The project TFN (Technological Finding Netbot) is a collaboration project between Future Media Arts Festival and Microwave International New Media Arts Festival. The title plays with the name of NFT (Non-Fungible Token) – one of the most recent popular topics in the market (or the internet?). The team explores the key concern underneath. “Everydays – The First 5000 Days” by the artist Beeple set a record for a digital artwork in a sale – US$69 Million (around HK$540 million) in March 2021. The fantasy of NFT all of a sudden all burst. No one knows what’s next: A piece of source code? A Tweet? A videoclip? A digital copy of an antique painting? A song? Any single piece could be the next top ranked pricey NFT work, but what do people really know about NFT? Probably not even the game rules? In this project, the team designed a Web Crawler to dig out the real-time news related to NFT based on keywords & tags, process and compare the founded information real-time, and display the key information on the LED installation. When people look at the running text – like a bubble of information, which encourages people to think about the phenomenon and their roles in it. In the web version, more details and backend info will be revealed for deeper engagement and understandings.

作品由未來媒體藝術節與微波國際新媒體藝術節共同製作，以目前熱門與關注的NFT(Non-Fungible Token)非同質化代幣的數位作品買賣訊息為標，透過設計的網路爬蟲自動搜尋NFT的相關訊息，將訊息的關鍵字進行比對，再把重點訊息呈現於立柱前的大型LED跑馬燈上。自從2021年3月Beeple的數位作品《Everydays: The First 5000 Days》被以史上的高價7000萬美元（約5.4億港元）被賣出後，NFT的可能與狂想突然似乎被引爆，一段原始程式碼、一則推文、一段影片、一幅古典畫作的數位授權、一首曲子都能成為下一個可能創新高的想望，每一則NFT的熱門訊息往往是一件作品與一個相應不可思議金額的報導，人們所關心的也許只剩下作品的飆售價格與如何進場。是次作品透過柱型裝置呈現跑動中的消息與字眼，連動觀眾的觀看模式，顯現每分每秒資訊的爆炸與人們的泡沫期許；此外觀眾也可以透過網站，瀏覽網路爬蟲搜尋NFT訊息與比對運作的工作畫面。

Since the official launch of Taiwan Contemporary Culture Lab (C-LAB) in August 2019, the team has been endeavouring to foster more connections in the cultural/artistic ecosystem in Taiwan through the power of bringing together “technology, art, and society.” The first edition of the festival - Re-Base: When Experiments Become Attitude announced the grand undertaking to transform a former military base into a vibrant cultural park, addressing the prelude for a brand-new chapter. Shortly thereafter, the major annual exhibition of the second year City Flip-Flop opened up the venue once enclosed by walls, and provoked dialogues between the study of a city and its urban cultural fabric. Following the success, in 2020, Re: Play intended to lead in-depth discussions about the corporeal materiality in performance and live art. In 2021, the fourth edition of Future Media Arts Festival will employ projections and speculations of human society’s possible future developments with the aid of technology and media and drawing upon a broader vision, the curatorial team aims to explore diverse possibilities of media art in the future in relation to various sectors such as culture, environment, technology, society, and humanities.

臺灣當代文化實驗場自2019年8月正式啟動以來，致力於結合「科技、藝術、社會」的力量來串聯臺灣的藝文生態系。首年以「再基地：當實驗成為態度」為命題，開啟C-LAB翻轉軍事場域成為文化園區的序章，緊接著在第二年打開園區圍牆，以「城市震盪」開啟城市學與文化紋理之對話，2020年則以「Re: Play 操／演現場」展開表演與現場藝術（Live Art）之身體性探討。

在邁入第四年之際，延續前三年的各項實驗與展演的累積，2021年的「未來媒體藝術節」試圖以科技媒體對未來人類的社會導向作為假想和推測，企圖從文化、環境、科技、社會及人文等不同的面向，以更開闊的視角探索未來媒體藝術的諸多可能，期能作為當代跨領域藝術創作與科技網路融合的示範。

Chang Hsin-Yu, was born in Hsinchu and currently studying in the Department of New Media Arts in National Taiwan University of Arts, he is an interactive/ sound/ installation artist. He particularly focuses in the area of the creative process & various approaches in making sound and images, and his sound installation created based on interesting mechanisms which in the aims of making special sound effects as well as to response to live experience.

1999年生於新竹，現就讀北藝大新媒體藝術學系，互動、聲音、裝置創作者。注重聲音及影像生成的過程及方法，聲音裝置作品除了利用有趣的運作機制來創造特殊聲響外，也嘗試以此機制作為聲音呼應生活經驗感受的中介。

Microwave Festival, founded in 1996, is one of the pioneering media art festivals in Asia; research on various curatorial topic every year while focusing on media technologies, science and art, continue bridging the dialogues between experts from different area through presenting programmes to engage the public.

成立於1996年，作為亞洲其中之一先鋒媒體藝術節，每年均以不同的策展命題探討科技、科學、藝術的連結，並透過不同的類型的項目連結本地及國際群眾，年復一年，生生不倦。

Jason Lam graduates from School of Creative Media in the City University of Hong Kong, a creative technologist in interaction technologies and procedural graphics. He is a member of Add Oil Team which focuses on projects concerning creative activism. His works include “Pavilion for Our Living”, “Pavilion for Our Harbour”, “Countdown Machine”, “Add Oil MJachine”, and “ Radiencescape”. His works have been awarded with the Freedom Flowers Foundation Award, exhibited in Asian Art Biennial, the Hong Kong Museum of Art and the Slought Foundation.

林志輝畢業於香港城市大學創意媒體學院，是打氣小隊一員，專注於互動技術與生成影像，以創作關注社會。作品包括《居港亭》、《海港亭》、《打氣機》及《輻射界》，作品曾獲「自由之花」首奬，於香港藝術館、亞洲藝術雙年展及斯勞特基金會等展出。