When did humans reach the pinnacle of the tower of existence? When did we start distinguishing between the human and the non-human? From where did this centrism originate? How are things divided, categorized, and ordered in universes built on the intelligence of other species? Or is all of this fantasizing coming from a place of anthropocentrism—if we, as humans, head towards it, will it lead us to a way that breaks the illusion?
In 2021, Microwave curated Yesterday’s Fiction from a futurist perspective founded on myth, science fiction, and literary creation to present works exploring the human imagination. The exhibition concluded with Co(AI)xistence, a video work whose story was never finished. The 2022 edition, titled Half Half, searched for balance and ways of co-existence in a world developing at lightspeed with artificial intelligence and technology, with the wish that “science be kind and all forms of life co-exist in peace.” But if we speak about co-existence, what about the other beings on this earth? In what context is “co-existence” agreed upon? Throughout the curatorial process, other life forms seem to be overshadowed by technology. With the rapid advancement of artificial intelligence (AI), we try to shift the focus back to the “non-human” to identify the missing piece. In the field of “non-human intelligence”—which includes animals, insects, plants, and computer systems—humans still play a role, but one that needs to interact and cooperate, and even create something with other species. Will this direction help us go beyond anthropocentric frameworks of understanding?
With these (co-)creations, media artists, technologists, and scientists “collaborate” with a variety of organisms, like bees, elephants, ants, bacteria, and plants. The data and assets from these collaborations are just as complex as what arises from collaborations with AI. Apart from possibilities of de-anthropocentrism, they also make us learn humility and respect. Creation is a process of understanding and co-operating with each other as living beings, a form of cross-species exchange and interaction; perhaps these forms of expression and development can lead us to more symbiotic ways of co-existence.
Curating is a layered process. It is not just about showing works that relate and placing them in the same space, but also reaching out to the audience online and offline, much in the way of an “untouchable lover.” Seen independently, the works fascinate, but together they offer broader, larger narratives and imagery. We begin with American film director Rachel Mayeri’s Primate Cinema: Apes as Family, a film made especially for chimpanzees. Television is a form of entertainment for chimpanzees at the zoo, but no filmmaker has ever made programmes specifically for them. Mayeri worked with primatologists to study the chimpanzees’ reactions to different television programmes and came to an interesting conclusion: their preferences are similar to human viewers and revolve around food, territory, social status, and sex (like our obsession with Instagram and TikTok). Although chimpanzees relate closely to humans and are genetically similar, humans did not evolve from chimpanzees. The Human Genome Project, launched in 1990, and its sequencing of human DNA in 2003 cracked the code of life, allowing us to trace back to six million years ago, when humans and chimpanzees shared an ancestor. This marked our first step away from the center to understand our similarities and differences with other species. Naturally, animals and humans share the same fate—think Noah’s Ark and all the disaster films and science fiction. If the world is really coming to an end (as it seems to be), what can we learn from the world of animals in our bleak present? In 2018, the world’s last male northern white rhino Sudan died, leaving the last two female white rhinos incapable of reproducing. Sudan’s death marked the extinction of their species. Inspired by these devastating events, British artist Alexandra Daisy Ginsberg created The Substitute, in which an artificial northern white rhino lives and wanders in a virtual space. The digitally-constructed rhino begins to adapt to its surroundings, its sounds are informed by field recordings of both male and female northern white rhinos and movements from AI research data, until it gradually becomes more three-dimensional and lifelike. Yet what is the purpose of this “life”? A technological resurrection, speculating on the future of humans, who already have one foot in the virtual world—is this a prophecy or a warning?
By itself, an ant is fragile and insignificant as dust; together, they can carry and travel, transporting food to places of storage. We have all seen how they cooperate, build nests, and thrive as they defend themselves against threats and raise offspring, creating a life cycle built on Collective Intelligence. Chinese artist Zhang Tiangang’s The Ant Colony is a representation of aspects of Collective Intelligence. By exploring and practicing a curation/mode of knowledge production with an algorithm based on the Collective Intelligence of ant colonies, the work creates a non-anthropomorphic set of values and worldview. It is contiguous with American philosopher Donna Haraway’s idea of “becoming-with” animals, which indicates a relationship of respect and knowledge of the intelligence of other species—a concept that allows humans to recognise the rights of other species and all living things to exist, develop, express, and build on themselves. In the same way, Chinese artist Zhang Tianyi’s The Plant Intelligence Plan approaches the issue from the angle of ecology to rethink the dynamics between humans and the ecosystem, and to call for a return to a non-anthropocentric and egalitarian relationship with the environment.
Nature, humans, animals, and technology are all part of the world we live in. The works on display allow us to step away from a human-centric view of existence. A difficult feat, but is it not the same as looking at a sky full of stars in the woods at night or scenery from the top of a mountain and realizing the insignificance of human beings? Same breath, same world—Amy M. Youngs’s Belonging to Soil takes us to the inner layers of the earth to experience the symbiotic microcosm, inhabited by tiny springtails from soil ecologies all over the world, in the exhibition space. In contrast, French director Abel Kohen’s virtual reality work Biolum transports us to the ocean as a diver in a sci-fi universe to explore the perils of the deep sea. N.H Intelligence, the theme of this year’s edition, explores conversations around non-human intelligence, from organisms to technology and their exchanges. Asian creative collective hello edo creates AI-generated images through continuous research and experimentation, posting on social media the Hello Edo! Yatai Series, a collection of ukiyo-e art featuring stall vendors that are hybrids of retro robots, humans, cyborgs. The images seem to come from an alternate universe between the past and the future, with its own rules for geographical space, religion, ways of life, and social etiquette. Even if they only exist through the screen in the exhibition, the images still lead us to think about possibilities beyond human creativity. UnConference, the festival’s online series of events, will also explore these themes, with international scholars sharing their research on cybernetics and ecology, presenting a “mirror” of science and technology that lets us become more empathetic, more “human.”
N.H Intelligence is a representation of the spectrum of our current world. When discussing AI, people often approach the subject from a perspective of power despite claims from futurists that AI will surpass humans by around 2045. People have become more vigilant but make the same mistakes again and again, too reliant on the convenience technology brings to be aware of future crisis. In comparison, every element in nature is organic and interactive, their interwoven infrastructure a scenario of co-existence that steals the spotlight from the supremacy of humans on the tower of existence. Project Room edition N will continue Microwave’s explorations with “Reimagines Heritage.” With a series of online and in-person programmes, audiences are encouraged to look at the future while reflecting on the past and to preserve what they consider precious with the tools they have on hand. The evolution of all living things and the development of science and technology are all matters of process. As time marches straight ahead, the future becomes ever more imminent. In the absence of prophets and their readings to guide us, can art pave a way and provide new insights?
人是什麼時候開始坐上塔尖的呢？是什麼時候分人與非人呢？這個中心點從何而來？在每個以不同物種智慧主軸成就的世界觀裡，一切是如何被分隔、分類以至排列？還是一切不過是以人為中心的幻象？那如果以人出發，走到幻象之中，那幻術會不會就是破局的方法？2021年Microwave以未來學家的觀點出發，結合與神話以及科幻小說與文學創作為藍本，策劃了 《今未來》(Yesterday’s Fiction) ，那些創作與人的想像力有關，展覽結尾以「與愛（AI）同在」(Co(AI)xistence) 錄像作品留白，故事尚未結束。走到2022年以《半半》(Half Half) 為題，嘗試理解在人工智能以及科技加持之下，如何在光速發展的世界中找尋一個平衡點、一種共存的方式，然後許下「科技有靈，萬物共生」一願。但如若要談到共生，那地表上的一切呢？這個「共」字是在什麼語境下被認同？策展的過程中，當科技變成亮點，就像模糊化了別的生靈，於是在人工智能(Artificial Intelligence)以光速發展下，嘗試把焦點挪移至「非人類」，讓我們看見缺失的一角。「非人類智能」(Non-human Intelligence) (即動物、昆蟲、植物和電腦系統) 的領域中，人類的角色仍在，但卻需與他者互動共識，甚至需要共同創造。如果由這方向走，是否可以超越本來以人為中心的理解方式？ 媒體藝術家、科技專才、科學家在這些（聯手）創作的過程中，與各種生靈「合作」，可以是蜜蜂、大象、螞蟻、細菌、植物等，這些合作提供的數據與素材，不比與人工智能合作來得簡易，當中除了有去中心的可能性，也具備了另一個學習場口，就是謙卑與尊重。創作中糅合的是理解、相處，是生靈之間的關係，是跨物種間的交流與互動，也許這樣的表達與發展，可以導引更多關於共生的面向。
策展是一個層層遞進的過程，不止於把作品連結然後在空間中呈現，而是以「觸不到的戀人」方式去接觸群眾，在線上線下全方位的留下片句索引，單獨觀看有意思，但連結一起就可以看到更廣更大的圖像絮語。一開始是美國導演瑞秋‧梅耶里 (Rachel Mayeri) 的《猩猩一家親》(Apes as Family)，這是一部專門為黑猩猩製作的電視劇；黑猩猩看電視是圈養黑猩猩的一種娛樂方式，但還沒有電影製片人為牠們製作過節目。導演與靈長類動物學家一起研究黑猩猩對不同電視節目類型的反應，然後得出一個有趣的結論，牠們的喜好與人類相似，就是圈繞食物、領地、社會地位及性 (想想人們無法離開的IG與抖音)。事實上黑猩猩與人類關係密切，生物學上與人類基因類近，但人不是從黑猩猩演化而來的，根據1990年啓動的《人類基因工程》(Human Genome Project)以及2003年繪製的《人類基因圖譜》，我們揭開了生命之書的密碼，知道大約在六百萬年前，人跟黑猩猩有共同的祖先。以此作開啓第一度大門，離開中心點，去理解我們的同與不同。動物當然與人類共同進退，想想挪亞方舟想想許多災難電影與科幻小說，如果世界真會末日(也似不遠矣)，在嚴峻的當下，我們可以借動物的世界照見什麼？2018年地球上最後一隻雄性白犀牛蘇丹死了，餘下的兩頭白犀牛已沒有生育能力，蘇丹的死標誌著白犀牛物類的滅絕。英國藝術家亞歷山德拉‧黛茜‧金期堡 (Alexandra Daisy Ginsberg) 從中獲得靈感，創作了《替代品》(The Substitute)，在作品的虛擬空間內，有一只人工白犀牛活在其中，流離漫遊。此經過數位重塑的犀牛開始適應其周遭，它的聲線來自雄性和雌性白犀牛的真實現場錄音，而動作行為則來自人工智能研究數據，並慢慢變得更立體逼真。然而這樣的「活著」為了什麼？這種復生由科技而來，卻照出一只腳踏進虛擬世界的人們的未來，這是預言還是儆醒？
一只螞蟻微不足道，牠們看起來那麼脆弱，像塵埃一樣；但幾只湊一起就可以搬運移動，把食物移到牠們想要收藏的地方。很多人都見過吧？牠們協同工作、建築巢穴、富有生命力，牠們能共同抵禦危險也一同撫養後代，生生不息下呈現的是群體智能(Collective Intelligence) 。中國藝術家張天鋼的《在蟻群中》(The Ant Colony)就是要呈現這個群體智能的面向；通過基於螞蟻群體智能的蟻群算法探索和實踐一種策展/知識生產的方式，也構建了一個非人類中心主義知識生產的價值觀和世界觀。就此延伸思考至美國哲學家唐娜‧哈拉維 (Donna Haraway) 提出的與動物相處 (Becoming with)的概念；它描述了關係的建立，開拓了對其他物種智慧的尊重與本質的認知。這個概念容許人們去承認他者的生存、發展以至表達與建構的權利，萬物生靈如是；於是另一中國藝術家張天怡的《植物智能計劃》(The Plant Intelligence Plan)即能照出另一面向，以「生態關係」作為切入點，啟發人們重新思考人與生態的關係，呼籲回歸非「人類中心主義」的平等生態關係。
天地之間有大自然有人有獸有科技，作品的一件件鋪陳，是讓觀眾步步遠離以人為中心的世界觀，這很難，但就似某天當閣下在林間看夜空，又或者站在高山上看風景，不也能受感到人類的渺小嗎？一呼一吸一世界，由美國藝術家艾米‧揚斯 (Amy M. Youngs)的作品《塵歸塵土歸土》(Belonging to Soil) 帶觀眾走進土壤的內層，體驗與自身有共生關係的微小世界，並把生活在世界各地土壤生態的微小生物 - 跳蟲，帶進展間，讓觀眾可以近距離觀察。而法國導演阿貝爾‧科恩 (Albel Kohen)的虛擬實境作品《光體》 (Biolum) 則把觀眾由地上送進深海，以潛水員的角色在科幻世界裡遊走探索，在這場迷幻鬥爭下感受深海的世界。主題「人‧鬼‧獸」想呈現的是以非人類智慧譜集而成的討論，可以是由生靈或科技而來，都可以是相互交錯的成果；亞洲創意團隊hello edo側重於人工智能生成圖像，通過不斷研究與嘗試，在社交平台發佈了《江戶未來世_屋台系列》(Hello Edo! Yatai Series)，一個由復古機器人、人類、賽伯格、跨物種所組成的浮世攤商故事。似是生存於過去與未來折疊時空之中的異世界，擁有獨特的地理空間觀、宗教信仰、生活方式、社會儀式等，即便只是存於屏幕中，通過展覽的加持，讓觀眾能夠進一步思考除以人為中心的創作以外，尚在開發的其他可能性。藝術節的線上反轉研討會 (UnConference)也會沿著此命題，邀來國際學者分享他們相關神經機械學、生態學等研究，也許這由科學科技而來的鏡子可以讓我們變得更「同理」更「人」。
「人‧鬼‧獸」某程度展現的是當下的世界光譜，在探討人工智能的過程中，人們經常採取的視點都是由上至下，但未來學學家說過在2045年左右人工智能將超越人類，於是人們提高警覺卻又重覆犯錯，過於依賴科技帶來的便利，忘卻在近未來的危機與走向，反觀大自然中的一切都是有機互動的，那環環相扣的底蘊也揭示了共存的美景，也可以退去塔尖的光環。Project Room 實驗 N 場將延續Microwave的另一實驗項目《一切堅固的東西都煙消雲散》（Reimagines Heritage），通過線上線下的節目，鼓勵觀眾在觀望未來的同時也記存往昔，以任何手到拿來的工具把珍貴的東西保存下來。萬物生靈的進化以至科技發展畢竟都是過程，時間不會往回走，近未來近在咫尺間， 在無先知預言可讀之時，藝術是否可以從中開闢一條出路並提出新的洞見呢？
Chimpanzees in captivity watch television as a form of enrichment. But no one had made a film expressly for a chimpanzee audience. Could we learn something about their mentality by what appeals to them? Primate Cinema: Apes as Family shows an original drama for chimps and the simultaneous reactions of the chimps watching it, side by side as a two-channel installation.
I began by making and showing a variety of footage to chimps at the Edinburgh Zoo in collaboration with primatologist Sarah Jane Vick: drumming, cooking shows, cartoons, documentaries of wild chimps, people with masks on. Unsurprisingly, chimps like to watch chimps most of all. They also have a very short attention span. I wrote a screenplay features variety, spectacle, and a thrumming soundtrack, with primate dramas around sex, food, hierarchy, and territory. The story follows an adolescent female chimp who, like chimps in the wild, must leave her family home and make friends in a strange, new community. “Carla” is played by a human actor in a realistic costume, whose facial expressions were puppeted animatronically. An enculturated chimp, Carla is used to living in a house, but she meets fake chimps who try to teach her to be wild.
The ape feature premiered in a chimp-proof monitor in the greenery of the zoo as well as in an indoor research pod, which chimps could access voluntarily. Throughout the project, we learned how chimps' individual personalities and upbringings -- in labs, zoos, or in the wild -- affected their responses to television.
人工飼養的黑猩猩會把看電視作為娛樂的一種，但沒有人為黑猩猩觀眾製作過電影電視。那我們是否可以從吸引黑猩猩觀眾的內容去了解牠們的心理呢？靈長類動物電影院：《猩猩一家親》以雙頻度錄像裝置形式展現，呈現為黑猩猩製作的原創戲劇以及黑猩猩觀眾觀看時的同步反應。
一開始我與靈長類動物學家莎拉・簡・維克（Sarah Jane Vick）合作，在愛丁堡動物園為黑猩狠觀眾製作並播放各種影片，內容包括擊鼓、烹飪節目、動畫、野生黑猩猩紀錄片、戴面具的人等。如我們所料牠們最愛看同類表演，並發現牠們的注意力都很短暫。於是我寫了一個電影劇本，場面壯麗，配樂激昂，內容豐富精彩，主題圍繞著性、食物、制度以及領地。故事講述一只青春期的雌性猩猩「卡拉」，和野生猩猩一樣，她必須要離開自己的家，到一個陌生的新社區去交朋友。卡拉由一名穿著逼真服裝的人類演員所扮演，其面部表情由動畫控制。卡拉是一只受過文化薰陶的黑猩猩，她習慣了在房子裡生活，但她遇上了試圖導她轉野的假黑猩猩。
作品於動物園的綠園地以及室內研究艙以防護電視進行首播，黑猩猩可以自由進出。在整個項目中我們了解到黑猩猩的個性以及成長經歷，無論是在實驗室、動物園還是野外，是如何影響牠們對電視的反應。
Rachel Mayeri is an LA-based artist working at the intersection of art and science. Her videos, installations, and writing projects explore topics ranging from the history of special effects to the human animal. Commissioned by Arts Catalyst and receiving a major award from The Wellcome Trust, she created a film expressly for chimpanzees – Primate Cinema: Apes as Family, which subsequently showed at Sundance, Berlinale, and Ars Electronica. Currently she is at work on a project about the R/P FLIP, a Cold War research vessel built to rotate 90 degrees to study waves and sonar, as part of Getty’s Pacific Standard Time 2024: Art & Science Collide. A professor at Harvey Mudd College, she teaches courses such as Animal Media Studies and Art & Biology.
瑞秋・梅耶里是一位來自美國洛杉磯的藝術家，從事藝術與科學交互領域的工作。她的錄 像、裝置以及寫作項目探討了從特效歷史到人類動物的各種主題。受藝術組織 Arts Catalyst 的委託，並獲得 the Wellcome Trust 基金會的重要奬項，她創作了這部為黑猩猩觀眾而製作的電影；靈長類動物電影院：《猩猩一家親》。作品隨後於電影節 Sundance、 Berlinale 以及藝術節 Ars Electronica 放映。目前她正在進行一個 R/P FLIP 的項目 – 這艘冷戰時期的研究船可以旋轉90度來研究海浪和聲納，是《Getty’s Pacific Standard Time 2024: 藝術與科技碰撞》計劃的一部分。她是哈維馬德學院的教授，授課科目包括動物媒體研究、藝術與生物學等。
http://www.rachelmayeri.com
Twitter: LamentBot
Instagram: softscientist
How can we see under the surface – and get inside of soil?
Belonging to Soil is an art installation and virtual reality experience based on a critical ecological reality. The intricately interwoven ecosystem of soil contains billions of tiny creatures that our lives depend upon. How can we meet our friends who are doing the important work of absorbing waste and transforming it into healthy fertilizer that feeds the plants, which feed animals, like us? How can we see and experience these fascinating creatures who have complex, symbiotic relationships with each other?
This virtual reality experience Belonging to Soil is a simulation of the world of a springtail, a tiny creature living in soil ecosystems throughout the world. You inhabit the body of this arthropod avatar so you can travel as it does; riding on a flying ant to find new territory, leaping through the air to escape predators, swimming in a pond to catch and eat water bears, crawling underground to see the beauty there, exploring tunnels made by worms, eating sporulating soil bacteria, feeding plant roots, and dancing with friends.
Since a simulation can never live up to the complexity of the actual creature, we found that it was important to bring them into the gallery so they could represent themselves. They are the size of a pinhead, which makes it challenging to notice at first; so a video microscope was used to capture and broadcast their lively movements on a large monitor for visitors to observe. Small terrariums – dubbed “sub-terrariums” – are on display next to the monitor for further, close observation.
Belonging to Soil creators: Amy Youngs (Artist), Shadrick Addy (Designer), Mayen McClain (3D Environment Artist), Luke Stephens (3D Character Designer), JT Thrash (Lead Programmer), Andrew Sanchez (Programmer), Josh Rodenberg (Musician), William Yuan (3D Artist) and Megan Wright (Designer).
我們如何能夠看到土壤表層以下，並進入土壤的內層？
《塵歸塵土歸土》是一件建基於重要生態現況、配有虛擬實境體驗的藝術裝置。錯縱複雜的土壤生態系統中包含著數十億人類賴以生存的微小生物，我們要怎樣才能看見這些「朋友」呢？它們正做著重要的工作，吸收廢物並將之轉化成健康的肥料，為植物提供營養，而植物又為動物提供養料。我們要怎樣才能看到和體驗彼此間有著複雜共生關係的迷人生物呢？
虛擬實境體驗《塵歸塵土歸土》模擬了一種生活在世界各地土壤生態的微小生物 – 跳蟲的世界。你可以居住在這種節肢動物化身的身體裡，像它一樣遊走；騎在飛蟻上找尋新領地，在空中跳躍躲避捕食者，在池塘裡游泳捕食水熊蟲，在地上爬行欣賞美景，探索蟲蟲建造的隧道，吃土壤中的孢子細菌，餵養植物根系，與朋友共舞。
由於模擬永遠無法與真實生物的複雜性相比，我們發現將之帶入展覽空間，讓它們表現自己是十分重要的。它們就只有針頭的大小，一開始很難被注意到；因此我們使用了影像顯微鏡來捕捉它們活潑的動作，並在大型顯示器上播放，供觀者觀察。在旁邊置放了被稱為「子溫室」的小型溫室則讓觀者可以進一步近距離觀察。
創作者：艾米・揚斯（藝術家）、沙德黑克・阿迪（設計師）、馬仁・麥克萊恩（3D環境設計）、路克・史蒂芬斯（3D角色設計）、JT激流（首席編程）、安德魯・桑切思（編程）、喬希・羅登伯格（音樂）、威廉・袁（3D動畫）、梅根・萊特（設計師）
Amy M. Youngs creates eco art, interactive sculptures, and digital media works that explore entanglements between technology, plants, and animals. Her research involves empathy, relationships with non-humans, ecosystem construction, and seeing through the eyes of machines. She has created installations that amplify the sounds of living worms, indoor ecosystems powered by a rocking chair, an interactive museum for live insects, and an augmented reality tour of real nature. Her works have been exhibited widely, at venues such as the Te Papa Museum in New Zealand, the Trondheim Electronic Arts Centre in Norway, the Peabody Essex Museum in Salem, MA, and the public parks in New York City. Youngs has earned an Individual Artist Grant from the Ohio Arts Council, has contributed writing to interdisciplinary publications such as Leonardo Journal, and the book Robots and Art, and she has lectured at venues such as the Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute, in Troy, NY, the Australian Centre for the Moving Image in Melbourne, Australia and the Walker Art Center in Minneapolis, MN. She earned an MFA from the School of the Art Institute of Chicago and a BA from San Francisco State University. She is currently an Associate Professor of Art at the Ohio State University, where she collaborates on interdisciplinary projects and teaches courses in digital media, art & science, and eco art.
艾米・揚斯專注創作生態藝術、互動雕塑及數位媒體作品，探索科技、植物和動物之間的糾結關係。她的研究涉及同理心、與非人類的關係、生態系統建設以及用機器的眼睛看世界。她曾創作過放大活蟲的聲音裝置、由搖椅驅動的室內生態系統、活體昆蟲互動博物館以及真實大自然的擴張實境之旅。她的作品曾於新西蘭的蒂帕帕博物館、挪威的特隆赫姆電子藝術中心、馬薩諸寒州塞勒姆的皮博迪㶼塞克斯博物館和紐約市公共公園等地展出。艾米曾獲俄亥俄州藝術委員會頒發的個人藝術家奬金，並為跨學科刊物《LeonardoJournal》、書籍《機器人與藝術》等撰稿，還曾於紐約州特洛伊市倫斯勒理工學院實驗媒體與表演藝術中心（ EMPAC ）、澳洲墨爾本移動影像中心和明尼蘇達州明尼阿波利斯沃克藝術中心等地舉辦講座。她擁有芝加哥藝術學院的藝術碩士學位及舊金山州立大學的文學學士學位。她目前是俄亥俄州立大學藝術副教授，主責跨學科項目的合作，並教授數位媒體、藝術與科學以及生態藝術等課程。
Twitter: amy_youngs
Instagram: amy_youngs
Biolum is a cinematic PC-VR experience that thrusts the user into the role of RACHAEL, an experienced diver exploring the abyss, guided by expedition leader EVA, a renowned marine scientist and mentor. Rachael discovers that luminescent parasites are infecting ocean flora and fauna. She gets infected herself and faces a mesmeric fight for her mind when she discovers the shocking truth behind why Eva sent her down there.
Inspired by the beauty of Deepsea life, Biolum blurs the lines between biological truth and sci-fi and taps into existential themes and cosmic wonder of the great unknown.
《光體》是影院沉浸體驗的虛擬實境作品，讓觀者化身經驗豐富的潛水員Rachael，在著名海洋學家與導師Eva的帶領下深索深淵。Rachael發現發光的寄生蟲正在感染海洋中的動植物；她自己亦被感染了。當她發現Eva派她去那裡的驚人真相後，她面臨一場爭奪心靈的迷幻鬥爭。
《光體》的靈感源自美麗的深海生物，它模糊了生物的真相與科幻之間的界限，挖掘了存在的主題與宇宙未知的奇妙。
Abel Kohen (France)
DIRECTOR - AUTHOR
阿貝爾・科恩 (法國)
導演兼作者
Abel Kohen is a Paris based French writer-director with an extensive track record in animation and visual effects. Even in early childhood, his mind was dead-set on becoming a director, an ambition fuelled by a healthy obsession with film and video games.
After having graduated from Supinfocom in 2010, his graduation short film won numerous distinctions in festivals around the globe and a Vimeo Staff pick. From there, his endless curiosity pushed him to branch out into numerous fields, from art eventorganisation to photography, but always as complementary activities to his filmmaking craft.
He contributed to prestigious projects like compositing on Cartoon Network’s multi-Bafta winning show The Amazing World of Gumball and on Netflix’s Black Mirror, as well as directing product films for Nokia which created an instant buzz upon release. He’s also crafted short films which have been screened in festivals around the globe, and keeps a steady backlog of projects in development.
Both his eclectic sensibilities and attention to the fine balance of light, colour and motion have earned him a rising visibility in online creator circles, as shown by his animations going viral on Reddit, Imgur and Instagram.
阿貝爾・科恩是居於巴黎的法國編劇及導演，在動畫和視效方面具有豐富經驗。早於童年時期，他就立志成為一名導演，對電影和電子遊戲的痴迷更激發了他的雄心壯志。2010年從 Siupinfocom 畢業後，他的畢業生短片即在全球各地的電影節上屢獲殊榮，並被 Vimeo 選為最佳影片。從那時起他無盡的好奇心促使他涉獵眾多領域，從藝術到攝影，但始終電影製作才是他的至愛。
他參與了許多著名的項目，如在 Cartoon Network 多次獲得英國電影電視大奬的節目《阿甘妙世界》及 Netflix《黑鏡》中擔任合成師，還為 Nokia 執導產品廣告，一經推出便引起了巨大回響。他還製作了許多短片，在世界各地的電影節上放映，並不斷積極開發項目中。他不拘一格的感受能力，以及他對光線、色彩、流動影像等的平衡關注，使他在線上創作圈獲得越來越高的知名度，尤見於他在 Reddit、Imgur 和 Instagram 上流傳的的動畫作品。
Jon Rowe (United Kingdom)
SCREENWRITER CO - AUTHOR
喬恩・羅 (英國)
劇本協作
Jon Rowe has been working in scripted drama since 2007 and has a wealth of broadcast editorial and production experience. He started out on the production team of BBC’s Cranford (starring Judi Dench) and The Hollow Crown (starring Tom Hiddleston), as well as Mad Dogs for Sky1, before joining BBC Drama’s development team.
He was the script editor on two seasons of BBC1’s flagship forensic pathology drama Silent Witness, and script executive on Britannia for Sky. He went on to be the script executive on Park Chan-wook’s adaptation of John le Carré’s The Little Drummer for BBC1 starring Alexander Skarsgard and Michael Shannon, before joining Endemol Shine’s Bandit Television as Development Producer.
As a writer, Jon is developing original dramas with Nevision, Keshet UK, and Sharon Bloom (executive producer of Motherfatherson), and has recently secured the rights to adapt fantasy trilogy, The Braided Path.
喬恩・羅從2007年開始從事電視劇編劇工作，擁有豐富的廣播編輯及製作經驗。他最初在BBC 的《克蘭德》（朱迪・丹奇主演）和《空心王冠》（湯姆・希德勒斯頓主演）以及Sky1 的《瘋狗》的製作團隊工作，之後加入 BBC 戲劇開發團隊。
他曾擔任 BBC1 的旗艦法醫病理劇《沉默的証人》兩季的劇本編輯，以及天空電視台（ Sky ）《不列顛尼亞》（ Britannia ）的劇本主管。在加入 Endemol Shine’s Bandit Television 擔任過朴贊郁改編自約翰・勒卡雷 的《小鼓手》（由亞歷山大・斯卡斯加德及邁克爾・珊農主演）的 BBC1 劇本執行人。
作為一位編劇，喬恩正在與 Nevision 、 Keshet UK 及 Sharon Bloom（ Motherfatherson的執行監製）協作開發原創電視劇，最近還獲得奇幻三部曲《縱橫交錯的道路》的改編權。
Production 製作
Taking the emotional flow of future life forms as the core concept of this creation series; the series blends the style of ukiyo-e art with futuristic elements include future life forms and gender, robotic & mechanic technology, gods and goddesses, artificial intelligence and cyborgs. It mixed with the ordinary daily lives of people, but ar3e set in an otherworldly world of nature, mountains and rivers, city streets, night market mazes and fantasy spaces, in order to create a retro and futuristic mix style of generated images. Life forms generated by AI are facing their future life, their faces are stiff, fuzzy, smiley & joyful, roaring and sad, and their bodies and machines are in a strange combination, forming humour and banter with infinite reorganisation and patchwork. The shown collection “Yattai Series” is an important creation from the team, the story is about a fantasy world of groups of creatures making small business in town, they consisted of retro robots, humans, cyborgs, and inter-species creatures, who all live in the overlapping time and space between the past and the future. In this fantasy world, there are unique geospatial concepts, religious beliefs, lifestyles and social rituals.
以未來生命體的情感流動為創作核心，融合了浮世繪藝術的風格，並與未來的生物與性別、機械科技、神佛鬼怪、人工智能和賽博格等元素交融。平日常見的百工職業，身處自然山川、城市街道、夜市迷宮與奇幻空間的異世界中，營造出一種復古與未來的影像風格。由AI人工智能所生成生命體面對未來生活，臉部帶著僵直、模糊、微笑、歡暢、怒吼、哀傷的表情，身體與機械出現怪誕的組合，形成無限重組與拼湊的幽默與戲謔。 此次展出屋台系列為 hello edo 創作的重要分支，一個由復古機器人、人類、賽伯格、跨物種所組成的浮世攤商故事，祂們生存於過去與未來折疊時空中，擁有獨特的地理空間觀、宗教信仰、生活方式、社會儀式。
Collaborative Writing 協作文本
這或許是一個"倒轉過來的班雅明拱廊街計畫"。
事實上，碎片、細節、混亂無序的照片，
從成千上萬篇材料中拉出索引的一段描述。
所謂的無法被編輯成一巨大單一歷史學家主河流的
那無數支流、河灘上的小水漥，意外被沖上乾凅泥灘的小魚或蝦蟹屍身，
當然還有現代工廠排放毒水的傷害景象，
像宮崎駿<神隱少女>中那河神吐出的
垃圾、塑膠袋、腳踏車骨架、輪胎、流水線生出的襯衫、T恤、牛仔褲，
這些醜陋、濁臭的、堆積的昨日遺骸，
我們如何讓他們重構成一個曾經活著的時光。
所有的AI繪畫，
其實都是一種末日，人類已不在場，
我們不知道浩瀚宇宙中，
數萬年後，
從遙遠星系飛來的外星訪客，
能否重啟 班雅明無限懷念的那個
人類的靈光?
我們必然著迷於那些，
被排遺到現代國家、都市、機場、金融中心，
邊陲或層層累聚。
如前所說，大量的碎片、細節即是它獨自存在自身，但櫛次鱗比。
所謂老一輩人，城市大型構建之前的被遺忘者，無言紀錄其身世者，
活著的時光最後剩下最小單位的
石灰瓦、波浪板、木架、撿來的磚塊、塑膠雨篷，
連 家 的單位都無從撐開，
凹凸互銜，小小的個人的受創，吃喝生存甚或夢想。
那小小的補丁，百納被疊加的數百張渺小個人的X光片，
也就是說，在沉浸式體驗，所謂眼耳鼻舌身意。
在不同科技領域 RR再現，更龐大昂貴的散點突破之前。
我思故我在。
我期待未來的AI能自主，最大變化可能的繪出"人類"、"到處存在的場所"、 "到處不存在的我"。
那便是此刻這個提出其宇宙觀的我，腦中最接近的風景。
English Translation by ChatGPT (Non-edited copy)
英文文本由 ChatGPT 翻譯（無編輯副本）
This may be a "reversed Benjamin Arch Street Project." In fact, it is a description pulled from thousands of fragmented, detailed, and chaotic photos indexed from various materials. It is the description of countless tributaries, small eddies on the riverbank, unexpected fish or crab carcasses washed up on dry mudflats, and the damaging scenes of modern factories discharging toxic water, just like the garbage, plastic bags, bicycle frames, tires, shirts, t-shirts, and jeans spewed out by the river god in Hayao Miyazaki's "Spirited Away." How can we reconstruct these ugly, foul, and accumulated remnants of yesterday into a once-living time?
All AI paintings are, in fact, a kind of apocalypse, with humanity absent. We do not know if tens of thousands of years later, visitors from distant galaxies in the vast universe can restart the human brilliance that Benjamin nostalgically yearned for. We are inevitably fascinated by those remnants that have been discarded in modern nations, cities, airports, and financial centers, on the fringes or accumulated layer by layer. As mentioned earlier, a large number of fragments and details exist in themselves but in a disordered manner. The so-called older generation, the forgotten ones before the construction of large cities, silently record their lives, leaving only the smallest units of lime tiles, wave boards, wooden frames, collected bricks, and plastic canopies, unable even to create a home. They interlock, with small individual wounds, surviving on the bare necessities or dreams. Those small patches, hundreds of overlapping tiny personal X-rays, that is to say, in immersive experience, the so-called seeing, hearing, smelling, tasting, and feeling. Before making breakthroughs in different technological fields, such as R&D, the larger and more expensive scattered points. I think, therefore I am. I look forward to the future AI being able to autonomously depict "humans," "places that exist everywhere," and "the me that does not exist anywhere" with the greatest possible changes.
That is the closest landscape in my mind, presenting my worldview at this moment.
hello edo is a talent collective which interested in AI image generative technology, with members from all over Asia, who are passionate about AI image creation. We love art and culture, robots and cyborg, and all the future imaginations.
hello edo 是一個對於 AI 人工智能圖像生產技術深感興趣的團體，團員來自亞洲各地，熱衷於 AI 人工智能的影像創作，喜愛藝術、文化與機械、賽博格等未來想像的景致。
Instagram @hello_e_do
Lo Yi-Chin was born in 1967 in Taipei, Taiwan. He graduated from the Literary and Creative Writing section of the Department of Chinese Language at the Chinese culture University and the Graduate School of Drama at the Taipei National University of the Arts. He has won the 2020 Wang Mo Ren Award for World Chinese Fiction, 2018 Fifth United Press Literary Award, the Third Dream of the Red Chamber Prize (First Prize) in Chinese Long Fiction, the Taiwan Literary Award (First Prize) in Long Fiction, the Times Literary Award in Short Fiction (First Prize), the United Literary Award for New Talent in Fiction and also the Taipei Literary Award etc. He is the author of numerous novels, long fictions including The Ming Dynasty, Kuang Chaoren, Daughter, Western Xia Hotel, Faraway, Sorrow Reminiscences, Surname of the Moon, The Third Dancer, My Future Second Son’s Memories of Me; short fictions collection including The Wife and the Dreaming Dog, We left the Tavern in the Dark of the Night, The Red Character Troupe, and Twelve Zodiac Signs of the Descendant; and also the critique collection titled The Book of the Hu Ren, the Prose of the Fat & Thin collaborative writing (co-authored with Dung Kai Cheung) and May Our Joy Lasts Forever etc.
駱以軍 1967 年出生於台北，於文化大學中文系文藝創作組、台北藝術大學戲劇研究所畢業。曾獲2020王默人世界華文小說獎、2018 第五屆聯合報文學大獎、第三屆紅樓夢獎世界華文長篇小說首獎、台灣文學獎長篇小說金典獎、時報文學獎短篇小說首獎、聯合文學小說新人獎推薦獎、台北文學獎等。著有長篇小說:《明朝》、《匡超人》、《女兒》、《西夏旅館》、《遠方》、《遣悲懷》、《月球姓氏》、《第三個舞者》、《我未來次子關於我的回憶》； 短篇小說集:《妻夢狗》、《我們自夜闇的酒館離開》、《紅字團》、《降生十二星座》；評論集《胡人說書》、散文《肥瘦對寫》(與董啟章合著)、《願我們的歡樂長留》等。
In the Ant Colony explores ants, who play the principal role in knowledge production, and their inspiration for the new knowledge production mode. It studies and practices a way of curation / knowledge production through the ant colony algorithm based on ants' collective intelligence (Non-Human Intelligence) and also constructs a non-anthropocentric value and worldview of knowledge production. In people's minds, knowledge production has always been a unique ability of humans, the "Lord of all things". This work attempts to subvert people's inherent understanding and promote new knowledge theory and thought. We are ushering in the fourth wave of human development. In the context of emerging technologies such as algorithms, artificial intelligence and biotechnology, the era of people occupying a central position in things and serving as the centre of knowledge has ended (Yuk Hui). Where will human thought and knowledge go? We need a new Renaissance. "We need to create technology fit for humans; we also need to create humans fit for technology." (Giuliano Toraldo di Francia)
《在蟻群中》探討螞蟻作為知識生產的主體以及對新知識生產模式的啓發。此藝術作品通過基於螞蟻群體智能（非人類智能）的蟻群算法探索和實踐一種策展/知識生產的方式，也構建了一個非人類中心主義知識生產的價值觀和世界觀。在人們的觀念裡，知識生產從來都只是「萬物之主」 ——人類所持有的能力，作品試圖顛覆人們的固有認知，推廣新的知識論和思想。我們正迎來人類發展的第四次浪潮，在算法、人工智能、生物科技等新興技術發展的語境中，人在事物中佔據核心位置並作為知識中心的時代宣告結束（許煜），人類思想、知識論將走向何處？這是一個問題，我們需要新的「文藝復興」與「爭鳴」！「我們需要創造適合人類的技術，我們也需要創造適合技術的人類！」(朱利亞諾‧托拉多爾‧迪‧弗朗西亞)
Zhang Tiangang is an artist, curator, designer and currently a postdoctoral research fellow at the National Museum of China. He received his Ph.D. from the China Central Academy of Fine Arts and studied at Aalto University in Finland. He creates, studies, curates and experiments at the intersection of art, technology, design and philosophy, exploring interdisciplinary issues such as algorithms and curation, artificial intelligence and exhibition content generation/knowledge production, exhibition and spatial narrative. His research at the National Museum of China focuses on intelligent museums, algorithmic curation (intelligent curation), and intelligent display. His creative interests have been in the connection between biological behaviour, artificial intelligence, and knowledge production (curation) recently.
His works have been exhibited at the Beijing Art and Technology Biennale, the Bi-city Biennale of Urbanism and Architecture, the 13th China National Exhibition of Fine Arts, Lux Helsinki, and the Warsaw Reconstruction Architecture Festival, etc. Algorithm: Magician of Exhibition's Knowledge Production (Beijing OCAT Research Center) is one of his curatorial projects. As the academic advisor, he has participated in important exhibition projects of the National Museum of China such as the Digital World of Rhino-shaped Vessel. As the chief creator of the School of Design of the Central Academy of Fine Arts, he has participated in major national design projects such as the visual landscape design of the main media centre of the Beijing Winter Olympics. He also won the IAI Design Award's design star award (the highest award in the youth group) and other awards.
張天鋼是藝術家、策展人、設計師，現為中國國家博物館博士後研究員，中央美術學院博士，曾於芬蘭阿爾托大學學習。他在藝術、科技、設計和哲學的交叉地帶創作、研究、策展和實驗，致力於探索算法與策展、人工智能與展覽內容生成（展覽知識生產）、展覽與空間敘事等跨學科議題。他在中國國家博物館的研究集中於智慧博物館、算法策展（智慧策展）和智慧展陳。近來他的創作興趣聚焦於生物行為、人工智能和知識生產（策展）之間的關聯。
他的創作參展北京藝術與科技雙年展、深港雙年展、十三屆全國美展、赫爾辛基燈光藝術節、波蘭華沙重建建築節等，他的策展項目有《算法：展覽知識生產的魔術師》（北京OCAT研究中心）等。他的設計研究與實踐：作為學術顧問參與中國國家博物館展覽《數說犀尊》等展覽項目；作為中央美術學院設計學院主創人員參與北京冬奧會主媒體中心視覺景觀設計等重大國家設計項目；曾獲得IAI全球設計獎設計之星獎（青年組最高獎）等獎項。
Instagram: zhang_tiangang
With ecological relationships as the breakthrough point and based on plant intelligence research, The Plant Intelligence Plan recognizes the initiative and rights of plants. The plan uses biotechnology tools and materials to restore the ecological relationship between commercially bred crops and animals, which human beings have alienated. Ecological Art often discusses and thinks about ecological problems through the artistic practice of ecological restoration (restoration of the physical ecological environment). As an Ecological Art practice, this work is not the restoration of the physical ecological environment but the restoration of the ecological relationship between animals and plants. This is one of its characteristics and explores a new ecological restoration form.
This work advocates the world view and value of deep ecology and advocates non-anthropocentrism, which is another characteristic of the work. This work is not an Ecological Art practice based on value of shallow ecology. It is not an ecological improvement art practice based on anthropocentrism value, nor an artistic practice of improving ecology only for human survival. The work focuses on the ecological relationship between plants and animals neglected by humans, the "lord of all creation". It proposes an improved value that removes anthropocentrism, criticizing anthropocentrism and the alienation caused by capital to ecological relations by restoring the aforementioned ecological relations between animals and plants. It advocates the construction of a new order of human civilization rather than a simple appeal to protect the ecology for human survival-a reformist value of the old system. It inspires people to rethink the relationship between man and ecology and calls for a return to equal ecological relations of non-anthropocentrism.
《植物智能計劃》以「生態關係」為切入點，基於植物智能研究，承認植物的能動性和權利，利用生物科技手段和材料，修復商業育種作物與動物之間喪失的生態聯繫，這是對植物和動物之間被人類異化的「生態關係」的修復。生態藝術往往以修復生態的藝術實踐（對物理生態環境的修復）去探討和思考生態問題。作為生態藝術實踐，本作品不是對物理生態環境的修復，而是對動植物之間的「生態關係」作出的修復，這是其特點之一，也探討了一種新的生態修復形式。
本作品主張「深層生態學」的世界觀和價值觀，主張非「人類中心主義」，這是作品的另一個特點。本作品不是基於「淺層生態學」價值觀的生態藝術實踐，作品聚焦於容易被「萬物之主」的人類所忽視的動植物之間的「生態關係」。作品通過對動植物之間生態關係的修復創造了一個擺脫「人類中心主義」的新價值觀，從「生態關係」角度去批判「人類中心主義」和「資本對生態關係的異化」，主張構建新的人類文明秩序，而非淺顯的呼籲為人類生存利益而保護生態的那種舊制度上的改良價值觀，啟發人們重新思考人與生態的關係，呼籲回歸非「人類中心主義」的平等生態關係。
Zhang Tianyi is a Chinese Beijing-based artist, currently a PhD in Art and Technology research at the Central Academy of Fine Arts (Beijing, China). She holds a master's degree in Art and Technology from the School of Design of the Central Academy of Fine Arts and studied at the École Supérieure d'Art du Nord-Pas de Calais, France. Her creative and research interests are mainly in Ecological Art and Bio Art. Her ecological artworks use interdisciplinary research as a creative method and regard technology as an important opportunity for ecological restoration. She is keen to explore new ecological restoration methods by combining machines and ecology, as well as new languages of Ecological Art. Based on the above Ecological Art practice, she discusses the relationship between humans and ecology in the latest scientific and technological context and the equal ecological relationship of non-anthropocentrism.
張天怡是一位現居北京的中國藝術家。現為中央美術學院（中國北京）藝術與科技研究方向的博士生，她碩士畢業於中央美術學院設計學院藝術與科技專業，並獲得碩士學位。她曾在法國北加萊公立高等美術學院學習。她的創作和研究興趣主要集中於生態藝術和生物藝術等領域，她的生態藝術作品以跨學科交互的研究作為創作方法，將科技視作修復生態的重要機遇，有著濃厚興趣去將「機器」與「生態」結合去探索修復生態的新方法和探索生態藝術的新語言，以上述生態藝術的實踐探討新的科技語境下⼈與⽣態的關係、探討⾮「⼈類中⼼主義」的平等⽣態關係。
https://zhang-tianyi.com/
Instagram: zhangtianyi_studio
Video: https://youtu.be/C-el8Q4fHmU
On 20 th March 2018, headlines announced the death of Sudan, the last male northern white rhinoceros (Ceratotherium simum cottoni). We briefly mourned a subspecies lost to human desire for the imagined life-enhancing properties of its horn, comforted that it might be brought back using biotechnology, albeit gestated by a different subspecies. But would humans protect a resurrected rhino, having decimated an entire species? And would this new rhino be real?
The Substitute explores a paradox: our preoccupation with creating new life forms, while neglecting existing ones. A northern white rhino is digitally brought back to life, informed by developments in the human creation of artificial intelligence (AI). Based on research from AI lab DeepMind, the rhino performs as an artificial agent, an autonomous entity that learns from its environment. A life-size projection (almost 5m wide) shows the artificial rhino roaming in a virtual world, becoming more “real” as it comprehends the limits of the space. As the artificial rhino habituates to its space, its form and sound toggle from pixilation to lifelike—reminding the viewer that this living, breathing rhino, coming to life without its natural context, is entirely artificial. The experimental data is played on a second screen, showing the path and development of grid cells. The rhino’s behaviours and sounds are adapted from rare research footage of the last herd, provided by Dr. Richard Policht. Is this rhino, coming to life divorced from its natural context, a better substitute for the real?
2018年3月20日，許多頭條新聞報導一頭雄性北方白犀牛 (Ceratortherium simum cottoni)蘇丹死亡。我們短暫地悼念了這個因為人類對犀牛角的慾望而失去生命的亞種，安慰自己牠或可利用生物科技復活，儘管是由不同的亞種所孕育。然而，人類會保護已經滅絕了整個物種的 (重生) 犀牛嗎？這頭「新」犀牛是真的嗎？
《替代品》探討一個悖論：我們專注於創造新的生命形式，卻忽視了現存的生命形式。在人類創造人工智能 (AI) 的過程中，一頭北方白犀牛被數位化復生。在人工智能實驗室DeepMind的研究基礎上，犀牛扮演了一個人工智能載體，從環境中學習的自主實體。如實體大小的投映 (近五米闊)，人造犀牛在虛擬世界中漫遊，隨著它對空間限制的理解，一切變得越來越「真實」。它適應著整個空間，外形和聲音也從像素化變得栩栩如生；這正正在提醒觀眾，這頭活靈活現的犀牛在沒有自然環境下栩栩如生，完全是人造的。實驗數據在第二個屏幕上播放，顯示網格單元的路徑和發展，而犀牛的行為與聲音改編自理查德‧波利希特博士所提供的最後一群犀牛的罕見研究錄像。這頭栩栩如生又脫離自然環境的犀牛能否更好地替代真實的犀牛呢？
The recent recipient of the S+T+ARTS Grand Prize 2023 for Artistic Exploration, Alexandra Daisy Ginsberg is a multidisciplinary artist examining our fraught relationships with nature and technology. Through subjects as diverse as artificial intelligence, synthetic biology, conservation, and evolution, she explores the human impulse to "better" the world. Her work is in collections including the Art Institute of Chicago, the Cooper Hewitt Smithsonian Design Museum, and ZKM Karlsruhe. In 2022 she launched Pollinator Pathmaker, a series of living artworks for pollinators, planted and cared for by humans with the long-term desire to create the world’s largest climate- positive artwork. In April 2023, she opened her first U.S. solo exhibition, Machine Auguries: Toledo at Toledo Museum of Art.
亞歷山德拉‧黛茜‧金期堡最近獲得2023年S+T+ARTS藝術探索大奬，她是一位多學科藝術家，專注研究我們與自然和科技之間充滿矛盾的關係。她通過人工智能、合成生物學、保護和進化等不同的主題﹐探討人類「改善」世界的衝動。她的作品中被芝加哥藝術大學、庫柏‧休伊特國立設計博物館以及德國ZKM的收藏。2022年，她推出了《Pollinator Pathmaker》，這是一系列為授粉 (花粉) 者設計的 (活的) 藝術品，由人類種植與照料，其長遠希望是創造世界上對氣候造成最多正面影響的藝術品。2023年4月，她在托萊多藝術博物館首個美國個展「Machine Auguries: Toledo」。
Here, “half-and-half” may refer to equal halves of a larger entity or an unknown equilibrium. If we calibrate the relationship between humans and machines on a scale of zero to one hundred, every single point at which we may achieve equilibrium is a variation. How do we build a balance that is symbotic? With a main exhibition and a curated series of programs, this year’s festival leads visitors to “dream,” a dream in which we assimilate, think, rehearse, and learn about future life. We see our imminent possibilities when navigating between reality and imagination. In Art of War, Sun Tzu writes that the best course of attack is to understand: If one knows the enemy and oneself, one need not fear a hundred battles. This is not to say that technology and artificial intelligence (AI) are the antagonists of humankind, but it is wise, surely, to also learn more about the capabilities of a friend, ally, partner. We also need to know ourselves before we know others. In The Storytelling Animal: How Stories make us Human, Jonathan Gottschall stipulates that man are creatures of storytelling. Even for a singular text, with people’s imagination, a tale can unfold in infinite ways that entertain and also teach people to face difficulties and live bravely. Through stories, people learn to self-heal, destress, and relieve their emotions. Using the language of escape rooms, artist duo Laia Cabrera and Isabelle Duverger explore reality and fantasy in Dream-e-scape, bringing visitors into an immersive lucid dream. Contrary to the idea that dreams are just dreams, the line between the real world and the imaginary world is often blurry. If an immersive installation is a form of lucid dreaming, a VR device is the start of a personal journey into the virtual realm. Jakob Kudsk Steensen’s RE-ANIMATED is a reconstructed environment in the form of a paradisal garden, a habitat for the extinct Kaua’i ʻōʻō bird. The landscape is made from realistic geographic and ecological data as it examines the interstices between extinction, conservation, and immortality through artistic experience.
Having learned more about ourselves, we move on to learning more about others. Discussions about art and technology tend to involve a lot of technical discourse, but what exactly are their implications? Rather than focusing on the rapidity of scientific development and the changes its interventions introduce to the world, we are more interested in how we should face our imminent future. Last year, the festival presented a video work about human-machine interaction, which ends with the phrase “Co-AI-existence”—AI being the acronym for artificial intelligence but also the transliteration for love from Mandarin. We continue this line of inquiry in this year’s edition; if humans and machines are to co-exist, we might as well get to know each other well. Design studio Ultravioletto believes that AI is capable of replicating human thought to grow and respond to their environments by understanding and inference. If AIs can read us like a book, how do we in turn comprehend them? In Neural Mirror, the viewer looks at their reflection in a mirror but sees themselves as moving data points, a perspective more attributed to AIs, who observe the world as masses of data, than humans, who rely primarily on sight. How do we reconcile these differences? Some may consider technology insentient and AI to be mere machines, but they already assume distinct personas in our lives in the forms of Alexa, Siri, and the virtual assistant from the movie Her, a woman who eludes touch and captivates by voice alone. Everyone gets a virtual assistant MOA in Charles Ayats’s My Own Assistant, which brings us to an interactive augmented reality set in a future world. Your story with your MOA quickly unfolds, just between the two of you… If sound isn’t enough, might adding video hit the spot? Futurist Ray Kurzweil predicts technological singularity—that is, when AI surpasses humans—to occur by 2045. By then, not all forms of AI will survive, and some will be inevitably eliminated. Greek artist Kyriaki Goni’s video work Not allowed for algorithmic audiences compiles research on AI development and voice interfaces to create a fictional narrative. In a monologue, an AI assistant who is about to disappear teaches humans how to avoid being heard by algorithms. In these universes, is the relationship between humans and machines for better or for worse? Do we fight with or against each other?
神話說人類曾經是完整一體的，那時的人類擁有很強的力量，因為驕傲而去挑戰宙斯，宙斯是古希臘神話中統領宇宙至高無上的天神﹐祂一怒之下讓雷神把這些人劈成兩半，然後說：去找你的另一半 (Go find your other half)，神仙把這些被劈開的人們放在世界各地，使他們分離、讓他們忘卻另一半的容貌，生世找尋，期望有天能在合一時變得強大。這是神話，在許久以前就口耳文本流傳下來，然而除了神話我們也有古希臘語：τέχνη + -λογία，意為「技巧學說」，也就是科技 (Technology) 的始源字，這兩者之間似是毫無關聯，然而如果以錄像藝術之父白南準其中一段預視名言來解讀就能看見箇中連結。他說：
「我們的生活一半是自然一半是科技，一半半是好的，你不能否認高科技是一種進步，我們需要它來創造就業機會，然而如果你只製造高科技，你就會製造戰爭，因此我們必須保留強大的人性關聯，以保持謙虛和自然的生活。」
這裡談的「一半半」可以是對半也可以是一個未知的平衡 (Equilibrium)，怎麼加起來都是一百，但左推右佔下呈現的是變數，在拿捏平衡點的過程中，人與機的互惠共生是如何被建立的呢？今年藝術節期望通過精選的展品及節目與觀眾「造夢」，在「夢」中吸收、思考與推演、學習未來生活，嘗試遊走在虛實之間，然後看看近未來的可能性。語本《孫子・謀攻》言道：知彼知己者，百戰不殆；雖不是要視科技/人工智能是對手，但了解自己、隊友、伙伴的實力其實也是萬應之策吧。知彼之前先知己，讀哥德夏的《故事如何改變你的大腦》 (The Storytelling Animal: How Stories make us Human) ，他告訴我們人類是善長故事的生物，即便文本是死的，但透過人的想像力活化就可成無限，透過故事的曲折離奇人們學習如何面對困境如何勇敢生存、獲得樂趣外，還可以訓練自我療癒的能力、釋放壓力和紓解情緒。藝術組合萊亞・卡布蕾拉及伊莎貝拉・杜維格 (Laia Cabrera & Isabelle Duverger) 在《夢景觀》中運用了逃生室的語言去探索虛實，讓觀者醒著入夢，實戰現場。然而談到虛
Project Room was established in 2007, aims to experiment outside of the context from the festival main exhibition and education programmes such as conference & seminars. It aims to provide an “unshaped” platform, which can be either physical or virtual, with old or new media, which doesn’t limit from the annual festival curatorial theme, but a fully open and organic platform. Over the years, Microwave has been involved in interactive media, screen culture, cross-disciplinary experiments and transmedia storytelling etc. And it came to 2023, Microwave has kicked off an experimental project entitled “Reimagines Heritage”, which is inspired by the incident of Jumbo Floating Restaurant in Hong Kong, and invited two local artists Vvzela Kook and Shiu Ka Heng. Through their experiments through old and new media, and explore the possibilities of preservation and transformation of heritages in different ways. The project gradually launched since Sep 2023, programmes include online exhibition, offline artist showcase, curators’ podcast, storytelling podcast etc., aims to encourage general public to try to archive, preserve or transform their treasurable memories. All the programmes launched/ going to be launched layer by layer, which are designed to progressively reach out to the public from a wider perspective.
Nov 2023 is the annual festival period, the team decided to extend this experimental project and continue to explore and experiment, try to break the barrier of digital oblivion, even all that is solid melts into air, who says intangibles cannot be retained?
Project Room 是由2007年開始的，旨在實驗，期望在主題展覽及研討會等學術及教育節目以外，可以為觀眾及藝術家提供一個「不定形」平台，可實體可虛擬，可以是舊媒體可以是新媒體，不被藝術節主題所規限，而是一個全面開放的有機平台。這些年來面向由互動媒體、屏幕文化、跨界實驗到串媒體敍事等均略有涉獵，而今年Microwave在年初就開始進行一項名為《一切堅固的東西都煙消雲散》的實驗計劃，由香港珍寶海鮮舫事件出發，邀請兩位本地藝術家曲淵澈及蕭家恒嘗試以不同的方法去實驗想要保存以及轉化的可能性。這一個實驗計劃主要以線上平台為主軸，記載特邀藝術家如何通過研究與手法去典藏珍貴的香港文化遺產。計劃早於2023年9月份開始逐步發佈，通過實驗作品與平台，鼓勵觀眾以新/舊媒體去記載存取大家所珍貴的；計劃內容有線上展、線下創作間開放展、策展人Podcast對談、Podcast 講故以至沙龍講座，把內容層層遞進，以更廣闊角度接觸群眾。
適逢十一月為年度藝術節，於是團隊決定把實驗項目延伸，持續在不同層面進一步嘗試與推廣，鼓勵大眾突破數位遣忘的關卡，即便一切堅固的事物始終都會煙消雲散，誰說虛擬留不住。
The curatorial approach of Festival 2023 is about Non-Human Intelligence; what would happen if we move away from human-centred thinking by understanding the “more than human powers of plants & animals” or say the all the “living matters” on earth? Can we explore/ co-create a better symbiosis? UnConference this year will continue as an online conference, three international professionals will share their views towards the theme and explore from different angles of research, and communicate with audience online directly.
今年藝術節主題以非人類智慧出發，這個起點是想要離開以人為中心的思維，通過理解生靈的智慧以及科技而來的「生靈」發展，是否能投入及創建一個更好的「萬物共生」模式？反轉研討會將持續線上模式，邀來三位國際專家去分享他們的見解與相關研究，通過線上會議與與會者共同探索主題。
Plants, animals, fungi, and microbes work together in complex ways to produce an abundance of life. They compose, compost, evolve, and change in ways that are intelligent. Humans are not the only species who can learn, adapt, and shape the world. With the motivation to become more ecologically intelligent, I create artworks that focus on learning from non-humans. Crickets, worms, plants, and springtails take center stage as the focus of artworks designed to engage viewers in unexpected encounters. The extended perceptual capabilities offered by technologies are used for purposes of sensing the other, attempting to take on their perspectives, or amplifying our connections. Engaging with these non-humans reminds us that they are an important part of our community, and that the human species has much to learn from those who have figured out how to live together on earth for far longer than we have.
植物、動物、真菌與微生物以複雜的方式共同協作，他們以智能的方式組成、堆肥、進化及變化，創造出豐富的生命生態。而人類並不是唯一能學習、適應以及塑造世界的物種。為了提高生態智慧，我創作的藝術作品專注於向非人類學習，例如蟋蟀、蠕蟲、植物與跳蟲作為作品的焦點，旨在吸引觀眾進行意想不到的接觸。科技提供的擴展感知能力被用於感知他人，嘗試採用他人的角度或放大與人們之間的關係。與這些非人類接觸提醒人們，他們是社會的重要組成部分，人類可以從他們身上學習許多東西，因為他們已經想出如何在地球上共同生活的方法，而且比人們在此生活的時間要長得多。
Amy M. Youngs creates eco art, interactive sculptures, and digital media works that explore entanglements between technology, plants, and animals. Her research involves empathy, relationships with non-humans, ecosystem construction, and seeing through the eyes of machines. She has created installations that amplify the sounds of living worms, indoor ecosystems powered by a rocking chair, an interactive museum for live insects, and an augmented reality tour of real nature. Her works have been exhibited widely, at venues such as the Te Papa Museum in New Zealand, the Trondheim Electronic Arts Centre in Norway, the Peabody Essex Museum in Salem, MA, and the public parks in New York City. Youngs has earned an Individual Artist Grant from the Ohio Arts Council, has contributed writing to interdisciplinary publications such as Leonardo Journal, and the book Robots and Art, and she has lectured at venues such as the Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute, in Troy, NY, the Australian Centre for the Moving Image in Melbourne, Australia and the Walker Art Center in Minneapolis, MN. She earned an MFA from the School of the Art Institute of Chicago and a BA from San Francisco State University. She is currently an Associate Professor of Art at the Ohio State University, where she collaborates on interdisciplinary projects and teaches courses in digital media, art & science, and eco art.
艾米‧揚斯專注創作生態藝術、互動雕塑及數位媒體作品，探索科技、植物和動物之間的糾纏關係。她的研究涉及同理心、與非人類的關係、生態系統建設以及用機器的視覺看世界。她曾創作過放大活蟲的聲音裝置、由搖椅驅動的室內生態系統、活體昆蟲互動博物館以及真實大自然的擴張實境之旅。她的作品曾於新西蘭的蒂帕帕博物館、挪威的特隆赫姆電子藝術中心、馬薩諸寒州塞勒姆的皮博迪㶼塞克斯博物館和紐約市公共公園等地展出。艾米曾獲俄亥俄州藝術委員會頒發的個人藝術家奬金，並為跨學科刊物《Leonardo Journal》、書籍《機器人與藝術》等撰稿，還曾於紐約州特洛伊市倫斯勒理工學院實驗媒體與表演藝術中心 (EMPAC)、澳洲墨爾本移動影像中心和明尼蘇達州明尼阿波利斯沃克藝術中心等地舉辦講座。她擁有芝加哥藝術學院的藝術碩士學位及舊金山州立大學的文學學士學位。她目前是俄亥俄州立大學藝術副教授，主責跨學科項目的合作，並教授數位媒體、藝術與科學以及生態藝術等課程。
One of the ways in which humans understand their relation to machines is by analogy to biological processes. We think of machines as resembling us in somehow being alive and somehow evolving over time. The American science fiction writer Philip K. Dick observed in his 1972 speech, “The Android and the Human,” that in the last decade, “our environment — and I mean our man-made world of machines, artificial constructs, computers, electronic systems, interlinking homeostatic components — all of this is in fact beginning more and more to possess what the earnest psychologists fear the primitive sees in his environment: animation” Already in the late nineteenth century, the English authors Samuel Butler and George Eliot were thinking of machines as living and evolving organisms. This presentation examines how writers like Dick, Butler and Eliot rethink what it means to be human by attributing life to their technological environment. It discusses various speculative rhetorical techniques that writers use to look at the human from the perspective not just of another living organism but also of the surroundings of the human themselves. It shows how writers biologize machines by figuring them as cryptic nonhuman organisms that can merge with and act on behalf of their physical environments. It argues that underlying the techno-anthropologies of writers like Dick, Butler and Eliot is an environmental understanding of life as the dyadic relation between the organism and its surroundings.
人類理解自己與機器的關係的其中一個方式是類比生物過程；我們認為機器某程度上與我們相似，都是有生命的，並且隨著時間的推移而不斷進化。美國科幻小說家菲利普‧迪克 (Philip K. Dick) 在1972年所發表的演講《安卓與人類》中提出，在過去十年，「我們的環境，我指的是我們的人造世界，由機器、人工建造物、計算機、電子系統、相互連接的同源組件所組成的世界 —— 事實上，所有的這一切開始令越來越多嚴肅的心理學家害怕原始人在他的環境中看到的東西：動畫。」早在十九世紀末，英國作家塞繆爾·巴特勒 (Samuel Bulter) 及喬治‧艾略特 (George Eilot) 就已經將機器視為有生命的、不斷進化的有機體。是次演說將會探討迪克、巴特勤、艾略特等作家如何通過賦予科技環境以生命來重新思考人類的含義。進而討論作家們使用的各種推測性修辭技巧，這些技巧不僅從另一種生物的角度，而且是從人類自身周圍環境的角度來審視人類。它展示了作家如何將機器生物化，將其描繪成能夠與物理環境融合並代表物理環境行動的隱秘非人類有機體，最後是闡述迪克、巴特勒及艾略特等作家在數位人類學的背後對生命環境的理解，即有機體與其周圍環境之間的二元關係。
Chris Danta is professor of English in the newly formed School of Cybernetics at the ANU. His research operates at the intersection of literary theory, philosophy, science and theology. He is the author of Literature Suspends Death: Sacrifice and Storytelling in Kierkegaard, Kafka and Blanchot (Bloomsbury, 2011) and Animal Fables after Darwin: Literature, Speciesism, and Metaphor (Cambridge University Press, 2018). He is currently working on an Australian Research Council Future Fellowship with the title Future Fables: Literature, Evolution and Artificial Intelligence (2021-24).
克里斯‧丹塔是澳洲國立大學新成立的控制論學院的英語教授。他的研究領域涉及文學理論、哲學、科學和神學。他著有《文學暫援死亡 : 克爾凱郭爾、卡夫卡和布朗肖的犧牲與故事》(Bloomsbury, 2011) 以及 《達爾文後的動物寓言 : 文學、物種主義和隱喻》(Cambridge University Press, 2018)。他目前獲得澳洲研究中心的未來奬學金並進行相關研究，主題是《未來寓言：文學、進化與人工智能》。
After 50 years of promises and potential, robots are beginning to leave the lab to live in the wild with us. But how should we coexist with these intelligent, autonomous machines? In this talk, Dr. Madeline Gannon blends art and technology to forge new futures for human-robot relations. She shares how she convinces robots to do things they were never intended to do: from transforming a giant industrial robot into a living, breathing mechanical creature, to taming a horde of autonomous robots to behave more like a pack of animals. Her work shows that robots can not only be useful, but meaningful additions to our everyday lives.
經過五十年的承諾與潛力，機器人開始離開實驗室，與人們一起生活在外。但是我們應該如何與這些智能、自主的機器共存呢？在是次演說中，瑪德琳‧甘農博士將藝術與科技相互結合，為人類與機器人的關係開創了新的未來。她分享了自己如何說服機器人做它們從未想過要做的事情：從將一個巨大的工業機器人改造成一個有生命、會呼吸的機械生物，到馴服一群自主機器人，讓它們的行為更像一群動物。她的工作表明，機器人不僅有用，而且可以成為我們日常生活中有意義的補充。
Dr. Madeline Gannon is a multidisciplinary designer blending techniques in art, design, computer science, and robotics to forge new futures for human-robot relations. Also known as "The Robot Whisperer", Gannon specializes in convincing robots to do things they were never intended to do: from transforming giant industrial robots into living, breathing mechanical creatures, to taming hordes of autonomous machines to behave like a pack of animals. Gannon believes that technology is a cultural medium, and tunes her work to engage with communities across science and society. Her works have been exhibited at international cultural institutions, published at academic conferences, and profiled at global media outlets, such as the BBC, the Guardian, FT, the Science Channel, WIRED, FastCompany, Dezeen, and The Verge.
Dr. Gannon is a World Economic Forum Cultural Leader, a Knight Foundation Awardee, a former Robotics & AI Researcher at NVIDIA, and a former artist in residence at ETH Zurich, Autodesk Pier 9, and the Carnegie Mellon STUDIO for Creative Inquiry. She is known as one of the 'Top 10 Women in Robotics Industry' and 'World’s 50 Most Renowned Women in Robotics’ according to Analytics Insight. Gannon holds a Master of Architecture from Florida International University, and a Ph.D in Computational Design from Carnegie Mellon University.
瑪德琳‧甘農博士是一位融合藝術、設計、計算機科學與機器人技術的跨學科設計師，旨力為人類與機器人的關係開創新的未來。她被稱為「機器人語者」，「說服」機器人去做一些他們不曾做過的事：從將巨型工業機器人改造成有生命、會呼吸的機械生物，並讓成群的自主機器如動物般進行集體行動。甘農博士認為科技是一種文化媒介，因此她調整其作品以連結科學與社會各界層面。她的作品在多個國際文化機構展出、於學術會議上發表並被國際媒體所廣泛報導，包括 BBC、the Guardian、金融時報、科學頻道、WIRED、FastCompany、Dezeen 以及 The Verge 等。
甘農博士擁有佛羅里達國際大學的建築碩士學位， 以及美國卡內基梅隆大學的計算機工程博士學位。她是世界經濟論壇的文化領袖、奈特基金會奬的得奬者、NVIDIA 前機器人與人工智能研究員，曾於不同機構擔任駐場藝術家，包括蘇黎世聯邦理工學院、Autodesk Pier 9 以及卡內基美隆創意工作室等。根據 Analytics Insight，她被譽為「全球機器人行業首五十名最知名女性」之一。
Joyce Hei-ting Wong is an independent researcher and curator of East Asian modern and contemporary art. Wong has recently curated the retrospective All the World’s a Stage: The Art of Luis Chan (2022, Hong Kong Arts Centre), and was formerly Curator at Asia Society Hong Kong Centre organising A World Within: The Art and Inspiration of Irene Chou (2019); A Story of Light: Hon Chi-fun (2019); Song of Spring: Pan Yu-Lin in Paris (2018); Painting Her Way: The Ink Art of Fang Zhaoling (2017); and Breathing Space: Contemporary Art from Hong Kong (2017). She holds a BA in Art History and English Literature from the University of Hong Kong (2015), and an MA in Contemporary Literature, Culture and Theory from King’s College London (2021).
黃熙婷現為獨立策展人，著重研究東亞現代及當代藝術發展與實踐。 她近期曾策劃大型回顧展《歡樂今宵：陳福善的藝術》（2022，香港藝術中心），亦曾任亞洲協會香港中心策展人，策劃「二十世紀女藝術家系列」之三《萬象之根：周綠雲繪畫藝術展》 （2019），協助策劃展覽項目《光的故事：韓志勳》（2019）、《春之歌：潘玉良在巴黎》（2018）、《道無盡：方召麐 水墨藝術展》（2017）以及《喘息空間：香港當代藝術展》（2017）等。 她在2015年畢業於香港大學文學院，主修英國文學及藝術史，後於2021年獲得英國倫敦國王學院當代文學、 文化和理論碩士學位。
For many years, the screening program of the Ars Electronica Animation Festival has shown the best of current productions, compiled from the submissions to the Prix Ars Electronica’s category Computer Animation. This year, 657 submissions were sent to this category and the jury convened in April for three days of deliberations in Linz. This selection was the basis for the on-site jury session and the programs of the 2022 Ars Electronica Animation Festival.
Many of the works being shown can be categorized as expanded animation, such as various VR experiences, hybrids between games and animations, site-specific installations, or experiments with new technology such as artificial intelligence or machine learning. The spectrum of formats ranges from animated shorts to animated documentaries, from experimental-abstract works to interactive animated audio-visual environments.
The Electronic Theatre features a selection of the works honoured by the jury in the Prix Ars Electronica category Computer Animation. For the first time, one screening program will take up the festival theme Welcome to Planet B. The program Austrian Panorama highlights current works of local artists. The Young Animations program is the line-up featuring films from the Prix Ars Electronica’s u19-create your world category for young people under 19 years of age in Austria.
The 2022 Ars Electronica Animation Festival is a highly diversified showcase that invites spectators to take an exciting journey through current artistic productions in the expanded field of digital animation.
多年來Ars Electronica 動畫節的放映計劃中所展示的優秀作品均由Prix Ars Electronica的電腦動畫組別精選出來。今年共有657部作品入圍，評審團於4月在林茲召開了為期三天的評審會進行篩選。是次評選的結果會作為今年現場評審團會議和 2022年 Ars Electronica 動畫節的基礎。
大部分展出的作品均歸類為擴展動畫 (expanded animation)，如各種虛擬 (VR) 體驗、結合遊戲和動畫的混合體、特定場地裝置，或通過人工智能或機器學習進行的科技實驗等。形式多樣，從動畫短片到動畫紀錄片、從實驗抽象作品到交互動畫聲影作品不等。
《電子劇場》(Electronica Theatre) 選取了一系列在 Prix Ars Electronica 電腦動畫組別的獲奬作品；今年首次有一個放映節目以整個藝術節主題同名 - 《歡迎來臨 B 行星》 (Welcome to Planet B) ；另一放映項目《奧地利全景》(Austria Panorama) 則重點介紹當地藝術家的最新作品。《青年動畫》放映計劃則播放由 Prix Ars Electronica u19-create your world 所選取的作品，此單元計劃是由19歲以下的年青人參與。
2022 年 Ars Electronica 動畫節是一個高度多元化的展示平台，邀請觀眾一同踏上由數碼動畫延展出發的藝術旅程。
ars.electronica.art/export/en/animationfestival2022/
Ars Electronica is a platform working at the intersection of art, technology and society through organizing exhibitions, educational programmes and research projects focused on the future of our societies. Founded in 1979 in Linz as a festival it has since expanded to include a laboratory, an award and a museum dedicated to the study and promotion of media arts and digital culture.
Ars Electronica 是一個藝術、科技與社會交滙的平台，通過策劃展覽、教育計劃及研究項目，關注我們社會的未來。於1979年在林茲成立，最初只是一個藝術節，後來發展成為一個實驗室、一個大型頒奬禮和一個博物館，致力於研究和推廣媒體藝術和數碼文化。
The Electronic Theatre is the annual best-of program, a compilation of outstanding animated films, chosen by the jury from the submitted works in the category Computer Animation. The selection showcases current productions in terms of artistic content, as well as cultural and technological innovation.
《電子劇場》是年度最佳節目，由評委會從電腦動畫組別的參賽作品中精選出來的優秀動畫作品滙集；是次放映系列展現了從藝術內容、文化和科技創新各方面的嶄新製作。
Change is an inevitable condition of reality for both living and non-living things. Movement, development, evolution, and dissolution is part of the scheme. But is change anthropocentric? What exactly could we expect from it in the future? Change can mean resolution, embrace, or reconnection; it can be ironic, dreamy, climate-related, abstract, or destructive. In one way or another, there is potential, possibility, and variety. We understand the need for change as individuals, society, and humanity, but also as minimal parts of the bigger existence of reality.
變是生物與死物都不能逃避的現實條件；運動、發展、進化及消亡則成之一部分。然而「變化」是以人類為中心的嗎？我們究竟能在未來從中期待什麼？變化可能意味著解決、擁抱或重新連接；它可能是諷刺性的、夢幻的、與氣候有關的、抽象的或毁壞性的；但無論是哪種方式，都蘊含著潛力、可能性以及多樣性。我們理解個體、社會以至人性均具有變革需求，但同時也要理解它只是作為更大的現實中的一小部分而已。
What does it mean to commit suicide in a digital world? Can we exist as fragmented digital identities? What happens when we do not play by the rules of in-game environments? Why do unicorns like water games? Does the earth revolve around me? This program features a selection of Austrian film directors. The spectrum ranges from dystopian visions of the future to humorous introspections. A wide range of styles and techniques are used: Game Engines, Motion Capture, 3D Animation and Pixilation.
在數位世界中自殺意味著什麼？我們能否以碎片化的數位身份存在？當我們不遵守遊戲規則時會發生什麼事？為什麼獨角獸喜歡水上活動？地球是圍繞著我而轉的嗎？是次放映節目將展示奧地利電影導演的精選作品。從對未來的反烏托邦式想像到幽默詼諧的自省，各種風格和技巧的影片應有盡有；作品集結了多種風格與技術，包括遊戲引擎、動態捕捉、三維動畫以及真人動畫。
The Prix Ars Electronica, organized by Ars Electronica Linz GmbH & Co KG, is made possible by support from the City of Linz.
Special thanks for additional support go to Austrian Federal Ministry for European and International Affairs, Austrian Federal Ministry of Education, Science and Research and OeAD.
The Ars Electronica ANIMATION FESTIVAL 2022 is organized by Ars Electronica in collaboration with the University of Applied Sciences Upper Austria, Hagenberg Campus. The Ars Electronica ANIMATION FESTIVAL 2022 on Tour was produced in collaboration and with special thanks to the Austrian Federal Ministry for Europe, Integration and Foreign Affairs.
Prix Ars Electronic電子藝術大奬由Ars Electronica Linz GmbH & Co KG 主辦，並得到林茲市的大力支持。
特別鳴謝奧地利聯邦歐洲及國際事務部、奧地利聯邦教育、科學及研究部以至OeAD的額外支持。
2022年Ars Electronica 動畫節由Ars Electonica與奧地利應用科學大學哈根貝格校區合辦。2022年動畫節巡禮特別鳴謝與奧地利聯邦歐洲一體及外交事務部合作製作舉辦。
Ars Electronica Linz GmbH & Co KG
Ars-Electronica-Straße 1, 4040 Linz, Austria
Tel. 電話 +43-732-7272-0
Fax 傳真 +43-732-7272-2
E-Mail 電郵: info@ars.electronica.art
ars.electronica.art
Yu Shuk Pui Bobby is a visual artist and filmmaker based in Hong Kong and Oslo. Bobby’s practice is focused on building intimate relationships and collaborations, where physical, tangible and affective phenomena associated with body politics and the future are created by the media of video, text, installation, sculpture, and performance.
Her project “Genetic Salon” uses speculative fiction within the themes of human genetic engineering to refigure perceptions towards gender, body and historical discourses of identity. In recent years, Bobby has started to work on video making with different communities as a means of exploring identity construction in various cultural contexts and collective aspects. Through intertwining semi-fictional narratives, she describes memory and experiences of identification.
Bobby received a BA from Hong Kong Baptist University and MFA at Oslo National Academy of Fine Art. She has exhibited her works at Parasite, 100ft. Gallery, starprojects, 1a Space, Tomorrow Maybe Gallery, EC Gallery (Hong Kong);Kunstnernes Hus, Galleri BOA, Podium, K4 Gallery (Oslo); A Place Gallery & Studios (Florida); Youkobo Art Space Gallery (Tokyo); Swatch Art Peach Hotel (Shanghai); Listhus Gallery (Iceland).
余淑培是一位視覺藝術及電影工作者，現居香港和奧斯陸。 余氏專注於建立親密的關係和合作，通過短片、文本、裝置、雕塑和表演等媒體創造與生物技術和未來相關的物理、有形和情感現象。
她的項目《基因沙龍》運用投機小說的手法，重新構思人類基因工程對於性別、身體和身份歷史話語的觀念。近年來，余氏致力於與香港奧斯陸兩邊之間不同的社群製作短片，以探索不同文化背景和集體方面的身份構建的一種手段。透過交織半虛構的敘事，她描述了記憶和身份認同的體驗。
余氏獲得香港浸會大學學士學位和奧斯陸國立美術學院藝術碩士學位。她曾在香港及歐洲各地展出她的作品。 Para-site，百尺公園， starprojects空間，1a空間，Tomorrow Maybe藝術空間, EC畫廊（香港）；Kunstnernes Hus， Galleri BOA，Podium，K4 Gallery（奧斯陸）； A Place Gallery & Studios（佛羅里達州）；Youkobo藝術空間畫廊（東京）；和平飯店藝術中心（上海）； Listhus 畫廊（冰島）。
In the age of queer of embracing the fluidity of body, gender, and identity, as well as the era of big data when everything can be quantified, I proposed a sci-fi imagination: Genetic Salon. Maybe one day you can trim yourself completely in the way you prefer, you could become a more unique and more perfect being. This project will be presented in the form of exhibition, short film, and a virtual company to construct a non-existential land—a provocation, a place far upon the sky, a promise too seducing, and a pressing warning. Genetic Salon - Waiting Room, a short video piece as part of the online exhibition. The video encompasses five stories of the receptionists in various waiting rooms, leading the audience into a seducing imagination of the future. In the bright and empty white room, the audience experiences how time becomes softer, slower by awaiting along with the receptionists. However, no matter how long the waiting time is going to be, the future is still confusing and difficult to predict.
In the Genetic Salon - Waiting Room, it presents a web-based interactive exhibition, allowing the audience to select randomly and watch various video clips. The uncertain playability echoes the worldview of the Genetic Salon. In a mysterious technological world, people’s lives are full of uncertainty, while the power to be able to “randomly switch options'' makes us willing to wait at all costs.
在宣揚身體、性別、身份流動的酷兒時代，與邁向一切都可量化的大數據時代並存，我提出一個以科幻想像為出發點的計劃 ——《基因髮廊》：或者有一天你可以隨意且徹底地修剪自己，並成為更獨特、更完美的存在。以虛擬公司、展覽和劇情短片三方建構出一個不存在之地，這是一種挑釁、一處遠在天邊的地方、一份最誘人的承諾，也是一則迫切的警告。
今次《基因髮廊 - 等候室》，由五位招待女郎各自在等候室的故事，帶領觀眾進入誘人的未來想像。在一間潔白明亮的空房，觀眾和她們一同等待，經驗時間變得更柔軟和緩慢，然而，不管等候時間有多長，未來依然是撲朔迷離及難以推測。
以「等候室」為主題，透過網上互動展覽的方式讓觀眾自行抽選錄像的觀看次序，充滿未知的遊戲性剛好呼應基因髮廊的世界觀，在充滿未知的科技世界，人們的生活充滿不確定性，能「隨意轉換選擇」的權力讓我們願意不計代價地等待。
Acknowledgement 鳴謝
An unemployed gambler (played by Helene Bergsholm) quitting her addiction in a bar in Oslo Norway. The story is about how she won and lost in countless games in the dancing machine. When she won the game, she accidentally entered the Genetic Salon - a beauty company that offers high-quality genetic modifications for their customers.
The story follows one receptionist working in a future genetic engineering salon: Genetic Salon. One of them is suspected of selling customers who suffered memory loss after using the genetic beauty services to black market butchers.
在挪威奧斯陸一家酒吧裏，一位失業的賭徒（Helene Bergsholm飾）嘗試戒掉賭癮。故事講述了她在跳舞機裡無數場比賽中如何輸贏的故事。 當她贏得比賽時，她意外地進入了基因髮廊 —— 一家為顧客提供高質量基因改造的美容公司。而在基因髮廊工作的其中一個接待員的故事涉嫌將使用基因美容服務後失憶的顧客賣給黑市屠夫。
Acknowledgement 鳴謝
The film follows one of the customers in the Genetic Salon as the lingering ghost from the Museum of Medical Science in Hong Kong. She was a doctor from the Hong Kong Pathological Laboratory, the predecessor of the Museum of Medical Science in Hong Kong, in 1910. During her visit to Genetic Salon, she tries to seize the gene-editing technology used in Genetic Salon to create a vaccine against the plague of the 20th century. One of the receptionists in the salon caught her. Later, they start to have a conversation about the morality of using human genetic engineering in different aspects while playing poker in the basement of the Genetic Salon.
今次短片講述了基因髮廊的一位顧客是香港醫學博物館的揮之不去的鬼魂。 1910年，她是香港醫學博物館前身香港病理實驗室的一名醫生。在參觀基因髮廊期間，她試圖抓住基因髮廊中使用的基因編輯技術來製造疫苗對抗 20 世紀初在香港的鼠疫。 髮廊的一位接待女郎抓住了她。 後來，她們在基因髮廊的地下室玩撲克，開始談論在不同處境使用人類基因工程的道德性。
Acknowledgement 鳴謝
Florence Yuk-ki Lee (b. 1994, Hong Kong) is an artist and animation filmmaker. Her art practice encompasses independent animation, installation, drawing, and art publishing. She is also the co-founder of No Reason Studio. Assembling and staging ephemeral bodies, personal stories, and poetic visual metaphors in her practice, Lee unearths ideas and inspirations from her daily encounters in Hong Kong—the city where she grew up—to investigate the multilayered connection between herself and her cultural identity. Her animation works comprise digitally hand-drawn frames that flow seamlessly from one to another, evoking numerous micro-narratives summoned from her personal memories, experiences and social shifts. Emotionally charged, Lee’s work extracts the poetic from the mundane to explore the extraordinary in the ordinary.
Lee obtained her BA in Graphic Communication Design from Central Saint Martins, University of the Arts London in 2016 and her MFA in Creative Media from the City University of Hong Kong in 2021. Her work has been shown at various international film festivals and art institutions, including Annecy International Animation Film Festival in France (2022 & 2023), Animafest Zagreb in Croatia (2022), and Fantoche International Animation Film Festival in Switzerland (2022). Solo exhibition includes ‘Broken heart pieces disco ball’, (MOU Projects, 2023). She directed “Park Voyage, 2022” (Commissioned by M+ Museum, Hong Kong) and “Elephant in Castle, 2021”.
李鈺淇(生於1994年,香港)是一位藝術家和動畫導演。在其藝術實踐中，藝術家將轉瞬即逝的人物、生活經歷和富有詩意的視覺隱喻組合在一起，從在香港的日常偶遇中挖掘出想法和靈感，並探索與自己文化身份之間的多層次聯繫。她的動畫作品由數字手繪的多重靜幀組成，不留痕跡而幀幀相連，在影片內喚起從記憶或純粹的想象中召喚出的微敘事。
李鈺淇於2016年獲得倫敦藝術大學中央聖馬丁學院平面傳媒設計文學學士，於2021年獲得香港城市大學創意媒體藝術碩士學位。她的作品曾在多個國際電影節及藝術機構放映，其中包括官方評選法國安錫國際動畫影展(2022及2023)、克羅地亞薩格勒布世界動畫電影節(2022)、瑞士Fantoche國際動畫電影節(2022)等。近期展覽包括其個展《碎心碎片迪斯可球》(MOU Projects，2023) ; 她的動畫作品包括《Park Voyage，2022》(香港M+博物館委約作品)、《城堡裡的大象，2021》。
Park Voyage is a series of pre-show animations commissioned by M+ Museum in 2022. Inspired by Shek Kip Mei Park, Shatin’s cycling track, and M+ museum, this work captures Hong Kong’s unique cityscape, creating an imaginary space that intertwines memory and everyday life.
《Park Voyage》是M+博物館在2022年委託製作的映前動畫系列。創作靈感來自創作者對香港日常城市的觀察，如石硤尾公園、沙田的單車徑、博物館等，這部作品捕捉了香港獨特的城市風景，創造出一種將記憶和日常生活交織在一起的想像空間。
Acknowledgement 鳴謝
merry-go-round like a lullaby (2023) is a 2D animated short created with a hand-drawn frame-by-frame process. It translates and encapsulates the filmmaker’s personal childhood memories as well as past lived experiences. The work illustrates how a bouncy ball awaits to be selected, spins down, and then leaves the vending machine, turning into a disco ball suddenly. Lee employs the disco ball to express the sweet yet fragile nature of intimate relationships as well as the residual yearning from childhood, enticing the viewers to enter the playground that weaves together a melody that lures them to roam and wonder.
《merry-go-round like a lullaby》 (2023) 是一部採用手繪逐幀手法創作的2D動畫短片。作品轉化並囊括了導演個人的童年記憶和過去的生活經歷。這部作品描繪了彈力球靜待被選擇，旋轉下來並離開彈力球自動販賣機，最後突然變成一顆迪斯科球的情景。導演以迪斯科球表達親密關係裡甜蜜卻脆弱的本質，以及對童年的存留渴望，續而引導觀眾進入遊樂場裡，編織成一段帶領觀眾漫遊和思索的旋律。
Acknowledgement 鳴謝
You build a home in my mind (2023) is a 2D animated short created with a hand-drawn, frame-by-frame process. Translating and encapsulating the filmmaker's personal childhood memories as well as past lived experiences, this short comprises playground rides, everyday scenery of the cityscape, and unique objects recalled from memories—weaving together a melody that lures the viewers to roam and wander. As a boat navigates between reality and imagination, resembling a journey of constant loss and persistent search, the scenes become slightly different each time they reappear, alluding to the repetitiveness and uncertainty of life.
《心之房》是一部採用手繪逐幀手法創作的2D動畫短片，回顧藝術家自身的童年回憶及過往經歷。動畫以公園的遊樂設施、城市的日常風景及回憶中別具意義的物件拼湊成帶領觀眾漫遊的旋律。回憶中的小船、兒童爬架、溜滑梯、籃球場等物件不斷旋轉，時而環繞、時而略過，景物在消失後或許會在下一個場景重回觀眾的眼前，在這片轉瞬即逝的景色中，試圖喚起觀眾的共同記憶和經歷。小船航行於現實與想像之間，就像一趟不斷遺失和尋找的旅程，彷似不變的畫面在每次回歸時都略帶不同，揭示著生命的重複性與不確定性。
Acknowledgement 鳴謝
Oyster Films is an international sales and distribution label for innovative and artistically driven new films. With a curated approach, Oyster represents award-winning filmmakers and artists who are shaping the future of cinema.
牡蠣電影（Oyster Films）是一家國際電影銷售及發行公司，主要發行創新及以藝術為主導向的新電影，公司同時以精心策劃的方式去代理正在塑造電影未來的獲奬電影制作人和藝術家。
The films in this programme invite you on a journey across time, into the realms and rhythms of ecology, myth, legacy, and the future. Each film takes a distinct approach – whether through music, voice, or new media technologies – to bridge the worlds we know and the ones we’ve yet to encounter.
是次合作的放映節目中的電影邀請觀眾踏上一段跨越時空的旅程，一起進入生態、神話、遺產及未來的領域，投入其節奏之中。每齣電影均採用了獨特的方式，包括其中的音樂、聲音又或是新媒體科技，這些連結築起我們熟悉的世界與尚未遇到的世界之間的橋樑。
During the pandemic, the city of Seoul became, in a way, un-moving. Streets were deserted, people stayed at home. But, like many other countries, delivery services exploded and became faster than ever. Delivery riders became the most actively mobile in a slowed-down world; their movements both carefully monitored, for efficiency, and made almost invisible as they deliver items without interaction.
This film is not only about the gig economy and platform labor, which have become immensely popular in South Korea, but also about the possible world(s), the hypervigilance, and the accelerationist urge for optimization of body, time and space. It contains hints of a queer relationship with a counterpart from another possible world. I use speculative fiction to create a new place and perspective from which to look at the present. This project gazes at Seoul as a kind of topological labyrinth; visualizing mobility, movement and mapping in an expanded way. In this story, the top-performing Delivery Dancers, known as “Ghost Dancers” are invisible from human eyes as they navigate through time and space.
Delivery Dancer’s Sphere is about the story of Ernst Mo who is a rider for the powerful courier service Delivery Dancer. Every day, she transports an endless stream of parcels, following algorithmically generated routes through a labyrinthine, technofuturist Seoul. After she runs into an alternative version of herself, her reality slowly starts to crack.
在疫情期間，首爾市在某程度上變得停滯不前，街道上冷冷清清，人們都只可以待在家裡。但是，與許多其他國家一樣，送貨服務需求爆炸增長，速度比以往任何時候都快。外賣騎手成了這個緩慢世界中最活躍的流動者；他們的行動既受著嚴密監控，但要求高效率，並且需要在送貨時保持隱形，避免產生任何互動。
電影不僅描述在韓國大行其道的「打工經濟」和「平台勞動」，還講述了可能的 (多個)世界、高度警惕以及加速主義對身體、時間、空間所進行優化的渴望。它暗示了一種與來自另一個可能的世界的對應物之間的酷兒關係。我運用了推理小說來創造一個新的地點與視角，從這個地點與視角審視當下。這個項目將首爾視為一種拓樸迷宮，以一種拓展的方式，將流動性、移動及繪圖全部視覺化。在這個故事中，被稱為「靈魂舞者」的頂級演出外送舞者在時空中穿梭，無法被人類雙眼所看見。
《外送舞者的世界》講述的是 Ernst Mo 的故事；她是強大快遞公司的外送舞者，每天她按照算法生成的路線，在迷宮般、盛載著科技未來的首爾運送源源不絕的包裹。在她遇上另一個自己之後，她的現實生活開始慢慢出現裂縫。
Acknowledgement 鳴謝
Ayoung KIM is a visual artist as well as a filmmaker. Kim adopts the devices of speculative storytelling to evoke unfamiliar forms of reading, listening and thinking about the conditions of the world by focusing on unlikely encounters of ideas. Her projects take the forms of video, sonic fiction, VR, text, performance and game simulation and are presented as exhibitions, performances and publications. Kim exhibited and screened at Venice Biennale (2015); Palais de Tokyo (2016); Korea Artist Prize (2019); Sharjah Film Platform (2019, 2020); Berlinale (2020); Asian Art Biennial (2021); Videobrasil (2021) and Sharjah Biennial (2023).
金雅瑛是一位視覺藝術家及電影人。金氏採用推理敍事的手法，通過關注那些經常被忽略的想法，從而喚起人們對世界狀況非尋常的閱讀模式、聆聽及思考。她的項目形式包括錄像、聲音小說、虛擬實境、文本、表演和模擬遊戲，並以展覽、表演及出版物的形式呈現。金氏曾於威尼斯雙年展（2015）、東京的 Palais de Tokyo（2016）、韓國藝術家奬（2019）、沙迦電影平台（2019、2020）、柏林電影節（2020）、亞洲藝術雙年展（2021）、巴西的 Videobrasil（2021）和沙迦雙年展（2023）上展出及放映。
Following a nuclear explosion that transforms the voice of all the inhabitants of an island, a Finnish journalist goes there in order to find a hermit with mysterious powers.
一場核爆改變了小島上所有居民的聲線，一名芬蘭記者前往該島尋找一位擁有神秘力量的隱士。
Acknowledgement 鳴謝
From Haitian descent, Miryam Charles is a director, producer and cinematographer living in Montreal. She has just completed her first feature film Cette Maison (This House), which premiered at the Berlin International Film Festival (Forum) 2022. Her work explores themes related to exile and the legacies of colonization.
Her short films have been screened at festivals, institutions and events including : Berlin IFF / Toronto IFF / Edinburgh IFF / FNC Montreal / Rencontres Paris & Berlin / CalArts / Canyon Cinema Discovered / Maysles Documentary Center / L'alternativa, Spain / Vancouver IFF / Alchemy FF, UK / Imagine Science FF - New York / Vienna Independent Short FF / Encounters International Short FF / Dresden Short FF / BIDEODROMO International Experimental Film and Video Festival, Bilbao / Canyon Cinema.
米爾亞姆‧查爾斯是一名居於加拿大蒙特利爾的導演、監製及攝影師。她剛剛完成了自己第一部長片《Cette Maison 這座房子》，該片於2022年柏林國際電影節首映。她的作品探討了與流亡和殖民遺留問題相關的主題。
她的短片曾於多個電影節、機構及活動中放映，包括柏林國際電影節、多倫多國際電影節、愛丁堡國際電影、蒙特利爾 FNC、巴黎和柏林 Rencontres、加州藝術學院、Canyon Cinema Discovered、梅斯萊斯紀錄片中心、西班牙 L'alternativa、溫哥華國際電影節、英國 Alchemy FF、紐約 Imagine Science 電影節、維也納獨立短片電影節、Encounters 國際短片電影節、德累斯頓短片電影節、華爾巴鄂 Bideodromo 國際實驗電影及錄像節、Canyon Cinema 等。
This film diptych acts as a modern tale, happening in an unspecified land - a desert where nothing grows anymore - with characters out of place, a mysterious quest linking distant people and places. Two formats were used to blur the linearity of time and narration. The opening scene, when the old poetess takes away the dead horse, was shot in Super 8. The rest was filmed in 4K. I wanted the opening sequence to feel like a dream, or an old memory, while the main action is set in the contemporary epoch.
I have a very physical approach to filmmaking where the body is central. I see filming as an experimental or even transcendental experience, during which my own physical engagement is on par with the demands I make of my characters, actors and friends. Rituals play an important role; a possibility of encounter, a poetic expression of what cannot be conveyed through speech. Through the rough yet tender relationship of these women, absorbed in the gestures of an odd ritual, I wanted to show an intimate take on sisterhood, and on our relationship to death, while presenting a contemporary vision of paganism. The sisters’ silent journey of mourning is reinforced by Kali Malone’s ethereal and haunting original score. This film originated from my own recent experience with loss, and the ensuing need to invent ways to grieve.
In Wake for a Horse, a wanderer poetess announces the death of a horse. Two sisters living secluded in a desert begin to prepare a mourning ritual. Following a mysterious tradition, they work on creating a “jar of sorrows”: they walk in the desert to harvest clay and make a pottery jar to collect and encapsulate their tears, which they seal and bury to honour the deceased horse. This film follows the evolution of sisterhood, through a journey of loss.
這部雙連拍的電影講述了一個現代故事；故事發生在一片不知名的土地上，寸草不生的沙漠中。片中的人物格格不入，神秘的探索將遙遠的人和地方連繫在一起。影片採用了兩種形式來模糊時間與敍述的綫性發展。老女詩人帶走死馬的開場場景是用超 8 拍的，餘下的則用 4K。我希望影片開頭的場景給人一種夢境或古老記憶的感覺，其他主要的場口則以當代為背景。
我的電影製作方法是以身體作為核心，我認為拍攝電影是實驗性的，甚或可以說是超性的體驗。在此期間我自身身體的參與是與我對角色、演員、朋友的要求一樣。儀式在當中扮演著重要的角色；它是一種相遇的可能，一種無法以言語表達的詩意呈現。我想通過這些女人之間粗獷而溫婉的關係，通過她們沉浸於古怪儀式中的姿態，展現姐妹情誼以及我們與死亡的親密關係，同時又可以展示異教的當代願景。卡莉‧馬龍 （Kali Malone）的空靈纏綿的原創配樂強化了這對姐妹的哀悼之旅。這部作品源於我最近的喪親經歷，以及隨之而來創造哀悼方式的必要。
在《為馬守靈》中，一位流浪女詩人宣佈一匹馬的死亡。隱居在沙漠中的兩姐妹開始準備哀悼儀式。她們遵從一個神秘的傳統，努力制作一個悲傷之罐。她們於沙漠上行走，採集粘土，制作陶罐，收集並封裝她們的眼淚，然後又將其密封埋葬，以紀念死去的馬匹。作品講述了姐妹情誼的演變，以及一段關於失去的旅程。
Acknowledgement 鳴謝
Célia Hay was born in 1991 in Marseille. A graduate of Central Saint Martins in 2016, she lives and works in London.
Her practice combining photography, film and installation weaves performative stories through which her characters accomplish mysterious existential quests, thus freeing themselves from societal constraints. Her films touch on mourning, wandering, and how the loss of words can establish bonds between people at a given moment. There is a notion of fragile balance intrinsic to her work: the act of filming becomes a framework bringing the possibility of an event - perhaps an accident - in the manner of an uncanny ritual. She looks for something that slips from the other and cannot be fully grasped, an inner experience.
Her work has been presented in various institutions including the Institute of Contemporary Arts (ICA) of London, the Fiminco Foundation for the annual edition of Jeune Création 71 (Pantin), BétonSalon (Paris), the Friche la Belle de Mai for Art-o- rama (Marseille), the Yvon Lambert Collection (Avignon), the Pact Zollverein (Essen), the Kyoto Art Center, and during Plat(t)form 2016 at the Fotomuseum Winterthur.
Her films, produced by ICA London, Channel 4 Random Acts, Abandon Normal Devices, etc. have been shown at international festivals such as London Short Film Festival, FIDMarseille, Aesthetica Short Film Festival.
塞利亞‧海1991年生於馬賽。2016年於中央聖馬丁書院畢業，目前在倫敦生活與工作。
她的作品結合了攝影、電影及裝置藝術，編織了一個又一個充滿表演性的故事。通過這些故事，她筆下的人物完成了神秘的生存探索，從而擺脫社會的束縛。她的電影作品觸及的主題包括哀悼、流浪以及在特定時刻失語如何協助建立人與人之間的關係。作品中蘊含著一種脆弱平衡的概念；拍攝行為成為一種框架，以一種不可思議的儀式帶來事件，也許是意外。她在找尋從他人身上滑落的、無法完全把握的東西，一種內在的體驗。
她的作品曾於多個機構展出，包括倫敦當代藝術學院、Fiminco 基金會的 Jeune Création71年度版、巴黎的 BétonSalon、馬賽的 Friche la Belle de Mai for Art-o-rama、阿維尼翁的 Yvon Lambert Collection、埃森的 Pact Zollverein、京都藝術中心，以及溫特圖爾攝影博物館所舉辦的 Plat(t)form 2016。
她的電影由倫敦當代藝術學院、Channel 4 Random Acts,、Abandon Normal Devices 等製作，曾於倫敦短片電影節、馬賽國際電影節、Aesthetica 短片電影節中展映。
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Microwave International New Media Arts Festival began in 1996 as an annual video art festival of the local video art institution Videotage.
As technology progressed and became more accessible, video art slowly evolved to involve other media; thus Microwave began to embrace the wider range of new media art. As the first and only art festival in Hong Kong dedicated to new media art, Microwave has steadily grown into a well-established festival that brings cutting-edge works to provoke thought in the technological hub every year.
In its 10th anniversary, Microwave Festival celebrated by becoming an independent organisation, completed with a re-branding by design partner Milkxhake and a strengthened curatorial and working team. Microwave then continues the hard work to inspire Hong Kong and the rest of the world with pioneering media artworks selected to suit themes relevant to the society today, while also avidly supporting the exchange and dialogue between artists, professionals and the general public.
We envision that through the Microwave network, Hong Kong artists will be introduced to international institutions and curators, working as a platform and gateway for them to develop their art and skills. Apart from the grand annual festival, Microwave also endeavours to nurture a rising local new media arts community, organising various programmes such as educational workshops, seminars, forums and exhibitions.
微波國際新媒體藝術節始於1996年，前身是本地錄像藝術機構錄映太奇的年度錄像藝術節。
錄像藝術隨著科技的進步變得更普及，逐步發展並融入媒體科技之中，因此，微波開始策劃更多的可能性，擁抱更廣泛的媒體藝術。作為香港第一個也是唯一一個專注於新媒體藝術的藝術節，藝術節已經穩步發展成為一個以科技為主軸、為觀眾帶來前瞻性作品的年度媒體藝術項目。
在藝術節十週年之際，我們正式成為一個獨立機構，故此特地邀請了設計合作夥伴Milkxhake重塑品牌，亦致力令策展團隊更加穩健。藝術節將繼續努力，以卓越的媒體藝術作品與項目啟發觀眾，緊扣並回應與當今社會相關的主題，同時微波也熱衷於支持藝術家、專業人士和公眾之間的交流和對話。
我們冀望香港藝術家能通過藝術節，被更多國際機構和策展人看見，成為他們發展藝術和技能的平台和途徑。除了每年的藝術節之外，微波還致力培養本地嶄露頭角的新媒體藝術社群，組織及舉辦教育工作坊、研討會、論壇和展覽等公共項目。
