“The sun is the image of God, the heart is the sun’s image in man … Gold is the sun’s image in the earth …. (thus) God is known in the gold.”

- German Renaissance Alchemist Michael Maier

Let’s embrace the 15th episode of Microwave with this charming title of ALCHEMY, a theme chosen not only because it signifies an analogy to the merging of arts and science, but more importantly because of the spiritual and intellectual intelligence it inherited from our forefathers.

Today, in this cozy meeting point of world recognised new media laboratories, let us march head on into the past, extract the philosophical essence of alchemists along the way and bring them back to the future. By essence, we mean the urge ignited by curiosity and the spirit of experimentation; by essence, we refer to the belief in transformation and transcendence that goes well beyond materiality. With a new vision to alchemy, we are also adhering to the illusionary and magical properties that emerge when technology encounters art.

Let’s take on a little media archaeology exercise and travel back to the 17th century, when German Renaissance alchemist, Michael Maier (1566-1622), published the Atalanta Fugiens in 1617. Often termed as one of the first multi-media productions, his emblem book is a complex publication made up of 50 sections each containing an engraved emblem, a verse, an epigram, a short prose piece that elaborates an alchemical interpretation of the symbolism, plus a short musical composition. According to Maier’s world view, each human is a microcosm that resembles the Earth and in his alchemical pursuits, we see the beauty of art in sciences.

Microwave has been and will continue its role as an incubator of new media art works, injecting fire that heats up the crucibles of our new alchemists. The Renaissance alchemists watch, meditate upon the inner meaning of variables and observe the interaction of metals, striving towards a purification of the soul. Treading similar paths, the new media alchemists are eager to observe, transform, distill and look forward to new syntheses.

This year’s Microwave festival witnesses an assembly of media art laboratories -- we have etoy.CORPORATION and Swiss artists-in-labs program from Switzerland, Ishikawa Oku Laboratory from Japan, Lighthouse from the UK, robotlab from Germany, Time’s Up from Austria, UCLA Art|Sci center from UCLA, US and the -- making an energetic hub out of many creative hubs. We hope this enigmatic converging point of east and west, north and south, of action and inert, dynamic and suspense, of visual and technical, fun and critique, will bring to you new inspirations, poetic reflections and more innovative acts.

Since media laboratories are the focus of this year’s Microwave, attention is placed not only in the art works presented by the different bodies, but also in the different approaches in curatorial aspirations and internal working mechanisms. As such, we encounter exploration that ranges from kinetic experiments, digital culture, robotic intelligence, to nano technology and augmented reality.

Works in our main exhibition consist of Mission Eternity Tamatar (etoy.CORPORATION), Meta-perception, Sensor Fusion, Vision Chip, ﹠ Dynamic Image Control (Ishikawa Oku Laboratory), Laboratory Life (Lighthouse), autoportrait (robotlab), When Small Sees Big (Swiss artists-in-labs program), the Kitchen (Time’s Up) and DIYBio LA workshop, Sniffing Booth, and HOX Zodiac (UCLA Art|Sci centre).

We are honoured to have artists from 8 different countries coming together for our festival, with much thank to our screening partners from the United States, the Netherlands, Spain, and Japan, bringing us wonderful screening programmes.

Microwave is very glad to enjoy the continual support of Leisure and Cultural Services Department (LCSD). This year, LCSD remains our key sponsor, while Hong Kong Arts Development Council (HKADC), Pro Helvetia, British Council, Goethe Institut Hong Kong and Consulate General of the United States continue their generous support. Without their help, our festival would be incomplete.

We are also very obliged to School of Creative Media, City University of Hong Kong, which is collaborating with us on the Symposium. Our gratitude also goes to Hong Kong Design Institute, who supports our satellite exhibition and educational programmes, and to Broadway Cinematheque for collaborating with our screening programmes and HKICC School of Creativity in hosting part of the educational screening programmes. We would also like to thank our generous sponsors such as Hong Kong Education City, Videotage, Royal Park Hotel, Art Perfect Printing and Hoegaarden; as well as our media partners, including CULTaMAP, FLASH on, IdN, JM NETWORK, Milk, Neural, Shift, Hong Kong Ticket guide, U Magazine, and Digital Art China.

Last but not least, I would also like to thank our hardworking curatorial, technical and design teams and student helpers and volunteers, who keep Microwave International New Media Arts Festival running smoothly and creatively as in previous years.

「日為神之化身，心為人體太陽之化身…… 金為世間太陽之化身…… （故）神活於金。」

- 德國文藝復興煉金術師 米高邁亞

歡迎各位繼續支持第十五屆微波國際新媒體藝術節，亦希望大家擁抱爻（煉）金術這引人入勝的題旨。爻金術被選為是次藝術節主題，不單因它象徵藝術和科學的 結合，更重要的是它承傳古人遺下的精神和智慧。

今日，當舉世知名的新媒體藝術實驗室雲集於此時，不如試試回到過去，抽取煉金術所倡議的哲學精粹，並將之帶回未來。所謂「精粹」，意指因好奇心而燃起之 動力和實驗精神，以及超越物質的轉化和昇華信念。藉著對煉金術的新領悟，我們追求科技結合藝術神奇魔幻的一面。

不如來個小小的媒體考古學練習，一同回到十七世紀。1617年，德國文藝復興煉金術師米高邁亞（1566﹣1622）出版的一本名為Atalanta Fugiens的神奇著 作。此書常被視為世上最早的「多媒體」作品之一，內容以象徵圖案為主，結構複雜，內含五十章節，每節均包含一個板刻象圖、一首詩、一句雋語、一篇從煉金術 角度詮釋該圖案的散文，以及一段音樂創作。從邁亞的世界觀來看，人類是地球的縮影；通過修練煉金術，人能頓悟科學中的藝術。

微波新媒體國際藝術節孕育新媒體藝術作品，正好比為「新晉煉金術師」的熔爐點火。文藝復興的煉金術師凝視並沉思各式元素的深層意義，又觀察各種金屬間的 化學作用，為洗滌心靈的典範。同出一轍，「新媒體煉金術師」努力觀察、轉化、提煉，期盼將未曾結合過的原素，化為全新未知的結晶。

本年微波國際新媒體藝術節集合了七所國際媒體藝術實驗室， 包括瑞士的et o y . C O R P O R A T I O N 和日本的石川奧研究室、英國的L i g h t h o u s e、德國的 robotlab、瑞士的artists-in-labs program、奧地利的Time’s Up以及美國的UCLA Art|Sci center。我們希望是次多元的結合—西東南北、生物死物、時動 時靜、視覺科技、逗趣批判—為你帶來新啟發、富詩意的反思，及更前衛的創意。

鑑於「媒體實驗室」為本年微波藝術節的策展重點，除藝術品外各單位的策展及內部運作模式，均值得留意。亦正因如此，展覽中探索的範疇包羅萬有，包括動能 實驗、數碼文化、機械智能、納米技術和擴增實境等。主題展覽內的作品，包括etoy.CORPORATION的在地「他駡他群」的永恒任務F71806059E4A2EC3用 8個無靈魂的球體喚醒利亞里博士、Lighthouse的實驗室生活、robotlab的手繪肖像自動臂、Swiss artists-in-labs program的一個蟲子的世界觀、Time’s Up的在那遙遠的廚房以及UCLA Art|Sci center的生物DIY LA工作坊、嗅探攤子和生肖基因。另外，本年我們特與香港知專設計學院合作，設置「漂流實驗單 位」：日本東京的石川奧研究室，將研究室內的越十件作品及儀器帶來香港，並擴大藝術節的接觸版圖。

我們有幸邀請到來自多個不同國家的藝術家到香港參與本藝術節。與此同時，我們亦非常感謝來自美國、西班牙、荷蘭及日本的合作伙伴為我們帶來有聲有色的放 映節目。

承蒙香港特別行政區康樂及文化事務署歷年來提供財政資助及行政支援，微波國際新媒體藝術節得以本著以探討最具前瞻性的新媒體藝術概念的宗旨為香港市民及 藝術愛好者提供一個與世界、科技及藝術接合的機會。同時，我們亦衷心感謝香港藝術發展局、瑞士文化基金會、英國文化協會、香港歌德學院及美國駐香港總領事 館為我們提供財政上的支持。微波國際新媒體藝術節有賴多個單位的支持，我們在此表示最由衷的感謝。

我們感激香港城市大學創意媒體學院協辦研討會，香港知專設計學院支持漂流實驗單位及教育項目，百老匯電影中心合辦放映節目，以及香港兆基創意書院合辦外 展放映教室。此外，我想藉此多謝多個贊助商，包括香港教育城、錄映太奇、帝都酒店、Art Perfect Printing及Hoegaarden，以及一眾媒體伙伴，包括文化地 圖、Flash on、IdN、JM Network、Milk、Neural、Shift、香港門票指南 、U Magazine及數字藝術中國。

最後，我亦衷心感謝藝術節中每一位工作人員及志願工作者，他們的協助令本年度的微波國際新媒體藝術節一如以往的空前成功。

At the time of the writing, the world was struck by the news of the death of the founder of Apple Inc., Steve Jobs. Steve led the history of computer to evolve from a make of calculators, a word processor to a cultural machine, that emphasizes creativity, personalness, change and difference; that shortens and blurs the difference between producers and consumers, between cultural production and cultural consumption.

I watched “connecting the dot”, probably the most widely viewed and quoted speech of Jobs given at Stanford University in 2005 and realised that he had already become a dot on the cultural map that connects creativity and technology. I do not know him personally but I have a natural feeling that all future makers will be somehow connected, on the cloud – i-dent and maybe icloud.

Have art and new media / digital art inspired new social engineering and participated in evolutionary models of cultural production?

15 years ago, coming from the world of moving images while Film, Television and Video were still analogue, amidst extensive remediation, the first Microwave Video Festival was found. Microwave is the wavelength transmitting audio video in ENG field and the name of the festival. Over the years, Microwave Festival has witnessed how new media opens up the practices of art and filters into everyday life. There is a growing number of artists working across various disciplines. Different fields of knowledge melt together. New media artists may come from background of science, engineering, software development or architecture etc. Artists no longer find works in art studios but probably in a new model of collaborations such as cultural Institutions or in their own company of business. Artists in the past Microwave like Christa Sommerer & Laurent Mignonneau , Daan Roosegaarde and Henry Chu are good examples. Christa Sommerer was a botanist, Daan is an architect, and Henry was an engineer. They usually develop their works with colleagues in a research lab or a business company.

The cross – disciplinary idea is not too new to us as Bauhaus, founded early last century, was said to be one of the first cross- disciplinary labs in art history. Through cultural exhibitions and also academic publication, art and design ideas move from education to social movement, cultural change on the other, with public dialogs taking place in between. In recent years the model of creative art/ design lab appeared as artscience labs improves dialogues between creators and the public around the creative process while erasing conventional boundary between art and science. There are abundant examples of such. In 2007, science historian Ken Arnold opened the Wellcome Collection¹ in London, later the same year Paris Le Laboratoire² was opened; Art Historian Michael John Gorman opened the Science Gallery³ in Dublin. These cultural institutes were neither science centers nor art galleries but something in between. The founding members of institutions are coming from a mix background of art, science and academic. Their arrival was hardly the result of a coordinated movement, or some kind of clearly recognized paradigm but the idea of connecting art/ science, education/ production/ presentation in a new setting.

Like Bauhaus that blurs the boundaries of art, design, education and everyday life, the paradigm shifting to blur the borders between art and science is more evidenced by an enlarging network of vibrant artscience initiatives and associations. These include the International Society for Arts, Science & Technology and its peer review journal Leonardo⁴, Art & Sciences Collaborations, Inc. (ASCI)⁵ ; SymbioticA⁶ and the UCLA Art / Science projects⁷, Inter-Society for the Electronic Arts (ISEA)⁸. All of these initiatives frequently put up exhibitions on the third layer of this interconnected- system of art festival and event circuit. These include Ars Electronica⁹in Austria, Dutch Electonic Art Festival(DEAF)¹⁰ in Netherlands, Video Brazil, Transmediale¹¹ in Germany and Microwave in Hong Kong etc.

Microwave together with these festivals share a common mission in that we hope to generate artistic and scientific ideas, themes and experimentation, in what seems to be a new category of cultural engineering. The festival is the ground enabling innovations in art and technology to be tested and improved along with public discussion and participation. This year our festival acts as a “Burning Interface”¹² borrowing the title of a travelling show of interactional artists’ CD-Rom in the First Microwave New Media to reflect on the intersections of art, science and technology and the interactions between education, research and the society. Microwave is becoming the alchemy of all the dots of new media art. Founded by media art initiatives, Videotage¹³ , the Festival has been working closely with local media art collection (VMAC)¹⁴ and institutions, academia, presenting numerous original works from artists, graduates, professors and students. We are happy to see the opening of Run Run Shaw Creative Media Center¹⁵ for the School of Creative Media, which probably will be the most active incubator for a lot of new media projects in Hong Kong. Alchemy is not just a one off or makeshift idea, alchemy will become magical when we build close partnerships with similar minds, festivals, digital media associations, artscience labs to mix all ingredients together for a good recipe of innovation. When all of these dots are connected together, we probably see a future of humanity merging beautifully with technology and society. Connecting the dots can be a life story but all seems to start with a social or cultural question, and tries to answer it with technology. That’s why we have to remember Jobs and all to come, not just as a technology innovator, but also as a cultural producer.

執筆之日，舉世正震悼當世奇才蘋果電腦主席喬布斯之死。在喬布斯的引領下，電腦由一部計算機和文字機器，昇華做一部文化機器，強調創意、個人、革新和獨 特性；這令生產者及消費者、文化生產及文化消費的距離拉近、消溶。我在網上看了「連點」，2005年喬布斯於史丹福大學演講的其中一部份，一段可能是他最多人 觀看和引用的演講。他說，他已為意自己成為了文化地圖上的一點，連接著創意和科技。我本人不認識他，但我不奇然想，所有創造未來的人，大概都會在雲霄相連 — 「雲霄」可能是i-dent或iCloud。

藝術，特別是新媒體和數碼藝術，又曾否引發全新的社會變革，投身嶄新的文化生產模式？

十五年前，當世界還是以流動影像為主，電影、電視及錄像尚停留在類比格式，並處於多面向的整治過程中，第一屆微波錄像節便誕生了。微波是無線電波，以作 傳送聲音影畫之用，它也是我們藝術節的名稱。多年來，微波藝術節見證新媒體藝術如何擴闊藝術的定義，滲入日常生活之中。越來越多藝術家投身跨領域創作；各 式知識，共冶一爐。新媒體藝術家出身自科學、工程學、軟件製作、建築等。藝術家不再埋首工作室，轉為投身新穎的合作模式，如文化機構，又或是在自營的商業 機構中。過去現身於微波的藝術家如基斯達.森馬拉、羅倫.米尼奥諾、丹.盧斯格及朱力行均為佳證。基斯達是植物學家、丹是建築師、朱力行則是工程師，他們亦經 常跟研究人員或公司內的同伴研製作品。

跨學科的理念，並非特別新穎— 上世紀初成立的包浩斯，被譽為藝術史上其中一間最早的跨學科實驗室。透過展覽及學術出版，藝術和設計的意念由教育移展到 社會運動，延伸至文化交流及其他層面上，當中涉及公眾討論。近年，由於科藝實驗室改善了創作者在創作過程中與大眾的溝通，並消除了傳統藝術和科學之間所存 在的隔膜，糅合創意藝術及設計的實驗室模式便隨之浮現。此等科藝實驗室的例子多不勝數。2007年，科學歷史學家簡.阿諾於倫敦設立惠康博物館¹；其後同年，巴 黎實驗室(Paris Le Laboratoire)²成立；藝術歷史學家米高.莊.歌文於都柏林創立科學藝廊(Science Gallery)³。這些文化機構既非科學中心，又非藝廊，而是介 乎於兩者之間。上述組織的創辦人涉獵的範疇五花八門，包括藝術、科學及學術領域。它們的出現並非產自有組織性的運動，或跟隨已存在之範例，但他們都攜帶著 相同的目標及理念 — 以簇新的方法連結藝術/科學及教育/製作/展示方式。

如包浩斯將藝術、設計、教育和日常生活的界線模糊掉，此理念獲挪借到藝術和科學之間。此動向因日漸壯大的藝術科學組織和活動變得明顯，這包括國際藝術科學及 科技協會（The International Society for Arts, Science & Technology)及其評論期刊里安納度⁴、藝術及科學合作有限公司(ASCI)⁵、SymbioticA⁶ 、UCLA 藝術|科學中心⁷，和電子藝術交流協會 (ISEA)⁸。這些組織透過藝術節及相關活動經常展出由藝術科學連結而生的「第三層」，如奧地利的林茨電子藝術節⁹ 、荷蘭電子 藝術節(DEAF)¹⁰ 、Video Brazil、德國的Transm ediale¹¹和香港的微波國際新媒體藝術節等。

微波藝術節及其他上述藝術節都擁有共同的目標 — 創造藝術科學的意念、主題和實驗，而這似乎是項新的文化工程。微波藝術節為藝術和科技層面的革新，提供試驗 改進的平台 提供試驗改進的平台，並透過公眾討論及參與加以改進。是次藝術節 — 借用首屆微波新媒體藝術節中以藝術家製作CD光碟的巡迴展覽之名 — 是個「焚 燒中的界面」¹²，藉以反思藝術、科學和科技的交匯，以及教育、研究和社會的互動。來到十五週年，微波國際新媒體藝術節化身煉金術士，把所有新媒體藝術的點連結 熔煉。由媒體藝術組織錄映太奇¹³創辦，藝術節一直緊密和本地媒體藝術收藏計劃(VMAC)¹⁴、組織及學者，發表多件由藝術家、畢業生、教授及學生創作的作品。我們 樂見為創意媒體學院而設的邵逸夫創意媒體大樓¹⁵開幕；它將孕育大量新媒體作品。爻金術並非一時之興；只要把理念相近的人才、藝術節、數碼藝術協會和藝術科學實 驗室聚集，把身懷的奇寶混合便能成就頂尖的創意妙方。當所有的「點」相連，我們大慨可以看見人類的未來，跟科技和社會完美地融為一體。「連點」可以是一輩子的 事，但必需以一個社會、文化問題出發，然後在科技中尋找答案。為此，我們必須銘記喬布斯：他不單是個科技先鋒，他同時也是一個文化生產者。

New media art in fact is not new. Early in the 60th century, under the influence of Conceptual Art and Dadaism it has been evolved gradually along with the advancement of technology to what new media art is today. In the early avant-garde experimental art, there was already kinetic art that leverages mechanical technologies, which shown the intrinsic nature of new media art is invention and intervention, and this nature renders it inseparable from science and technology. Going back to the artistic source of new media art, it is not difficult to find that communication and collaboration are valued greatly; which explains tthe spark in new media art flared in the trans-disciplinary collaboration derived diverse and respective strengths from different fields. Trans-disciplinary collaboration is a long journey; it collects materials and concepts that evolve over time and new research and development directions that experts incessantly explore, grinds and combines them together and results in artworks that are blended with thinking of mutual evolution. The artworks are allowing the audiences to experience the possibilities of the new age world, and they are no longer just pure artworks; the making of them is by itself a very important material and exhibition platform to evolve concepts make art more interactive and interesting. Artworks have never been so close to the public and create for us a pair of wings to fly higher and further.

The theme of the festival 2011 is Alchemy; the concept stems from Alchemist, the miraculous creation that combines science and technology. To study bacteria we need Petri dishes, then new media art needs Media Lab. This year Microwave challenges the traditional curatorial practice of using individual artist as a curatorial unit to create a stage that reflects the nature of new media art with 7 world renowned laboratories. We target to import different cultures of new media art practice to our city, with their characteristics and niches then we can sketch an organic picture of new media art.

For sure there are many media art cross-disciplinary laboratories in the world, diverse in countless ways; this year’s festival has built a free gate letting the public enter these laboratories to have the most fun possible, breaking down the usually serious image of a laboratory. Time’s Up (Austria) tells us that a laboratory is a concept, it can be a classroom or a cup of coffee and their Petri dish for creativity is a kitchen in which the people are of importance, but not hardware. Leaving the kitchen, we could walk into the space of ‘when small sees big’ by Swiss artists-in-labs program (Switzerland), starting with 300 scientists’ thoughts, a Chinese artist using oriental philosophy as axis and which through creativity allows us to see how marine microorganisms see and treat human logic and thought.

Laboratories always lead people to indulge in reveries about the future. With experts working day and night, it could be that in the next second a human clone may come out and perform some derivative art or that the riddle of immortality is solved. robotlab (Germany) focuses on mechanical research and drawing with superior robot hand technology, but at the same time challenges the traditional function of machine by denying its servility. etoy. CORPORATION (Switzerland) utilizes its unlimited imagination and carries out a mission of exploring the digitalization of remains after life, using technology to create time capsules storing information wandering on the internet, through ceaseless automatic reproduction to create “immortality”.

In the field of new media art, one of the important sectors is bio-art, and the Art|Sci center of University of California, Los Angeles (USA) is absolutely one of its representatives. In a school full of resources, the media laboratory is like a piece of soil absorbing so much nutrients in the form of expertise in science, academy and art, committed to exploring the new media technology and bio technology. And through different artworks and experiments, they bring people, science and art closer together. Lighthouse from England, besides recruiting experts from different fields in the name of experiential space, furthers its collaboration with art teams from many foreign counties and creates “Laboratory Life”. With high-end bio technologies, it produces a series of works that is close to life, letting the public rethink the relationship between science and society. Moreover, there are not many media laboratories in Asia. Ishikawa Oku Laboratory (Japan) is definitely one of them and which from a well-known spring being a branch of University of Tokyo, School Information Science and Technology. Through inviting internationally renowned artists to residence in the lab and giving them the opportunity to take part in top mechanical engineering projects, this practice helps developing artworks that will penetrate international mass.

Art mirrors and records generations, it is close to life and reflects society. Combined with science, technology and its meticulous and logical thinking, it creates a spiritual entity balancing sense and sensibility. This form of art, which evolves incessantly, carries unlimited possibility and the power to change the world. We hope this free gate will remain open forever and act as the bridge connecting the public and science and art, becoming a religion to move the society forward. Amen.

新媒體藝術其實不算新了，早於上世紀60年代受概念藝術(Conceptual Art) 及達達主義 (Dadaism)的影響，慢慢隨著科技的發展漸漸蛻變成今時今日的新媒 體藝術。早期的前衞實驗藝術中已出現結合機械技術的動力藝術(kinetic art)，新媒體藝術的本質就是發明(invention)與介入(intervention)，而此根性即彰顯 其與科學科技密不可分的關係。回歸新媒體藝術的藝術源頭，不難發現他們都極著重溝通與合作，這表達了新媒體藝術中的火花正是跨界別的合作，游刃於各項專長 之間所衍生出來的結晶。跨界別的合作是一條很長的路，集合與時日共進演變的素材及理念，專才們持續探究新的硏發方向並相互磨合，而成就的藝術品糅合在相互 演變下的思維，讓觀眾感受到新世界的可能性。藝術品不再單純是藝術品，它的過程本身就是極重要的素材及展現平台，演變中的概念讓藝術變得更互動與有趣，作 品前所未有的貼近大眾，並打造一雙讓我們飛得更高更遠的翅膀。

2011年的藝術節以爻金術為題，概念源自鋼士煉金，創意糅合科學科技爻出精采藝術作品；硏究細菌我們需要培養皿，新媒體藝術需要媒體實驗室(Media Lab)。 今年Microwave挑戰傳統以藝術家為單位的策展模式，今年決定打造一個彰顯新媒體藝術本質的舞台，以七個國際知名的媒體實驗室為本，將不同的新媒體合作文化傳 送至我城，透過他們的特色特性，繪畫出一幅有機的新媒體版圖。

世界各地有許多媒體實驗室，五花百門，今年藝術節建構了一度隨意門，讓大眾走進他們的實驗室大玩特玩，打破一貫實驗室嚴肅的形象。奧地利Time’s up告 訴我們實驗室是一個概念，它可以是一所教室或一只咖啡杯，而他們的創意培養皿正正是一個廚房，中間最重要的是人而非任何硬件。離開廚房我們走進瑞士Swiss artists-in-labs program的「以小見大」空間，以三百位科學家的思考出發，中國藝術家以東方哲學為軸心，透過創意讓我們看見海洋微生物如何看待人類的邏輯 思維。

實驗室總讓人有對未來的遐思，在專才的日晚硏發之下，下一秒鐘也許複製人就會跑出來做衍生行為藝術，又或且找出長生不老的謎底。德國的robotlab以硏究 機械為重心，以高超機械手技術作畫，但又同時挑戰傳統機械的功能，除掉其奴僕根性。而瑞士的etoy.CORPORATION則發揮無限想像力，進行一項探究死後數 碼遺骸的任務；以簡單技術打造時間膠囊，裝載流浪在網絡海的資訊，透過不斷的自動複製而生產「永生」。

在新媒體藝術的範疇中，另一重要派系則為生物藝術，而美國加州大學洛杉磯分校的Art|Sci center絕對是代表單位之一；在資源充足的學院裡，媒體實驗室作 為一片肥沃的土地吸引科硏、學術及藝術精英群策實力，致力探索媒體藝術與生物科技，透過作品拉近人與科學及藝術之間的距離。而英國的Lighthouse，除以實驗 空間招徠各項專才以外，更進一步與多國的藝術團隊合作，打造「實驗室生活」，運用頂尖生物科技製作貼近生活的作品系列，讓大眾重新反思科學與社會之間的關 係。而在亞洲的媒體實驗室或中心並不多，日本的石川奧硏究室系出名門，由東京大學資訊科學及科技的學院分支而來，引入國際知名藝術家駐校，讓他們有機會接 觸頂尖的機械工程項目，並將之發展成藝術作品滲入國際群眾。

藝術反映及紀錄時代，貼近生活寫照社會，與具嚴密邏輯思考的科學科技結合後成為具靈性的結晶，平衡當中的理性與感情。這種不斷演變的藝術形式攜帶著無限 可能性及改變世界的能力，但願這度隨意門永遠都不會關，成為連結著社會大眾與科藝之間的橋樑，成為推動社會的信仰，阿門。