托邦,或者是現代主義式革命的到來。「現在就去做!」,是我們這個時代的律令。填平一個又一個「坑」的這種專案問題解決模式,已然成了資訊社會探知並修補自身諸多缺陷的方法。
一個「坑」也是一個生態系。數位工具大幅提升了機械的生產力,進一步將人的身體從勞動現場大幅地解放出來,人們因而擁有更多專業工作之外的過剩智能,成為這個時代的重要角色:「駭客」與「創客(maker)」。除了單兵作戰之外,他們也以各自的特殊技能一起填坑,在不同的坑中承擔不同的功能,也在諸多小型生態系中扮演不同的角色。

第九屆台北數位藝術節「國際數位藝術邀請展」邀請了來自歐、美、亞洲共七件作品展出。朴麗莎(Lisa Park)的〈美麗心靈〉(“Eunoia”)清楚地揭示了人類在數位科技新進展中所具有的具身性(embodiment)位置。資訊工具不再只是身體的延伸,還是思考的延伸,人工智能論述所表達的,正是「機器亦能思考」這個命題。在這樣的背景下,人類相較於機器所具有的不能取代性,正是依其所處情境快速做出價值判斷,以及轉換行動方式的能力。如果缺乏了這樣的能力,我們就無法理解「現在就去做!」這種填坑修補的急迫性。
碧娜尤妲絲(Pinar Yoldas)的〈瀕危物弦樂團〉(“Very Loud Chamber Orchestra of Endangered Species”),以及保羅凡諾斯(Paul Vanouse)的〈視線翻轉〉(“Ocular Revision”),則在兩個不同的層面上為「填坑」作出貢獻。一方面,這兩個藝術家的創作場域恰恰位於藝術、科學與科技的交界處,他們的作品轉化並擴展了生態學與基因科技這兩個科學領域既定的感知方式,在展場空間中創造出具體而微的大自然與實驗室空間。另一方面,他們致力將既有資訊以清晰簡便的方式加以展示的「資訊視覺化」方案,正是數位時代中,人們進行快速判斷最需要的認知工具。

為了一同填坑,如何轉換視角、從他人的角度思考坑的整體狀態,對於坑的運作而言就變得非常重要。成為他者實驗室(BeAnotherLab)的「成為『他者』機器」計畫系列中,〈戴換性別〉(“Gender Swap”)一作透過頭盔顯示器互換第一人稱視角,清楚地讓參與者體驗不同性別所見之世界視域的差異。我們可以說,這樣的視角轉換有助於坑的形成以及專案的順暢進行。

Cod.Act的〈搖擺唱詩〉(“Pendulum Choir”)與彼德威廉霍登(Peter William Holden)的〈自體基因〉(“AutoGene”),以及〈螺旋管ß〉(”SoleNoidβ”),這幾個作品則是具體而微的小型生態系,是聲響空間的以及機械性的。〈搖擺唱詩〉利用動力機械裝置,讓作為音源的不同歌者在定點上動了起來,舞台已經不再是原本固定無法變動的聲響劇場空間,相反地,合聲不斷變換它們的空間型態,舞台上的音景生態持續地改變它的內容。與此類似的,〈自體基因〉以及〈螺旋管ß〉則利用機械性的表演,創造觀眾在視覺與聲音上的沉浸生態,機械性的舞蹈設定帶來動畫式的影音效果。在這樣的感知生態系之中,不同的感知媒介間互動共同創造了觀眾的整體經驗。

第九屆台北數位藝術節以「平坑時代」作為核心主題,匯集四大活動主軸—國際數位藝術邀請展、數位藝術徵件獎(台北數位藝術獎、數位藝術評論獎、K.T科藝獎)、數位藝術平台(2014魔幻動畫展、國際交流駐村創作展、電玩藝術專題展)與教育推廣活動,本屆的「數位設計專題」將帶來全新的視覺化導覽實驗計畫。總體來說,只有在一個又一個坑跨領域地被藝術家與設計師們共同填平之後,我們才能理解到,數位時代的藝術作品不僅體現穿戴科技應用的創新價值,更對行動裝置與人體結合、擴展身體的實驗提出前衛的說明。
The digital era is, purely and simply, an era of eco-system.
“Eco-system” is one of the central metaphors in the digital era. An “eco-system” refers to a specific mission that should be accomplished within a designated time. In the world where problems must be solved immediately, along with the inundation of digital tools and the great scarcity of time, we should no longer passively expect the unforeseeable modernist utopia or revolution. “Do it now!” has become an imperative in our era. The mission-based mode of problem-solving (i.e., managing different eco-systems one after another) has been applied extensively by the information society to identify and remedy its own deficiencies.

The extensive applications of digital tools result in the soaring productivity of machines. Humans are therefore liberated from physical labor and granted a surplus of brainpower, of which they take advantage to become “hackers” and “makers,” the important players in this era. In addition to individual operation, these players, by practicing their respective special skills and undertaking different responsibilities, also collaborate closely with one another on managing different eco-systems.

The International Digital Art Exhibition held during the 9th Digital Art Festival Taipei presents seven digital artworks by several renowned artists from Europe, America and Asia. The work “Eunoia” by Lisa Park clearly reveals the position of embodiment taken by humans with the advancement of digital technology. Information tools are the extension of human body and mind. What the discourse of artificial intelligence conveys is exactly the proposition that “machines have the ability of thinking.” Against this background, what makes us irreplaceable in the digital era is our ability to grasp the current situation, form value judgment promptly, and take actions accordingly. We would be unable to comprehend the significance and urgency of the imperative “Do it now!” without such kind of ability.

The works “Very Loud Chamber Orchestra of Endangered Species” by Pinar Yoldas and “Ocular Revision” by Paul Vanouse contribute to the management of “eco-systems” in two dimensions. On the one hand, the two works reflect the intersection of art, science and technology. The two artists expand and transform the way of perception conventionally adopted in the fields of ecology and genetic engineering, creating a miniature nature and laboratory in the exhibition venue. On the other hand, the solution of “information visualization” that the two artists try hard to develop in order to clearly and concisely convey information is exactly an indispensable tool for people to make prompt decision in the digital era.

To collaborate on managing eco-systems, it becomes strategically vital to know how to shift among perspectives, that is, to assess the overall situations of different eco-systems from others’ perspectives. The work “Gender Swap” is a part of the project The Machine to Be “Another” initiated by the BeAnotherLab. This work enables two users of different genders to swap perspectives with the head-mounted displays, through which they directly experience each other’s horizons. Such kind of swap is contributory to the formation of eco-systems and the accomplishment of our missions, if you will.

The work “Pendulum Choir” by Cod.Act as well as the works “AutoGene” and “SoleNoid β” by Peter William Holden represent miniature eco-systems that possess acoustic, spatial, and mechanical features. “Pendulum Choir” sets the choir members who serve as the source of voices in motion with kinetic installations. The stage is no longer a fixed platform, but a constantly changing soundscape. Similarly, “AutoGene” and “SoleNoid β” immerse the viewers in the impressive mechanical performances. The design of mechanical dancing surprisingly produces the audio-visual effects usually exhibited by animations. In these miniature eco-systems, different sensory media collectively create an experience that the viewers will remember.

“Eco-system” is the underlying theme of the 9th Digital Art Festival Taipei. The festival consists of four main events, including the International Digital Art Exhibition, Digital Art Awards (incl. Digital Art Awards Taipei, Digital Art Criticism Awards, and K.T. Creativity Award), Digital Art Platform (incl. 2014 AnimA, International Artist in Residence Exhibition, and The Art of Video Games), as well as associated events of education and promotion. Besides, the Instrumental Design in the festival this year will introduce a brand new experimental project on visual guidance. By and large, only when artists and designers collaboratively and successfully manage various eco-systems in an interdisciplinary manner can we cognize that digital artworks not only embody the application value of innovative wearable technologies but also serve as avant-garde illustrations of experiments on combining human bodies with mobile devices that help humans transcend their physical limitations.

http://digitalartfestival.tw/daf14/策展理念
http://digitalartfestival.tw/daf14/策展理念?lang=en
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2015第十屆創•世紀 DIGITOPIA創·世紀:藝術之前人人平等
策展論述|FabLab Dynamic

這會是一個很不藝術的展覽!
然而,藝術始終無法、也不需要被完整定義,而是在每個時代自然生長成相對應的樣貌。因此,「創.世紀」想要的,是尋找創作的當代意義,並試圖勾勒出一個逐漸成形的輪廓。
如此,便牽引著我們迎向一個問題:這是一個怎樣的年代?

數位時代 Create = make?
當數位製造與自造文化在各個生活層面激起漣漪之時,藝術的創作基底也產生大小不一的波瀾,甚至衍化出全新的創作/製造經驗。回歸到人(Human)、空間(Space )、活動(Activity )的核心討論時,「分享」、「學習」、「共創」的價值便逐漸行成信仰基底,經由開放原始碼(Open Source) 的操作模式,達到從共有到共創的過程。
德國戰後重要的前衛藝術家波依斯(Joseph Beuys, 1921-1986)的所提出的擴張藝術理論,不斷強調人人都是藝術家的「社會雕塑」形式,《波依斯傳》 中提及:「每個人都是藝術家,這個公式上面引起過不少爭議,也常被誤解,它談的是社會這個軀體的改造,不只每個人能夠,還必須參與他,如此才能促成快速的轉型。」
個體成為獨立創作力的載體,進而對社會進行整體性的雕塑,在此前提下,通力合作便成為社會雕塑的必要條件 。「創.世紀」從共創的軸心出發,延伸至多元議題,如個體創作者的身分疆界、觀者與作品的共構關係,同時打破既有社群,攪拌調味成更多可能,進階說明文化智慧資產共有、反對一切形式壟斷,以及新社群匯聚的核心價值。
人人都是藝術家。更重要的是,在藝術之前,人人平等。

個體:代碼化人生
虛擬世界中無限交織的關係網,在倍速成長的社群平台和資源分享網站之中,顯得更加錯綜複雜。個體的身分(identity)幻化成代碼後,以多元且游移的姿態保有創作的能量。
身分(大多數是職業)在英文系統中,多以字尾加上er或ist來區分,如singer、dancer、 maker,或是scientist和artist,而這些代表專業技能的種種標籤,卻逐漸被撕毀,因為沒有任何一種可以完整指向一個人,「代碼」在現今甚至比任何的角色定位,還能夠詮釋某特定個體所整合匯聚的意識。從原本單純的「身分模糊化」 ,到現在可以容易穿梭、跨越至不同角色,來自於數位時代軟硬體的交互應用,在在加速從共有,到共創,再到共享的循環過程。於是,我們創作同時也被創作,我們提供經驗同時也被提供經驗。尤為甚者,我們使用數據同時也被數據使用。
而這種慣性翻越轉換的當代定位,弱化傳統觀念中藝術家的身分獨特性,也顛覆了創作過程中的思維辯證,開放原始碼是否成為善惡雙面刃,一面隱喻只要擁有數位機具便可不斷複製貼上的可取代性,一面彰顯透過網絡串聯、進行異地且快速討論改良的可能性,像是個可以堆疊來自不同大腦智慧與經驗的系統,降低技術門檻的同時,融入更多身分/職業的可能性,讓入門更簡單,讓精進更精進。

個體與社群:全球化的在地化
去個人標籤化的同時,「風格」這種用來描述作品的依歸,也逐漸褪色形成均質化的測量。這非為風格不再存在,而是不再藉由單一藝術家或團隊來詮釋、創造、完成、展出一件作品的既有模式,而是透過同類型的數值、軟體、機具,形成眾人間相同水平的創作知識,形成人人可進行社會雕塑的契機。
數位或許可以擁有統一的語言和數值,卻無法統一歷史、文化、原生環境。因此,共創的數位過程中,便絕非純然的複製與貼上。每片土地所承載的時代氛圍,滲透數位製造中那快速串聯的地球村系統,反而更加突顯出在地樣貌的發展氣味。也就是說,創作可能有源自於同類的種子,但卻成長為相異的植栽,而生長過程中眾多參與的創作者們,都有能力來影響或引導它未來的發展,輔以社群間的交互影響作用與有機的自然孕成,才逐漸在全球化的架構下,深化在地化的根基。

回歸社會的藝術
比起純然的視覺感受,當代藝術更著重在概念的傳達、議題的討論,以及生活社會、政治的多層面介入 。的確,我們常以「這件作品在討論什麼」作為一種傳達的方式,然傳統創作模式的作品到底是在跟「誰」進行討論?而這些看似無法建構實質討論的討論,何以一直在愈來愈小的圈圈中討論下去?都是本展欲挑戰的範疇。
「創.世紀」以一種更加開拓的精神性和哲學性,重新思考創作的意涵,然後試圖打破人與作品之間的平時時空,讓「討論」這件事以任何媒介有效地發生,如日本知名資深策展人南條先生所言:「藝術引進社會,意味著社會包容更廣義、更豐富的價值觀。 」
撇開象牙塔頂端的菁英思維時,也間接破壞藝術原有的神聖性。但正是因為在藝術面前人人平等,才更突顯藝術創作中的不可取代性。回到「創.世紀」一展,展品的本身僅是載具,需要透過觀者的親自參與,才能強化作品的「共創」內涵精神,回應創作的本質。
所以先不討論了,動手吧!

Digitopia:Equality before the Arts
Curatorial Team: FabLab Dynamic

This will not be an artistic exhibition!

Art can never be perfectly defined. Nor does it require a perfect definition. Instead, art evolves with the course of times. Treating Digitopia as the theme of this exhibition, the curatorial team seeks to identify the Zeitgeist of contemporary artistic creation and give a brief account to the emerging context of the digital era.
Thus, we are obliged to address the following question: "What kind of era is it?"

Digital Era: Create = Make?
The digital fabrication and the maker culture have many resonances for modern people. They not only unleash a corresponding wave of aura-searching in the contemporary art scene, but also create brand new experiences of making/fabrication. When it comes to the discussion of the relational trinity "human-space-activity," "sharing," "learning" and "collaboration" gradually become the three underlying philosophies that facilitate the process from sharing to collaboration on the basis of open source.
Joseph Beuys (1921-1986), an iconic post-war avant-garde artist, proposed an extended definition of art that emphasizes the idea of "everyone is an artist" and the form of "social sculpture." His biography Joseph Beuys stated that "‘[e]veryone is an artist'—which had aroused so much attention and which Beuys found was still so widely misunderstood—refers to the transformation of ‘social body,' in which everyone not only can but must participate ‘so that we can carry out the transformation as quickly as possible'."
Individuals not only become the carriers of independent creative power, but also collaboratively create a social sculpture. Based on this premise, collaboration is the prerequisite for social sculpture. Treating collaboration as the point of departure, Digitopia encompasses a riotous profusion of issues ranging from the boundaries of individual creators' identities to the co-constructed relationship between viewers and artworks. Besides, it blurs the demarcations among different communities and turns them into an eclectic mix of possibilities. Moreover, it defines cultural and intellectual properties as public goods and manifests the core value that consolidates new communities, thereby challenging all possible forms of monopoly.
Everyone is an artist. More importantly, all are equal before the arts.

Individuals: Codified Life
The network of infinitely interwoven relationships in the virtual world appears to be much more intricate amidst the rapidly growing social network services and resource sharing websites. Against this background, individual identities metamorphose into codes that take diverse and elusive forms without losing their creative power.
In English, identities (mostly refer to vocations) are forged by the suffix of "-er" (e.g. singer, dancer and maker) or "-ist" (e.g. scientist and artist). However, the definitions of these terms that represent different expertise have become questionable because none of them can be used for representing a person as an integral. "Code" is more capable of interpreting the integrated consciousness of an individual than any identity. Previously, an individual possessed simple and ambiguous identity. Nowadays, we shuttle between or cross different identities. The application of software and hardware in the digital era accelerates the cycle of learning, collaboration and sharing. Thus, we are created when we create; we are provided with experiences when we provide ours. Furthermore, we are utilized by data when we utilize data.
The switch among and transformation of identities not only weaken the unique identity of an artist in the traditional sense, but also refresh the thinking in the creative process. Whether the valuable open source has its thorns? On the one hand, it implies the nature of substitution given by digital equipment. On the other hand, it highlights the possibility of online discussion over technological improvement, which resembles a system that accumulates intelligence and experience from different minds. It not only lowers the technical threshold but also broadens the participation of more identities/vocations, thereby providing newcomers with easy access and making professionals more competent in their respective fields.

Individual and Community: The Glocalization
The wave of individual de-labeling parallels the receding of "style" as a label-assigning term into a homogenous measurement. This does not imply the disappearance of style. Instead, the conventional mode of interpreting, creating, completing, and presenting an artwork by a single artist or a team is discarded. In the digital era, data, software, and equipment of the same types allow people to possess similar level of knowledge of artistic creation, and thereby open up the possibility for everyone to be a social sculptor.
A unified language or numerical system in the digital world is possible in a way that a unified history, culture or background is not. Accordingly, we cannot simply copy and paste the histories, cultures and backgrounds in the process of digital collaboration. The unique quality carried by every piece of land infiltrates the rapidly connected global village system through digital fabrication, and thereby gives prominence to the local signature. In other words, artworks resemble different plants that grow from the same kind of seeds. The creators who take part in creating those artworks may influence or orientate their development. With reciprocal influence among communities and organic cultivation processes, art is thus able to take deep roots at the local level within the framework of globalization.

The Art that Echoes the Society
Contemporary art focuses not so much on creating pure visual experiences as on expressing ideas, addressing vital issues, and intervening in the society from multiple dimensions such as social life and politics. "What is this artwork about" is often treated as a way of expression. However, to whom does this kind of conventional artworks address? Why are these discussions that are seemingly unable to proceed concretely can continue in a shrinking community? These are the questions that this exhibition attempts to address.
Digitopia not only reflects on the implications of artistic creation with pioneering spirit and philosophy, but also tries to bridge the gap between viewers and artworks, and thereby sparks constructive discussions in all possible forms. The renowned Japanese curator Fumio Nanjo has held: "Introducing the arts into the society implies a broader and larger set of values of the society."
The sanctity of art is indirectly compromised when we discard the elite thinking of the ivory tower. However, it is exactly the equality before the arts that highlights the irreplaceability of artistic creation. In Digitopia, the exhibited artworks per se are nothing but the carriers that require the viewers' participation to manifest the spirit of collaboration and to echo the nature of artistic creation.
Let's stop talking, just do it right now!



http://digitalartfestival.tw/daf15/zh/about-2.html
http://digitalartfestival.tw/daf15/en/about-2.html
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2016第十一屆硬主體 in-SUBJECT「哈爾,打開艙門。」
「對不起,戴夫,我恐怕不能那麼做。」
── 2001太空漫遊

對工具控制的抵抗
〈在一場太空任務中,太空艙的中樞控制系統智能電腦哈爾9000(Hal 9000)發現宇航員大衛(Dave)因為他的失誤想將他關機時,拒絕大衛要求他打開艙門的命令。這幕科幻電影《2001太空漫遊》的經典場景,道出了人類面對新科技躍進時的矛盾:對工具控制的隱憂與抵抗。在科技烏托邦與反烏托邦、自由與去自由間的擺盪,是科技社會永恆的文化詰辯。
現在,我們已無可避免地生活在一個由數位科技中介的社會中,各種質性與差異都被編碼語言轉譯成一個更具普遍性的共通世界時,數位科技展現了前所未有的、強大的溝通與控制能力,人類與技術的拉扯也更趨劇烈,正是在這樣時刻,真切且開放地認識科技將是在拉扯中看到自我位置的行動策略。

我們活在故事裡,而工具即是敘事
「造物主啊,難道我曾要求您,用泥土把我塑造成人嗎? 難道我曾懇求您,把我從黑暗中救出來嗎?」
──《失樂園》
工具與技術的運用讓人類開創了屬於自己的文明,工業革命後,科技更為人類的經濟與生產活動打開空前的繁盛,為人類史帶來最快速的文明變革。但同時,科技與人類的工具關係也變得可疑,工廠生產線上的工人被形容為只是機器中的一個小螺絲釘,被動地配合機器的運轉,不再具有自身的主動性。
因為新科技總是陌生、奇異的,在我們還來不及在變革中定位自己時,沉澱在人類身體、感知、行為與心智經驗中的世界,便被技術帶往更遠的未知。特別是在動力機械時代以後,各種技術物之間形成了多重決定、相互整合的有機運作,超出了個人或群體的意志,成為具有自我延展的體系,作為認識主體的人類,其主動性在技術體系中變得無力與矛盾,需要在迷失的壓力下尋找自己的方向。
人類是故事性的存在,我們總是活在故事裡,而工具即是敘事。技術並不是中性、完備的,科技社會中看不見的身體、生命政治及技術網絡,組構著個人銘刻生命記憶的方式。技術發展的背後是已被建立的有機技術體系、政治權力的運作以及市場經濟的力量,細緻地理解交錯其中的力量,將活出更具想像力的故事。
硬主體:互為主體的時代
「機器的誕生帶來了技術和文化間的差異,因為人不再是『工具的持有者』。」
──《技術與時間:愛比米修斯的過失》,貝爾納‧斯蒂格勒(Bernard Stiegler)
技術進化引發了兩種相反的變革進程,一方面為人類提供了具未來指向的創造力與生產條件,另一方面,則是對人類價值與自由的壓制,而個別行主體(行動者)的位置則擺盪在光譜的兩端之間,如何找到具有主動性與創造性的位置,成為一種集體焦慮。
當科技的整體發展已構成多元且有機的耦合體系,體系內部充盈著不確定性與多重的想像空間,或許可以說這個「有機的不確定性」即是人類主體在其中的創造性位置。「硬主體」(in_Subject)是一種能夠遊戲於技術體系中的狀態,現在,我們處在一個科技與人類互為主體的時代,探索技術的有機性以及對科技的認識、識讀(literacy)與應用,是這個時代人類成為主體的行動條件。

“Open the pod bay door, Hal”
“I’m sorry Dave, I’m afraid I can’t do that.”
—2001: A Space Odyssey

Resistance against Technological Dominance
On a space mission, the sentient computer HAL 9000, which was also the central control system of the spaceship, refused to execute the instruction of opening the hatch from the astronaut Dave when it was aware that he attempted to shut it down for its glitches. This classic scene of the sci-fi film 2001: A Space Odyssey brilliantly reflected the following paradoxical situation: human beings’ misgivings at and resistance against the prospect of being controlled by new technologies when they make a quantum leap in technological breakthrough. It has become an endless cultural dialectic in the society underpinned by technologies, oscillating between technological utopia and dystopia as well as between freedom and imprisonment.
We live in a society dominated by digital technology, from which escape is nowhere on the horizon. All qualities and differences have been coded into a more universalistic world by programming languages. Digital technology has demonstrated its powerful and unprecedented abilities in communication and control. The long-lasting tug-of-war between human beings and technologies has also escalated to a greater scale. In this situation, we need to be genuine and open-minded about technologies, as it is an effective strategy for positioning ourselves in this wrestling match.

We Live in Stories Where Tools Are Narratives
“Did I request thee, Maker, from my Clay
To mould me Man, did I sollicite thee
From darkness to promote me, or here place
In this delicious Garden?”
—John Milton, Paradise Lost
The use of tools and techniques marked the dawn of human civilization, and there was an unprecedented burst of human economic and production activities as the technologies significantly advanced after the Industrial Revolution, which brought human civilization to the most flourishing scene in history. However, the power relationship between human beings and technologies has become questionable at the same time. A production-line worker is just a tiny cog in a vast machine, acting passively in coordination with the operation of the machine and thus losing its own agency for good.
New technologies are always peculiar and amazing. They tend to carry us into greater unknown before we manage to position ourselves in this turbulent world constructed with our senses, perceptions, actions and intellectual experiences. In particular, technical objects of every stripe have merged into an organism operating on the basis of multiple decisions since the era of motorized machinery. This organism has transcended individual or collection volition and evolved into an autopoietic system. As epistemic subjects, human beings have lost their epistemological subjectivity in such a technical system. They need to re-orientate themselves under the stress of disorientation.
Humans are thought-provoking beings. We always live in stories where tools are narratives. Techniques are neither neutral nor perfect. The invisible bodies, bio-politics and technical networks collectively dictate individuals’ real-life memories. Hidden behind the veil of technological development are an established organic technical system, political manipulation and market economy. We may write a more inspirational story if we could fully grasp these intertwined forces.

in_Subject: The Era of Inter-subjectivity
“With the machine, a discrepancy between technics and culture begins because the human is no longer a ‘tool bearer’.”
—Bernard Stiegler, Technics and Time: The Fault of Epimetheus
Technological advancement generated two revolutionary forces that run at cross-purposes. It provides human beings with proactive creativity and a congenial environment for production on the one hand, and threatens the value and freedom of human beings on the other. Individuals, as subjective actors, have no choice but to oscillate between both ends of the spectrum, sharing the collective anxiety about how to position themselves so as to regain their autonomy and creativity.
The general development of technologies have constituted a pluralistic, organic coupling system brimming with great uncertainty and figments of imagination. Such “organic uncertainty” is exactly the creative foothold that human subjects can secure therein, if you will. The theme “in_Subject” refers to a state of finding delight in mastering this technical system. This is an era in which technologies and human beings stand in an inter-subjective relationship to each other. Exploring the organic quality of techniques and promoting the knowledge, literacy and application of technologies are ergo the absolute prerequisites for modern people to regain their status as subjects.
http://digitalartfestival.tw/daf16/zh-about-2.php
http://digitalartfestival.tw/daf16/en-about-2.php
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