01
DREAM BLENDER HONG KONG
《夢拌》 (2024)
Juliana and Andrey Vrady朱莉安娜與安德烈‧弗拉迪 (DE 德國)
微波國際新媒體藝術節 2024
策展導論
你好不好 HOW YOU DOIN’
「人山人海，卻又孤獨寂寞。」
摘自查爾斯‧狄更斯 的《雙城記》
寂寞與孤獨是怎麼區分的呢？自古至今無數文人談及這兩個詞語；或像法國文學家卡繆所言，寂寞總是伴隨著疏離與焦慮，而談孤獨則可讀畫家及作家蔣勳的《孤獨六講》，他定義孤獨的同義詞是出走，從群體、類別、規範裡走出去，需要對自我很誠實。而孤獨和孤單又不一樣；孤獨是一種選擇，一個人的時候受感那源自自身的平靜，但孤單則較接近寂寞，呈現著一種被動落單的悲傷情緒。簡單幾句，有了經典出處，也發現情緒的千絲萬縷與及似是而非，彷佛也就是人的通感。要深化理解，理性點可讀情緒歷史學家菲伊‧邦德‧艾貝蒂的《寂寞的誕生：寂寞為何成為現代流行病？(A Biography of Loneliness)，書中談及人們易於認為「寂寞」是一種普遍、永恆的固有現象，但事實也許不。「單獨」（oneliness）一字長久以來一直被視為追求自我平靜，又或是與上帝交流的珍貴時刻。但到了19世紀，宗教沒落、工業社會急速發展，「寂寞」（loneliness）這個詞也是在這時出現，且很快就成為一種負面疾病，反映出人與人的日漸疏離。就此脈絡觀硏，隨科技科學的社會發展，環境聚焦在個體而非群體之下，現代寂寞因應催生。然而我們不是在這細讀研究人類情緒發展的歷史，而是在理解情緒與科技科學發展的關係，如果工業革命催化了孤獨感（讀查爾斯‧狄更斯的《苦海孤雛》有感）﹐那跳觀當代，我們又能發現/看見什麼？
翻一翻影響世界的互聯網簡史，由90年代初開始的Web 1.0 ，就是由傳統媒體生產內容，用戶是被動的信息內容消費者。及後步入Web 2.0的時代，指涉的是一個進階的狀態，網絡用戶不再單純消費內容，一般用戶可通過低成本的服務去成立自己的專屬內容平台（還記得博客Blogger這個稱呼？），又或是擁有社交網絡個人頁面(例如Myspace、臉書Facebook等)，內容是動態生成，允許用戶/讀者相互討論發表。再觀照今時今日流行不退的社交平台包括Youtube、Instagram、Tiktok、Twitter等，不難發現人們由1.0走到2.0是把重心由「資訊」轉移到「關係」，2.0的產物就是線上無限連結的關係線，關係影響情緒﹐而每個人如何回應這些由科技生產而來的情緒就變成當代社會的現象。這些社交媒體如何影響人們的生活在這不必多說，你只需反觀自己一整天的生活大概就可以有所理解。隨便谷歌一下社交媒體、情緒等關鍵字，媒體報導亦正亦邪，科技從來都是雙面刃；目前全球使用網絡社交媒體的人口已超過30億，根據《Digital 2024》，社交媒體全球三甲是Instagram、Whatsapp和Facebook。自Web 2.0時代開始，人與人之間的連繫就開始依賴這些媒介，人們使用社交媒體克服壓力與憂鬱，卻又同時洐生空虛，人與虛擬環境之間所產生的經驗化成千層的好惡，重點是被驅著走的動力離大於自身疏理情緒的動力，最後這些情緒像亂套的線圈，看一眼就不想理。當情緒雪球滾動之時，兩件大事發生了；一是Web 3.0的發展，二是凶猛的疫情。Web 3.0的去中心化主軸以至元宇宙的發展令許多人預見那虛實 (Physical-Virtual) 世界的降臨，那些以前出現在電影電視漫畫小說的情境近在咫尺。而疫情被視之為催化劑；它把「隔離」變成了日常，而「隔離」誘發了「孤立」(isolation)，疫情這幾年把缺乏社交接觸的感覺轉化成許多人的習慣。過去的幾年，社會上充斥著疫情的新聞與數字，人們的日常習慣因禁閉、社會限制、經濟環境的不穩定狀況等因素造成壓抑﹐不少報告指出在後疫情的世代人們的心理健康受到挑戰、主觀幸福感降低、不適應行為與情緒困擾增加。反照香港的情況呢？不少新聞專題報導指出港人在疫情後的精神健康令人關注，不論任何年齡層，也在調查中顯示出比過往嚴重的情緒問題指數。2024年最新數據指出每七位港人就有一位在一生中會經歷常見的心理疾病；在這些正經歷精神健康問題的人之中，佔七成半的人因為不同的原因並不會尋求任何的專業協助。
這些巨大的情緒雪球不是單憑誰的一聲號令便可魔法解除，微波藝術節這次要探討的正是在藝術與科技、藝術與科學的協助之下，可以為此做些什麼。每天起床你第一件事做什麼？摸摸身邊的智能電話，立馬點開社交媒體， 無意識地「看」那些事 (不) 關己的內容？還是去一趟洗手間，趕忙梳洗出門工作？鏡子中的你是怎麼樣你有沒有好好的看過一眼？澳洲SensiLab的《照鏡成詩》(Mirror Ritual)是一個即時的情緒自省媒介，通過人工智能的模型詩歌生成系統，參與者在照鏡子的過程中把其臉部表情展現的個人情緒轉化成詩，他們能夠與鏡子產生情感上的互動，每位參與者都能根據自己的情感脈絡對鏡子中的詩歌作出獨特的個人詮釋。而談到時代下最影響深遠的產物「手機」，這個討論不應只單純停留在其功能與影響上，而是需要理解這件我們無法離身的產品是如何成就它的社會地位的？人們彷佛對之充滿情感，只要稍一與之分開，莫名的壓力便會出現。請大家回想一下手機壞掉了、遺失了的感覺？強大得無可逃避。但當新手機充完電下載好所有程式以至內容，感受又如何？沒有獨一無二，完全可以取代，情感可以一秒轉換，這是真的情愫嗎？通過荷蘭藝術家卡斯帕‧德容的互動設備作品《卡斯帕的前任》 (Casper’s Ex)， 用最輕鬆的巧遇方法召喚這個時代的「負心人」，讓科技這雙面刃成就無情。而德國藝術雙人組朱莉安娜與安德烈‧弗拉迪 (Juliana & Andrey Vrady) 則以互動人工智能裝置《夢拌》邀請觀眾探討自己，叩問自身從哪而來？我們的情緒有沒有樣子？一個人的情緒、夢境甚至對未來的想像，是否能通過人工智能的協助呈現人前？我們所關顧的是自身還是依附在表象上的社會符號？美國遊戲設計師斯科特 (Ziba Scott)的作品《好話》通過電腦遊戲這個平常媒介讓觀眾理解語言如科技一般的雙面刃功力，人體己有時不過只需點言語扶助。
回首在疫情期間，人們通過數位技術支援及改善當時的社會孤單 (Social isolation)及工作停擺的狀態， 及後更有越來越多人通過社交媒體改善社交及日常生活，包括搖距中醫應診、線上朋友聚會、元宇宙演唱會等。是次藝術節的主題研究始於2020年初，當疫情來襲之時，人們被困在家在城，無法如常生活的情況下，焦慮感360全天候的以及後疫情下的影響。參考到澳洲的心理健康藝術節「The Big Anxiety」，創辦一之一吉兒‧班奈特 (Prof. Jill Bennett) 教授提出：「有大量的証據表明，藝術能夠以真正的實踐方式為人們的心理健康作出貢獻，它不僅是一種消遣，它會影響情緒和健康。」這樣的思考及實踐模式正是後疫情時代所需，而教授成立的fEEL實驗室 (The felt Experience and Empathy Lab) 匯集了沉浸式媒體、參與式設計、創傷研究和心理學等領域的專家，共同推進具體主觀體驗研究的新方法。三件分別是虛擬實境 (Virtual Reality) 及擴張實境 (Augmented Reality) 的作品為觀眾開啓了一度體現同理心 (Empathy) 的大門；《好壞參半》 (Hard Place/ Good Place :Yarra Ranges) 分享的是受2021年澳洲雅拉山脈暴風雨事件影響的年輕人故事。《比較安全的地方？》(A Safer Place?) 讓觀眾親歷其境，感同身受，入急症室的情緒困擾以及等候期間所遇之事。還有2024年最新作品《活動空間》(Space for Action)，有關家暴倖存者的故事。這些都是真人真事，通過與科技協力，讓觀眾能站在別人的角度觀看感受，建立同理心。能同理也願展望，《包容式靜室》(Inclusive Quiet Room)是日本藝術團隊 (木村正子、藤并綺香、伊東健一、坪并理人、児島響、北川珠美、北川啓介、夏目欣昇) 的作品則為觀眾提供一個空間，讓感官過敏者在共生社會中喘息；易於建造，甚至可攜，拓展為未來提供靜室的可能性。這些作品建構於三個層面，通過表達、集合情㥩與及建立同理心結合互動技術、沉浸式媒體去透達群眾，在後疫情時代下結集成《你好不好》，擴展這點關顧。
《你好不好》是一封藝術節書寫的情書；除主題展以外更在線上推出Unconference專輯，邀請專家就議題與會分享，並延展在 Project Room 實驗O場中呈獻《文化燉》(Culture Stew)，與台灣的超維度 (Dimension Plus)及芬蘭媒體藝術家圖奧莫‧塔門帕 (Tuomo Tammenpää)合作，從「駭文化」的慨念出發，嘗試包括各種食物實驗，展現兩地文化的傳統技藝與交流，半科學的感知實驗，分享許多關於森林小精靈和山靈的奇異軼事。在主題展覽中亦會同場加映國際放映，包括了藝術節開幕特映 - 著名錄像藝術家比爾‧奧維拉 (Bill Viola)的錄像作品特輯、主題展期間的奧地利Ars Electronica藝術節的放映巡迴節目以及閉幕特映是由美國唯一專注當代視覺藝術及藝術家的電視節目系列 – 在廿一世紀製作的作品《邊界》。
情緒與生俱來，但要學會表達情緒卻容易詞窮，更莫論在同理關顧的層面。有聽過「角落生物」嗎？每個人物角色都有其辛酸故事甚至和同類迥異之處，然而有缺點也值得被愛，不完美也可以是美好的。如果你抱炸蝦尾有感，好好關照自己，一個人不可怕不要怕。以哲學家尼采的話作結：「我需要孤獨，也就是說，需要康復，回到我自己，呼吸自由、輕快、活潑的空氣。」
祝願你好不好也安好。
Microwave International New Media Arts Festival 2024
Curatorial Statement
HOW YOU DOIN’
“A multitude of people, and yet a solitude!”
—Charles Dickens, A Tale of Two Cities
What is the difference between loneliness and solitude? For centuries, numerous writers and thinkers have contemplated these two states. To French philosopher and author Albert Camus, loneliness is always accompanied by estrangement and anxiety. In Six Lectures on Solitude, painter and writer Chiang Hsun defines solitude as synonymous with departure or withdrawal from a group, a category, or a parameter, which requires a candid understanding of oneself. Being alone and feeling lonely are distinct experiences: being alone is a choice often made to have a sense of inner peace, while feeling lonely evokes sadness from being excluded against your will. It is intriguing how a touch of sentimentality can prompt reflection on these nuances. Emotions unravel like numerous illusory threads—intricate and universally experienced. To deepen our understanding of how we feel when we are alone, we can turn to cultural historian Fay Bound Alberti’s A Biography of Loneliness. In the book, she argues loneliness is not a universal or ahistorical phenomenon, and that “oneliness” has long been regarded as a precious moment to seek inner peace or communion with God. However, as religion declined and society rapidly industrialized in the nineteenth century, “loneliness” emerged as a term and soon connoted the negative experience of alienation between individuals. Similarly, with the advancement of science and technology, society has shifted its focus from the group to the individual, giving rise to a contemporary loneliness. This exhibition does not aim to study the history of human emotions, but to explore the relationship between emotions and scientific and technological development. If the Industrial Revolution served as a catalyst for loneliness (as Charles Dickens’s Oliver Twist shows), how has this dynamic evolved in our current world?
Let us briefly revisit the history of the internet, which has influenced the entire world. Web 1.0, which emerged in the early 1990s, was about disseminating content by traditional media outlets, with users acting as passive consumers of information. Later, Web 2.0 enabled users to set up their own content platforms at low cost (remember bloggers?) and make their own social media profiles on sites like Myspace and Facebook, where they could generate content and interact with one another. Looking at the social media platforms popular today, like YouTube, Instagram, Tiktok, and Twitter, we can see how we have progressed from Web 1.0 to 2.0. Our attention has transitioned from obtaining information to forming relationships online. Relationships are inherently emotional, and how we respond to these emotions arising from technology is a contemporary social phenomenon. We know full well how social media affects us—all we have to do is to reflect on our daily lives. If you google key terms like “social media” and “emotions,” you will find multiple media reports portraying technology as a double-edged sword. Currently, over three billion people in the world are on social media, with Instagram, WhatsApp, and Facebook being the most popular platforms, according to Digital 2024. Since the advent of Web 2.0, many relied on these platforms to connect and alleviate stress and depression, yet users also experienced a sense of emptiness. As people navigated these virtual environments filled with both positivity and negativity, it was often easier to ignore these emotions than to declutter them, and so the issue evolved into a tangled mess that people observed but rarely confronted. As our emotional conundrums snowballed, two significant events occurred: i) the development of Web 3.0 and ii) the pandemic. The decentralized nature of Web 3.0 and the emergence of the metaverse have led many to envision a seamless blend of physical and virtual worlds, making it seem as if the realities once depicted in movies, television, comics, and novels are now on the horizon. The pandemic acted as a catalyst, normalizing “quarantine” and consequently “isolation.” Lack of social contact has become a common reality for many. In the past few years, we have seen countless news and statistics about the pandemic. As people’s daily habits were changed by quarantine, social restrictions, and economic uncertainty, many reports indicate a deterioration in mental health, with individuals perceiving a decline in their well-being and an increase in feelings of alienation and emotional distress. How has it been for Hong Kong? Numerous outlets have run features that raised concerns about the city’s mental health following the pandemic, with surveys showing that people of all ages are experiencing higher levels of emotional problems than before. The latest data from 2024 indicates that one in every seven people in Hong Kong will experience a common mental illness in their lifetime. Of those facing mental health challenges, 75% do not seek professional help for various reasons.
This snowball of emotional issues can never be magically melted with a single spell. For this iteration, Microwave is exploring art, technology, and science, and how they could help solve these emotional conundrums. What is the first thing you do when you wake up every day? Do you reach for your smartphone beside the bed, scroll through social media, and mindlessly “follow” all the updates that (don’t) concern you? Or do you go to the bathroom and freshen up for work? Have you taken a good look at yourself in the mirror? Based in Australia, SensiLab presents Mirror Ritual, a real-time affective interface that generates poetry with artificial intelligence. As we look into the mirror, the mirror perceives our emotional states based on our facial expressions and turns them into poetry. We interact emotively with the mirror and read the text with our own personal interpretations. When it comes to the smartphone, the most far-reaching product of our times, we should discuss not only its function and influence, but also how it has achieved its social status as a product we can no longer live without. People seem to be so emotionally attached to their phones, they feel inadvertently stressed if they are separated from their devices for even a moment. Do you recall the feeling when your phone was broken or lost? Overbearing helplessness. And how did you feel when the new phone was fully charged and all apps and content had been transferred? But nothing is unique; everything can be replaced, and emotions can change in a second. Is anything true love? Through the interactive installation Casper’s Ex Dutch artist Casper de Jong summons all the “heartbreakers” of our times to let technology, this double-edged sword of good and bad, have a taste of ruthlessness. German artist duo Juliana and Andrey Vrady’s interactive artificial intelligence installation DREAM BLENDER HONG KONG encourages self-reflection: where do we come from? Do our emotions have appearances? Can a person’s emotions and dreams, even their imagination about the future, be conveyed to others using artificial intelligence? Are we concerned about ourselves or the social symbols attached to appearances? In Kind Words, American game developer Ziba Scott uses the ordinary medium of computer games to let visitors understand that language is as much of a double-edged sword as technology, and that sometimes all we need is a little verbal boost.
During the pandemic, people used digital technology to mitigate social isolation and to work. Since then, more have been using social media to enrich their social and daily lives, from remote Chinese medical consultations and online get togethers to metaverse concerts. Research for this iteration of the festival began in the early 2020s; we studied the impact of the pandemic on people trapped in their homes and cities, unable to go about their lives as usual, and the effects of daily anxiety during and in the aftermath of the outbreak. As Professor Jill Bennett, one of the founders of The Big Anxiety Festival in Australia, said, “There’s a lot of evidence that art has a lot of impact when it comes to mental health. It’s not just a diversion—there is evidence that it impacts on mood and wellbeing.” Not only can art raise awareness about mental health, it also changes the way people think, feel, and relate to one another, a mode of thought and practice necessary in the post-pandemic era. Bennett also founded fEEL (The felt Experience and Empathy Lab), bringing together experts from immersive media, participatory design, trauma research, and psychology to advance new approaches to the study of embodied subjective experience. Their three virtual reality and augmented reality works allow visitors to become more empathetic. Hard Place/Good Place tells the stories of young people impacted by the storm in the Yarra Ranges in Australia in 2021. A Safer Place? Stories from the Emergency Department immerses visitors in a hospital’s emergency department to experience the emotional distress of being in the waiting area, while the lab’s latest work Space for Action shares true stories of survivors of domestic violence. These are all real experiences; through technology, visitors can immerse themselves in the lives of others, fostering a deeper sense of empathy. Going beyond empathy, Inclusive Quiet Room, conceptualized by a Japanese team of creatives (Shoko Kimura, Ayaka Fujii, Kenichi Ito, Rihito Tsuboi, Hibiki Kojima, Tamami Kitagawa, Keisuke Kitagawa, Natsume Yoshinori), provides a resting place for visitors with sensory hypersensitivity in a symbiotic society. The quiet rooms are easy to build and even portable, proposing a future where quiet rooms can be constructed everywhere.
How You Doin’ is situated on three levels of the building, showcasing works that express and aggregate emotions, and through interactive technology and immersive mediums, it extends care in this post-pandemic era—a love letter in the form of an art festival. Other than the exhibition, Unconference is launching a series of episodes online, inviting experts to speak and respond to the topics of the show. In collaboration with Dimension Plus from Taiwan and Finnish multimedia artist Tuomo Tammenpää, Project Room O is presenting Culture Stew, which uses “hack culture” as a starting point to engage in food experiments, showcases of traditional crafts and cultural exchange, semi-scientific sensory experiments, and sharings about strange tales of forest and mountain spirits. The exhibition is also accompanied by screenings of international films, including a special screening of works by renowned video artist Bill Viola at the exhibition opening, a screening tour of Ars Electronica Festival from Austria, and a special screening of Boundaries, the only American television series to focus exclusively on contemporary visual art and artists, produced by Art in the Twenty-First Century, at the exhibition closing.
We are born to be emotional, but we are often at a loss for words when we try to articulate how we feel and when we express our empathy and care. Have you heard of Corner Creatures? In Corner Creatures, every character has a sad past or a trait that isolates them from their peers. But even flaws deserve to be loved, and imperfection can also be beautiful. If you feel emotional hugging Fried Shrimp Tail, please take care of yourself, too. It is not scary to be alone. In the words of the philosopher Friedrich Nietzsche: “I need solitude—which is to say, recovery, return to myself, the breath of a free, light, playful air.”
How are you doing? I wish you all the best.
文化燉是一系列於2019年於臺北開始的工作坊，由超維度Dimension Plus團隊及其總監蔡宏賢與芬蘭媒體藝術家Tuomo Tammenpää的持續合作發起。文化燉將芬蘭與臺灣文化中美味的文化奇觀、相似與差異融合在一起，並進行創意混搭。從「駭文化」概念出發，嘗試包括各種食物實驗、來自兩地文化的傳統技藝與知識交流、半科學的感知實驗，以及許多關於森林小精靈和山靈的奇異軼事。
在2019年在台北舉辦的第一屆文化燉活動之後，第二屆活動原計畫於2020年在芬蘭的Kemiö舉行，但因為新冠疫情導致國際旅遊限制，第二屆「文化燉」被迫改以台北與Kemiö兩地線上連線模式進行。2024年，隨著合作夥伴Tuomo於2022年在芬蘭Björkboda成立新的藝術文化空間Kulturhus Björkboda，久違地重啟新階段的第三屆「文化燉」，本次展覽將重溫前兩次文化燉活動中的豐富記憶和物件。
指導單位：文化部
主辦單位：超維度、Tuomo Tammenpää、台灣藝術與科技中心
共同主辦：台北數位藝術中心、台灣當代文化實驗場C-LAB
合作單位（2020年芬蘭）：Pixelache, Norpas Festival
The first Culture Stew in 2019 in Taipei was followed by a second version in 2020 in Kemiö, Finland, due to the travel restrictions preventing team Dimension Plus to Finland, the event was converted to two remotely connected workshops, one in Taipei and one in Kemiö and a video conferencing window in between. Finally, in 2024 the Taiwanese team arrives in Finland to Kulturhus Björkboda in Kemiönsaari island and the third Culture Stew is put to the proverbial boil. By presenting several new projects from Taiwan, we are revisiting the rich memories and artifacts from the earlier Culture Stews.
Supervisor: Ministry of Culture, Taiwan
Organizer: Dimension Plus, Tuomo Tammenpää, Taiwan Arts and Technology Center,
Co-organizer: Digital Art Center Taipei, Taiwan Contemporary Culture Lab
Collaborator (2020, Finland): Pixelache, Norpas Festival
Dimension Plus, Arts & Technology Team, established by artist Keith Lam and curator Escher Tsai, based in both Hong Kong and Taiwan, focus on artwork creation, curation and art & technology education and exchange.
The work of them and their individual teammate has been invited at numerous of art festival and exhibition around world including Hong Kong Museum of Arts, , MoCA Taipei, The National Art Centre at Tokyo, OK Center for Contemporary Art, Ars Electronica Festival, The New Technological Art Award Biennial at Belgium, Fukuoka Asian Art Museum, Hong Kong Arts Festival, National Taichung Theatre, National Taiwan Museum of Fine Arts, etc, and also awarded in numerous of international art festivals, including Prix Ars Electronica nd Japan Media Arts Festival, etc. Their commission work also award in various design award including The Best Design of the Year of Taiwan Golden Pin Design Award, Tokyo TDC, Asia Digital Arts Awards Japan and Gold Award of Design for Asia Award Hong Kong etc.
The team curate various of exhibitions, including “Hello, Human” at MoCA Taipei , “Hylozoism: An Arts & Technology Exhibition” at HKDI, “Encounter Once in a Lifetime －Toyo Ito Architecture Exhibition” the opening exhibition of National Performing Arts Center, “Sensory Transcode” of HKADC Art+Tech series, AND Taiwan art and technology centre, “Sensory Canvas” at Shanghai Ming Contemporary Art Museum and “U-108” an immersive audio-visual performance space at National Taiwan Museum of Fine Arts. They also committed to education and international exchange of art and technology, hosting series of workshops and seminars, such as “Playground workshop” since 2008 until now.
Dimension Plus，科技與藝術團隊，由林欣傑及蔡宏賢成立，基地設於香港及台灣，專注於藝術創作、策展及推動科技媒體藝術教育及交流。
團隊和團體成員的作品獲邀至世界各地展出，包括香港藝術館、台北當代藝術館、日本東京新國立美術館、奧地利電子媒體藝術節 Ars Electronica Festival 、OK Center for Contemporary Art、 比利時科技藝術雙年展、福岡アジア美術館、香港藝術節、臺中歌劇院、國立臺灣美術館及等，並於奧地利媒體藝術節電子藝術大奬 (Prix Ars Electronica)、日本文化廳媒體藝術祭等國際知名藝術節獲獎。委託作品亦獲金點設計獎最佳設計大獎 、東京 TDC、亞洲最具影響力設計大獎金獎等設計獎項。
團隊策動及協策多個展覽，包括台北當代藝術館《Hello, Human》、HKDI《萬物有靈: 科技與藝術共生展》、臺中國家歌劇院開幕展《伊東豊雄的劇場夢》及《光之曲幕》系列、藝發局藝術.科技展覽系列《感官編碼》、A N D 台灣藝術與科技中心、上海明當代美術館《感官邊界》及與國立臺灣美術館合作建造沉浸影音實驗展演空間 “U-108” 等。同時積極舉辦工作坊及講座，包括 2008 至今持續進行的 Playaround 計劃。
Tuomo Tammenpää is a designer, entrepreneur and artist from Kemiö, Finland. He shares his time between design commissions, cultural productions, and experimental prototyping. After twenty years of work with interactive media art and digital design, he has focused his work on playful interaction in a connected world, embracing the ideological framework of Open Hardware and Do-It-With-Others practices. Tammenpää is a partner in Berlin-based knowledge management company DMX, he is a member of Pixelache -festival, Norpas -festival, the Association of Professional Graphic Designers in Finland and a founding member of Vinde cooperative. In 2016 Lisa Roberts, Daniel Blackburn and Tuomo Tammenpää formed art group Pagan. In 2022 the couple Sari Kippilä and Tuomo Tammenpää founded an independent culture house Kulturhus Björkboda.
Tuomo Tammenpää 圖莫‧塔門帕是一位設計師、企業家和藝術家，常駐於芬蘭Kemiö，長期在設計委託、文化製作和實驗性原型設計之間投注時間與心血。在從事互動媒體藝術和數位設計二十年後，他將工作重點放在連接世界中的遊戲互動上，並擁抱開源硬體和「Do-It-With-Others與他人一起作」的理念。2022 年，Sari Kippilä及Tuomo Tammenpää夫婦於芬蘭Kemiönsaari的Björkboda村，創立了獨立文化之屋Kulturhus Björkboda。
The market is a hub for the economy and culture of ordinary people, reflecting the daily lives of local residents, including what they eat, how they live, and their customs and traditions. The video works "Together At The Table" and "Feast" by artist Yung-Hsien Chen illustrate the journey of Taiwanese street food from its origins to the traditional market where ingredients are selected, then prepared by chefs, and finally served at the table. Through this "from farm to table" journey of Taiwanese food, we can see the vibrant culture of Taiwan's markets and common people come to life.
傳統市場是庶民經濟和文化的交匯之地，反映了當地居民的日常生活，包括他們吃什麼、如何生活以及他們的習俗和傳統。藝術家陳永賢的錄像作品《饌食記》與《饗食聚》，呈現了台灣日常料理從產地源頭到傳統市場挑選食材，再由廚師烹調，最終端上餐桌的旅程。透過這段台灣食物「從產地到餐桌」的紀錄創作，可以看到台灣市場和普通百姓充滿活力的文化栩栩如生地被展現。
Yung-Hsien CHEN was born in Taiwan, he received a Master’s degree and a Bachelor’s degree on Fine Arts from National Taipei University of the Arts, and a Ph. D degree on School of Arts and Communication from University of Brighton, U.K. His main creations explore fluid relationship between the body and society, people and the environment, self and others. He has been thinking about the rules of life of individuals in social groups for a long time, and his artworks reflect issues such as social contradictions and phenomena. He has held solo exhibitions including: “The Song of Body,” “One in a Loop,” “Into/Out off the Other,” “Routes in/Outside,” “The Recluse,” etc. His artworks have been invited to exhibit in art museums in Asia, America, and Europe more than 80 times. He has served as the artist-in-residence of the Watermill Center in the United States and won a Back’s Future Prize for Film and Video and a Maple Leaf Award of Bronze Maple. His works collected by National Taiwan Museum of Fine Arts, National Center of Photography and Images, Kaohsiung Museum of Fine Arts, Art Bank Taiwan, Hong-gah Museum, Jut Foundation for Arts and Architecture etc. He is a founder and curator of “Taiwan International Video Art Biennial”, “RANDOMIZE Intl. Unstable Media Art Festival”.
創作/居住於台北
陳永賢 1965 年出生於臺灣,現創作與居住於臺灣台北,國立臺北藝術大學美術系學士、美術研究所碩士畢業,2004 年取得英國布萊頓大學藝術與傳播研究所博士學位。他的創作主軸探討身體與社會、人與環境、自身與他者的流動關係,長期思考個體與社會規範的影響,作品反映生活現象及社會矛盾等反思。曾舉辦個展:「身體之歌」、「人層迴圈」、「他者之他」、「闢徑」和「隱遁者」等,作品受邀參加亞洲、美洲、歐洲各地美術館之聯展八十餘次;獲選美國 Watermill Center駐村藝術家;曾獲英國貝克獎、加拿大楓葉銅楓獎。作品受國立臺灣美術館(臺灣)、國家攝影文化中心(臺灣)、高雄市立美術館(臺灣)、藝術銀行(臺灣)、鳳甲美術館(臺灣)、忠泰建築文化藝術基金會(臺灣)、倫敦 ICA(英國)、Watermill Center(美國)等藝術機構典藏,與亞洲私人收藏。他是「臺灣國際錄像藝術雙年展」、「機動眼國際動態媒體藝術節」創辦人及策展人。
AI, as a powerful subjective tool, has the potential to suppress cultural diversity and interpretative historical discourse. The top-down cultural infiltration method makes the development and application of AI not just a technological issue but also a cultural one. Data generated by subjective AI biases can create an echo chamber effect, unconsciously replicating or reinforcing biases, thereby amplifying the impact of cultural and future narrative biases. The Project Patching aims to counter AI bias by enhancing the diversity and representativeness of databases through regional collaboration. This involves collecting and integrating data from various cultural backgrounds, geographical locations, and socioeconomic groups to train AI systems. The goal is to ensure that AI can understand and appropriately respond to human culture.
AI作為強大的主觀工具，可能抑制文化多樣性與具詮釋歷史的話語權，由上而下的文化滲透方式，使得AI的發展和應用不只是科技問題，更是文化問題。在主觀AI偏見所生成的資料將產生回音室效應（Echo chamber），無意識地複製或加強偏見，將擴大文化與未來敘事產生的偏見影響。PATCHING計畫為抵抗AI偏見，透過各地區域共同參與來增強資料庫的多樣性和代表性，解決AI的偏見問題。包括收集和整合來自不同文化背景、不同地理位置和不同社會經濟群體的資料，訓練生成，以確保AI系統能夠理解並適切反應的人類文化。
Dimension Plus, Arts & Technology Team, established by artist Keith Lam and curator Escher Tsai, based in both Hong Kong and Taiwan, focus on artwork creation, curation and art & technology education and exchange.
The work of them and their individual teammate has been invited at numerous of art festival and exhibition around world including Hong Kong Museum of Arts, , MoCA Taipei, The National Art Centre at Tokyo, OK Center for Contemporary Art, Ars Electronica Festival, The New Technological Art Award Biennial at Belgium, Fukuoka Asian Art Museum, Hong Kong Arts Festival, National Taichung Theatre, National Taiwan Museum of Fine Arts, etc, and also awarded in numerous of international art festivals, including Prix Ars Electronica nd Japan Media Arts Festival, etc. Their commission work also award in various design award including The Best Design of the Year of Taiwan Golden Pin Design Award, Tokyo TDC, Asia Digital Arts Awards Japan and Gold Award of Design for Asia Award Hong Kong etc.
The team curate various of exhibitions, including “Hello, Human” at MoCA Taipei , “Hylozoism: An Arts & Technology Exhibition” at HKDI, “Encounter Once in a Lifetime －Toyo Ito Architecture Exhibition” the opening exhibition of National Performing Arts Center, “Sensory Transcode” of HKADC Art+Tech series, AND Taiwan art and technology centre, “Sensory Canvas” at Shanghai Ming Contemporary Art Museum and “U-108” an immersive audio-visual performance space at National Taiwan Museum of Fine Arts. They also committed to education and international exchange of art and technology, hosting series of workshops and seminars, such as “Playground workshop” since 2008 until now.
Dimension Plus，科技與藝術團隊，由林欣傑及蔡宏賢成立，基地設於香港及台灣，專注於藝術創作、策展及推動科技媒體藝術教育及交流。
團隊和團體成員的作品獲邀至世界各地展出，包括香港藝術館、台北當代藝術館、日本東京新國立美術館、奧地利電子媒體藝術節 Ars Electronica Festival 、OK Center for Contemporary Art、 比利時科技藝術雙年展、福岡アジア美術館、香港藝術節、臺中歌劇院、國立臺灣美術館及等，並於奧地利媒體藝術節電子藝術大奬 (Prix Ars Electronica)、日本文化廳媒體藝術祭等國際知名藝術節獲獎。委託作品亦獲金點設計獎最佳設計大獎 、東京 TDC、亞洲最具影響力設計大獎金獎等設計獎項。
團隊策動及協策多個展覽，包括台北當代藝術館《Hello, Human》、HKDI《萬物有靈: 科技與藝術共生展》、臺中國家歌劇院開幕展《伊東豊雄的劇場夢》及《光之曲幕》系列、藝發局藝術.科技展覽系列《感官編碼》、A N D 台灣藝術與科技中心、上海明當代美術館《感官邊界》及與國立臺灣美術館合作建造沉浸影音實驗展演空間 “U-108” 等。同時積極舉辦工作坊及講座，包括 2008 至今持續進行的 Playaround 計劃。
“There is no medication for trauma,” says Prof. Bennett. “You can take medication for some symptoms, but it really needs a cultural and social response rather than just a medical one." Quoted from UNSW Sydney website, an article entitled “Arts festival brings healing to a town impacted by suicide. A very inspirational thought and the Microwave team is also Inspired by the Warwick Big Anxiety program, which aims to cultivate future thinking in place of emotional crisis, and also their pilot program shown significant increases in positive mood and decrease in hopelessness; and eventually formulate this UnConference, to invite scholars, researchers & artists with belief in creative arts is very sensory and can attune people to emotional states, and that can then help change & regular emotional states.
班奈特教授說過「創傷是無可救藥的。你可以針對某些症狀服用藥物改善，但整體而言是需要文化與社會的回應去幫忙，而非單靠藥物。」這段說話擷自澳洲新南威爾大學的悉尼分校網站一篇主題為「藝術節療癒受自殺影響的小鎮」。今年的Microwave藝術節受到他們Big Anxiety節目的啓發，期望通過培養未來思維，以取代當代情緒危機。Big Anxiety的實驗計劃也顯示，通過他們的項目觀者正面情緒顯著增加，絕望感明顯減少。是次Unconference線上計劃，邀請國際講者、研究人員及藝術家分享專案研究，相信創意與藝術可誘導情感，能調和人們的情緒狀態，進而逐步逐步幫助、改變及規律情緒。
Jill Bennett will talk about the award-winning VR work of the fEEL team, which focuses on community collaborations and the goal of transforming mental health. These include the first VR/XR environment for suicide prevention, Edge of the Present; creative tools for working with trauma and anxiety, such as Embodimap; and a new creative work, World Comes Alive, inspired by the work of psychoanalyst Marion Milner – as well as VR collaborations with remote Indigenous communities; survivors of trauma and domestic violence; and people living with dementia and hallucinations. She will explain how and why immersive experiences can be effective in transforming trauma, depression and anxiety.
fEEL團隊專注於社區合作及旨在改變大眾心理健康，是次演說吉兒‧班奈特教授將介紹團隊的獲奬虛擬實境作品，包括首件用於預防自殺的虛擬實境/混合實境作品《Edge of the Present》、用於治療創傷及焦慮的創意作品《Embodimap》以及最新作品《World Comes Alive》- 靈感來自精神分析學家瑪麗恩‧米爾納的作品，一件關於偏遠社區、創傷及家庭暴力倖存者、痴呆症患者及幻覺患者的虛擬實境作品。她將為觀者解說沉浸式/身臨其境的體驗如何以及為何能夠有效地改變創傷、抑鬱和焦慮。
Jill Bennett is Scientia Professor and Australian Research Council Laureate Fellow at UNSW. She is Founding Director of The Big Anxiety Festival; the Big Anxiety Research Centre [BARC]; and the Felt Experience & Empathy Lab [fEEL] at UNSW. Jill’s immersive media and public engagement projects explore the role of creativity and trauma-informed design in supporting mental and emotional health with a particular focus on lived experience of trauma and distress. Her team have co-created ten major Virtual Reality projects, including: The Visit (ACM Originality and Impact Award, 2029), Perinatal Dreaming (Grand Jury Prize for Best VR, Sheffield DocFest, 2024) and Waumananyi, a collaboration with Uti Kulintjaku, Indigenous (Anangu) Elders shot in the Australian Central Desert. In 2024 fEEL launched Space for Action, a VR experience created with survivors of domestic violence. fEEL has also pioneered the development of digitally embodied AI companions for peer support. Her most recent book is The Big Anxiety: Taking Care of Mental Health in Time of Crisis (Bloomsbury, 2022).
吉兒‧班奈特教授是新南威爾士大學的首席教授及澳洲研究理事會桂冠研究完。她是新南威爾士大學the Big Anxiety 藝術節、the Big Anxiety 研究中心 (BARC)以及fEEL （感受經驗及同埋心研究單位）的創始人。教授的沉浸式媒體及公眾參與計劃旨在探索創意在創傷知情設計在支持心理及情緒健康的範籌上的角色及作用，重點專注於創傷及痛苦的生活經驗。她的團隊共同創作了十個大型虛擬實境項目，包括《The Visit》（2019年ACM原創及影響力大奬）、《Perinatal Dreaming》(2024年謝菲爾德DocFest最佳VR評審團大奬)、以及與Uti Kulintjaku (澳洲中央沙漠拍攝的Anangu 長老)合作的《Waumananyi》。2024年，fEEL團隊推出了《Space for Action》，這是一件與家庭暴力倖存者共同創造的虛擬實境體驗。她最近的著作為《The Big Anxiety: Taking Care of Mental Health in Time of Crisis》(Bloomsbury, 2022)。
Emanuel Gollob’s "Doing Nothing with AI" series reimagines industrial robotic arms as performative agents disrupting contemporary obsessions with productivity and efficiency. Through neuroreactive robotic installations, Gollob engages in a critical exploration of our post-pandemic reality, where psychological well-being and reconnection have become urgent cultural needs. In these works, AI-driven robots act not as instruments of labour but as collaborators in creating moments of purposeful inaction, challenging the societal narrative that equates busyness with value. Integrating generative robot control, brainwave measurements, and machine learning, "Doing Nothing with AI" crafts dynamic choreographies that seek to lull participants into a state of doing nothing. This series offers a counter-narrative to the relentless demand for activity, encouraging a collective re-learning of stillness and reflection. Gollob’s installations generate a performative space where human and machine coalesce in a shared practice of "Doing Nothing", inviting us to renegotiate our relationship with AI beyond utilitarian frameworks. As we grapple with the implications of a networked culture that often amplifies isolation, Gollob’s work opens critical dialogues about technology’s role in our mental health and social connections. "Doing Nothing with AI" proposes a radical rethinking of our engagements with robotic systems, foregrounding the vast potential of stillness.
伊曼紐‧戈洛布的《與AI一起無所事事》作品系列，將工業機械手臂重新想像成表演者，破壞當代對生產力與效率的迷戀心智。通過神經反應式機械裝置，戈洛布參與了後疫情現實的批判式探索，以理解心理健康與重新連結成為文化需求的急切性。在這些作品裡面，人工智能所驅動的機械人並非充當勞動的工具，而是有目的地共同協作無為時刻，挑選忙碌等於有價值的社會習性。結合生成機械人控制、腦電波測量及機器學習，《與AI一起無所事事》創作出動態編舞，試圖引導參與者進入無為狀態。這個作品系列提供了一個反敍事的方式，鼓勵人們重新學習靜止與反思。戈洛布的裝置創造了一個表演空間，讓人類與機器凝聚在「無為而為」的共同實踐中，邀請參與 者超脫功利框架，重新協商人們與人工智慧的關係。網絡文化往往會擴大孤立感，當人們正努力探討網路文化的影響時，戈洛布的作品開啓了人們對科技在心理健康與社會連結中所扮演角色的重要對話。《和AI一起無所事事》對人們與機械人系統的闗係提出了徹底的重新思考，並強調靜止的巨大潛力。
Emanuel Gollob (AT) (b. 1991) is an artist and researcher investigating today’s relations between humans, artificial intelligence & robots with the goal of making alternative ones bodily experienceable. In parallel, his work traces the change in human perception in connection to digitalization. Gollob graduated from the University of Applied Arts Vienna with a diploma in Design Investigation (2019). From 2020 to 2021, he was an artist in residence at MindSpaces, an EU research project in the STARTS initiative framework. Since 2020, he has been a PhD candidate and researcher at the University of Arts Linz with a particular focus on the performativity in human-robot encounters. In 2023, he was a guest artist at the ZKM | Center for Art and Media in Karlsruhe and the European Media Art Platform (EMAP).
Gollob’s work has recently been exhibited in various international institutions, including the Smithsonian Arts + Industries Building, Washington DC (2021); Science Gallery Melbourne (2021); Art Science Museum Singapore (2022); and HEK Basel (2023).
伊曼紐‧戈洛布 (奧地利) 生於1991年，是一位藝術家與硏究人員；他硏究人類、人工智慧與機械人之間的關係，旨在創造身體可體驗的替代性關係，與此同時他的作品也追溯人類感知與數位化之間的變化。戈洛布畢業於維也納應用藝術大學﹐於2019年獲得其設計研究文憑。2020至2021年，他是MindSpaces的駐留藝術家，這是STARTS的歐盟研究計劃。自2020年起，他是林茲藝術大學的博士生及研究人員，專責研究人類與機械人相遇時的表演性。2023年，他是德國ZKM藝術及媒體中心以及歐洲媒體藝術平台 EMAP的客席藝術家。
戈洛布的作品曾作多次國際展出，包括華盛頓Smithsonian Arts + Industries Building (2021)、墨爾本科學藝廊 (2021)、新加坡的藝術科學博物館 (2022)和巴塞爾 HEK (2023)等。
Creative expression and imagination have the power to foster positivity and resilience. However, many people find it challenging or feel it is not their domain. Mind Palette aims to bridge this gap by helping individuals express themselves creatively and envision a positive future using generative AI grounded in psychological behavioral therapies like ACT and CBT. This AI-based creativity support tool allows users to connect with art and express their emotions through it. The interaction provides a space for self-compassion and mindfulness. Daeun Yoo, the creator of Mind Palette, developed this tool at Harvard University and MIT, presenting it at various prestigious conferences, including UNESCO Digital Learning Week, and conducted academic user studies under IRB review. In this presentation, Daeun Yoo will share her insights on how creative activities and positive imagination can synergize in the form of art. She will also discuss the findings from her academic research, highlighting the tool's impact on emotional expression and mental well-being. This talk will provide an in-depth look at the intersection of art, creativity, and emotional health, showcasing the potential of AI in supporting these crucial aspects of the human experience.
創意表達和想像力具有培養積極性與適應力的力量，然而許多人認為實在太富挑戰性又或是不是他們那杯茶。《心靈色板》旨在彌補這缺失，利用ACT（接納與情緒治療）以及 CBT（認知行為治療）等心理行為治療法為基礎的AI生成方式，幫助個人以創造創意方法去表達自己，並一同展望積極的未來。這款以AI為基礎的創造力支援工具，可讓參與者與藝術連結，通過藝術表達自己的情緒，這種互動模式提供了一個自我共情與正念的空間。《心靈色板》的創造者Daeun Yoo在哈佛大學和麻省理工學院開發了這項工具，並在包括聯合國教科文組織數位學習週 (UNESCO Digital Learning Week)在內多個著名的研討會上發青，還在IRB Review下進行了學術用戶研究。在是次線上演講中，她將會分享她對創造性活動與積極的想像力如何以藝術形式產生協同作用的見解。她也會分享及討論她的學術研究結果，強調工具對情緒表達及心理健康的影響。是次線上演說將探入探討藝術、創造力和情緒健康的交滙，展示人工智能在支援人類經驗中這些重要方面的發展潛力。
Daeun Yoo is an HCI (Human-Computer Interaction) researcher and artist currently pursuing her Ph.D. in Information Science at the University of Washington. She holds a master’s degree in Design Engineering from Harvard, where she initiated the "Mind Palette" project, and a bachelor’s degree in Art and Design from Korea University. Daeun has been passionate about art and its positive power since a young age. As the idea of democratizing these benefits gained momentum, she decided to merge generative AI technology with art to spread the benefits of creative expression and the power of positive imagination to enhance emotional wellness for a broader audience. Her future plans for Mind Palette involve scaling the project by collaborating with museums and children's hospitals. She aims to design interactive spaces where children and families can engage, communicate, and collaboratively envision a brighter future through these creative interactions.
Daeun Yoo是HCI 人機互動研究員及藝術家，目前在華盛頓大學攻讀資訊科學博士學位。她擁有哈佛大學的設計工程碩士學位，並在學校發起《心靈色板》專案，她還擁有韓國大學藝術與設計學士學位。Dauen從小就正能量滿滿，並對藝術充滿熱情，隨著時間流逝，想法日趨成熟，她決定將人工智慧生成技術結合藝術，讓更多人了解創意表達的好處，以及正面想像力如何提升情緒健康的力量。她對《心靈色板》的未來規劃包括與博物館及兒童醫院合作，擴大項目規模，銳意設計互動空間，讓兒童和家庭可以參與、溝通，並通過這些創意互動共同憧憬更美好的未來。
Upmood was founded with the idea to promote better emotional wellness in the society. By increasing an individual's self awareness and mindfulness. On the other hand, providing emotion tracking solutions that can help other service providers create user experiences with emotional ergonomics. As a founder, I truly believe that if mankind has healthier mental states, the world will also become better. As a creative, I also believe there are still boundaries to break integrating emotional technology into art and design.
Bill Viola
1977-80, 60 min, color, sound
比爾‧維奧拉
1977-80, 60分鐘, 彩色, 有聲
Viola describes The Reflecting Pool as "a collection of five independent works which, taken as a whole, describe the stages of a personal journey using images of transition — from day to night, motion to stillness, time to timelessness, etc. Each work explores specific video techniques and technologies, in combination with the spatial potentials of stereo sound."
維奧拉將《倒影池》描述為由五件獨立作品組成的作品集，整體而言，這些作品運用轉換的影像來描繪個人旅程的各個階段：由白天到晚上、從動態到靜態、從時間走到永恒等。每件作品均探索了特定的錄像技巧及技術，以及結合了立體聲的空間潛力。
1977-79, 7 min, color, sound
1977-79, 7分鐘, 彩色, 有聲
All movement and change in an otherwise still scene is confined to the reflections on the surface of a pool. A man hovers in a frozen, midair leap over the water, as subtle techniques of still-framing and multiple keying join disparate layers of time into a single coherent image.
在一個本來靜止的場景之中，所有微小的動態與變化都只限於水池表面的倒影。一個人懸浮在水面上，猶如在半空中瞬間躍起，精妙的靜止畫面以及多重鎖定技術將不同的時間層次連結成單一連貫的影像。
1979-80, 12:48 min, color, sound
1979-80, 12分48, 彩色, 有聲
Viola describes Moonblood as "an expression of the feminine principle, a work in three parts relating to a personal concept of woman and mother."
維奧拉將作品形容為女性原則的表達，作品分為三個部份，與個人對女性以及母親的慨念有關。
1979, 13:14 min, color, sound
1979, 13分14, 彩色, 有聲
Silent Life records the first hours and days of life through a series of portraits of newborn babies in a hospital nursery. The alienating hospital environment, and the vulnerability of the babies' gestures and expressions, suggests a linking of birth and death.
作品通過一系列醫院育嬰室新生嬰兒的肖像，記錄了生命最初的幾小時和幾天。疏離的醫院環境，以及嬰兒脆弱的姿勢與表情，暗示了出生與死亡的關係。
1979-81, 12:21 min, color, sound
1979-31, 12分21, 彩色, 有聲
Ancient of Days is a remarkable series of "canons and fugues for video" that comprises Viola's most sophisticated structural and metaphorical explorations of time. Mathematical notations of precise time-code editing were applied to construct illustrations of temporal symmetry, duality and transposition — time-based equivalents of musical compositional principles such as counterpoint and serialism.
作品是一系列非凡的「卡農與賦格的錄像」，它包含了維奧拉對時間最精密的結構與隱喻探索。精確時間碼編輯的數學符號被應用於建構時間的對稱性、雙重性和轉換的圖解 - 以時間為基礎的等同音樂作曲原則，例如對位和序列主義。
1978-80, 15:13 min, color, sound
1978-80, 15分13, 彩色, 有聲
The title of Vegetable Memory derives from the writings of Jalaludin Rumi, a 13th-century Persian poet. Evolving as what Viola terms a "kind of temporal magnifying glass," the work explores the perceptual phenomenon of repetitive, cyclic viewing.
作品標題源自13世紀波斯詩人Jalaludin Rumi的著作，這件作品被奧維拉稱為「時間放大鏡」，探索重複循環觀賞的感知現象。
Bill Viola is a major figure in video art. His works, which have received international recognition, are distinguished by a confluence of allegorical resonance and virtuosic control of technology. Viola explores video's temporal and optical systems to metaphorically examine modes of perception and cognition, and ultimately chart a symbolic quest for self. His ritualized investigations of visual and acoustic phenomena, illusion and reality, achieve a poetic articulation of visionary transcendence.
比爾‧維奧拉是錄像藝術界的重要人物。他的作品獲得國際認可，其特色在於寓言式的共鳴與精湛的技術操控。維奧拉探索錄像的時間和光學系統，以隱喻的方式檢視感知與認知的模式，最終描繪出對自我的象徵式探索。他對視覺和聽覺現象、幻象和現實進行了儀式化的探究，實踐了一種對視實超越的詩意表述。
The 2023 Ars Electronica Animation Festival is a diverse showcase that invites spectators to discover current artistic productions in the field of digital animation. The selection has been mostly compiled of the submissions at Prix Ars Electronica 2023, which shifted its focus this year from Computer Animation to the landscape of New Animation Art. Several exciting programs give witness to the diversity of this renewed category, not only in terms of storytelling techniques, conceptual explorations and technological innovation, but also in terms of their commitment to social change and new political imaginaries.
From the 1,120 submissions, around 30 projects were selected for Ars Electronica Animation Festival, featuring a broad spectrum of styles and techniques: AI-generated images, cinematic deepfakes, hybrids between games and animations, animated documentaries and experimental-abstract works. This diverse selection invites new ways of thinking about how we experience the digital-virtual-real world we live in. The Ars Electronica Animation Festival ON TOUR, organized by Ars Electronica in cooperation with the Austrian Federal Ministry for European and International Affairs, comprises five of the festival programs: Electronic Theatre, featuring works honored by the Prix Ars Electronica jury, Austrian Panorama, highlighting current works of local artists, Young Animations featuring shorts from the Prix Ars Electronica’s u19-create your world category, and two thematic compilations titled AI & Human and Data, Bodies Space.
2023年的Ars Electronica 動畫節是一個多樣化展映平台，誠意邀請觀眾去觀看當今數碼動畫領域的藝術作品。是次巡禮是Prix Ars Electronica 2023的合輯，焦點由往年的電腦動畫轉移至簇新的動畫藝術創作領域。數個令人興奮的節目見證了新類別的多樣性，不僅僅在於說故事的技巧、概念探索以及技術創新方面，並致力於社會變革和在新的政治想像。
在 1,120 件參賽作品中，約有 30 件作品入選參加Ars Electronica動畫節，作品風格和技術涵蓋範圍廣泛，包括人工智能生成影像、電影化的深偽、遊戲與動畫的混合體、動畫紀錄片與實驗性抽象作品。這些多樣化的精選作品，讓我們以新的思維方式來體驗我們所生活的數位-虛擬-真實世界。由Ars Electronica與奧地利聯邦歐洲及國際事務部合辦的Ars Electronica動畫節巡禮（Ars Electronica Animation Festival ON TOUR）由五個節目組成： 《電子劇場》（Electronic Theatre），展出由電子藝術大獎Prix Ars Electronica評審團表彰的作品；《奧地利全景》（Austrian Panorama），展出當地藝術家的最新作品；《青年動畫》（Young Animations），展出由電子藝術大獎Prix Ars Electronica u19-創造你的世界組別（u19-create your world category）選出的短片；以及雙主題合輯《人工智能 & 人類與數據、身體空間》 (AI & Human and Data, Bodies Space)。
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、科技及社會交滙的平台，通過策劃展覽、教育計劃及研究項目，關注社會的未來。藝術節於1979年在奧地利林茲成立，漸漸發展成為多元組織，延展範疇包括實驗室、大型頒獎禮以及美術館的部份，致力於研究及推廣媒體藝術與數位文化。
Electronic Theatre is the annual best-of program, a compilation of five outstanding animations chosen by the Prix jury from the submitted works in the “New Animation Art” category. It is a diverse showcase engaging new ways of thinking about how we experience the digital-virtual- real world we live in. Combining fantasy, erotica and body horror, IT’S DANGEROUS TO GO ALONE! TAKE THIS follows an ambiguous hero undergoing numerous metamorphoses beyond conventional masculinities of game avatars. In Delivery Dancer’s Sphere, another hero, a female platform delivery driver, rushes with the speed of light through a labyrinth of endless paths, sliding into a parallel time and space. GLITCHBODIES uses video game aesthetics to introduce us to a mesmerizing group of characters with diverse bodies and minds. Lebensraum addresses contemporary problems such as overpopulation, the destruction of our living space and the steady rise in sea levels with a humorous approach. Similarly, FuneralPlay speculates on a future in which users can choose between erasing their electronic footprint after death or uploading it to virtual heaven, published on blockchain.
《電子劇場》是一年一度的最佳節目，由 Prix的 評審團在新動畫藝術類別的參賽作品中選出的五部傑出動畫作品組成。多樣化的展映讓我們以嶄新的思考方式來體驗人們所生活的數位-虛擬-真實世界。結合了幻想、情色和肉體恐怖的《單打獨鬥很危險！》（IT'S DANGEROUS TO GO ALONE！TAKE THIS）講述了一個模棱兩可的主人公經歷了無數次變形，超越了遊戲化身中的傳統男性形象。在《送貨舞者的領域》(Delivery Dancer's Sphere) 中，另一位英雄 - 一位女性送貨員，以光的速度衝過無盡路徑的迷宮，滑入平行時空。《障身》(GLITCHBODIES) 運用電子遊戲美學，向我們介紹一群擁有不同身心的迷人角色。《生存空間》(Lebensraum) 以幽默的手法探討當代問題，例如人口過多、生活空間被破壞、海平面持續上升等。同樣地《葬禮戲》(FuneralPlay) 推測未來使用者可以選擇在死後刪除自己的電子足跡，或是將其上傳至虛擬天堂，並在區塊鏈上公佈。
AI & Human. Who Owns the Truth? is a unique showcase taking up the Ars Electronica festival theme of 2023. It approaches topical disputes of our time, from data ownership and ethics of data harvesting, to authorship in the age of AI, love in time of crypto, deepfakes and image credibility. Using computer vision and machine learning, Soft Evidence is a series of filmic deepfakes created in classic cinema style. Decoding Bias imagines a therapy for AIs helping them to emancipate themselves from discriminatory algorithms. LoveCounter invites users to an "emotional autonomous region" where they can escape from the omnipresence of big data and manage their own digital footprints. The bizarre images from Planets and Robots are entirely generated by AI, yet animated by humans, showing what it amounts to when humans and AIs are equal partners in the creative process.
《人工智能 & 人類，誰主真相？》是以 2023 年 Ars Electronica 電子藝術節為主題的獨特展映項目；它探究時代的爭議，從資料所有權和資料採集的道德，到人工智能時代的著作權、加密時代的愛情、深度偽造以及圖像可信度。《軟証供》(Soft Evidence) 運用電腦視覺和機器學習，以經典電影風格創造出一系列電影深度偽造映像。《偏見解碼》 (Decoding Bias) 幻想為人工智能提供一種治療方法，幫助它們從歧視性的演算法中解放出來。《愛的櫃臺》(LoveCounter) 邀請使用者進入「情感自治區」，在那裡他們可以擺脫無所不在的大數據，並管理自己的數位足跡。《行星與機器人》(Planets and Robots) 中的怪異圖像完全由人工智能產生，但卻由人類製作動畫，展現人類與人工智能在創作過程中的平等合作。
Data, Bodies, Space shows an intriguing mix of different animation art practices, dealing with the “glitches” of our digitality-virtuality-reality condition. The selected shorts fast-forward to a future which is fascinating and frightening at the same time. In The Needlecast Rhapsody we witness a technology that can upload humans to distant locations in the galaxy. Moirai–Thread of Life also shows a journey to different cosmic dimensions and touches on quantum physics to explain notions of fate. Posthuman Hospital and My Mind As/Is Your Memory, My Body As/Is Your Substance take one to a nightmarish posthuman dystopia, whereas Rehousing Technosphere gives a more hopeful look into a new planetary ecology in a more-than-human future in which the digital is omnipresent yet endued with haptic and sensual properties. La Limite est une facade depicts a mesmerizing journey of fluidity and metamorphosis with a poetic approach, whereas CIRCVS MAXIMVS and Interchange feature a humorous take on virtual, computer-animated worlds and their relationship with the “real” world, highlighting the entanglements of power and control.
《數據、身體、空間》展映不同動畫藝術實踐上的有趣組合，處理數位-虛擬-現實環境中的「小毛病」，入選的短片帶領人們快轉進入到一個既迷人又可怕的未來。在《縫播狂想曲》(The Needlecast Rhapsody) 中，我們見證了可以將人類上傳到遙遠星系的科技。《摩伊賴 - 生命之線》(Moirai - Thread of Life) 也展示了一段通往不同宇宙次元的旅程，並觸及量子物理來解釋命運的概念。《後人類醫院》(Posthuman Hospita) 與《我的心靈是你的記憶，我的身體是你的東西》(My Mind As/Is Your Memory, My Body As/Is Your Substance) 則將人們帶入夢魘般的後人類烏托邦，而《再置生態》(Rehousing Technosphere) 則讓人更有希望地看到一個新的地球生態，在這個超越人類的未來，數位無所不在，卻又具備觸覺與感官的特性。《極限不過是表面功夫》(La Limite est une façade) 以詩意的手法描繪了一個令人著迷的流動性與變形之旅，而 《CIRCVS MAXIMVS》 與 《交滙》(Interchange) 則以幽默的方式呈現虛擬、電腦動畫世界及其與「真實」世界的關係，突顯權力與控制的糾葛。
Austrian Panorama highlights recent animation works of austrian artists. Cave Painting, Not Really Now Not Anymore and The Great Tree Piece offer a meditative-poetic glimpse at more than human worlds, in which the organic and the digital are inseparably intertwined. Nature is neither pure, nor standing as a graspable whole in front of our gaze. It is rather fragmented and densely filled with infinitesimal details which reach beyond human perception. Animation becomes a tool for staging different perceptual calibrations, zooming between different proximities exceeding the human gaze, and redefining notions of physicality and abstraction, natural and synthetic. Internet Gaga and Shroomsday complement the selection with a humorous and ironic take on our contemporary times.
《奧地利全景》重點展映奧地利藝術家近期的動畫作品。《洞畫》(Cave Painting)、《現在不是時候也不會再有了》(Not Really Now Not Anymore)與 《大樹小品》(The Great Tree Piece) 以冥想與詩意的方式，讓我們一窺的不僅是人類的世界，還有有機與數位交織在一起的密不可分，大自然既不純粹也不是一個可以掌握的整體，相反地它是零碎的，充滿了無限的細節，超越了人類的感知。動畫成為上演不同感知交錯的工具，在超越人類凝視的遠近距離之間尤然縮放，並重新定義實體與抽象，造就自然與合成的概念。《網絡Gaga》 (Internet Gaga) 和 《蘑菇之日》 (Shroomsday) 則以幽默和諷刺的方式回應反照我們的當下的時代。
Art in the Twenty-First Century
Season 6
April 21, 2012
藝在廿一世紀
第六季
2012年4月21日
Who and what limits our freedom of expression? In what ways do cultural differences affect our understanding of art and other forms of communication? How do an artist’s process and choice of medium affect our perception of his or her work?
This episode features artists who synthesize disparate aesthetic traditions, present taboo subject matter, discover innovative uses of media, and explore the shape-shifting potential of the human figure.
是誰限制了我們表達的自由？文化差異如何影響我們對藝術的理解以及其他的溝通方法？藝術家的創作過程及媒介選擇又是如何影響人們對他們作品的觀感？這一季作品集結綜合了不同藝術家的美學傳統，呈現禁忌主題，通過發現創新的媒介運用從而探索人體形態的變形潛力。
The only series on television in the U.S. to focus exclusively on contemporary visual art and artists, Art in the Twenty-First Century is a Peabody Award-winning biennial program that allows viewers to observe the artists at work, watch as they transform inspiration into art, and hear how they struggle with both the physical and visual challenges of achieving their visions.
Art in the Twenty-First Century airs on PBS in the U.S. Watch full episodes on Art21.org and through PBS streaming apps.
《藝在廿一世紀》是美國唯一專注當代視覺藝術及藝術家的電視節目系列，每兩年播出一次，曾榮獲皮博迪奬 (Peabody Award)。觀眾可藉此觀察藝術家的工作狀態，欣賞他們如何把創意靈感轉化成藝術品，聽他們談及在實踐過程中遇到的掙扎與困難。
《藝在廿一世紀》在美國PBS播放，觀看全集請瀏覽Art21.org或通過PBS 串流應用程式。
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。
ENQUIRY & RESERVATION 查詢及預約
info@microwavefest.net
PRESS ENQUIRY 媒體查詢
press@microwavefest.net
CORRESPONDENCE ADDRESS 地址
Room 1104, 11/F, Crawford House, 70 Queen's Road Central, Central, Hong Kong
For press enquiries, please contact Kobe Ko at press@microwavefest.net 傳媒垂詢，請以電郵聯絡高穎琳：press@microwavefest.net。
SELECTED MEDIA COVERAGE 精選報導
Coming soon 即將推出
Festival Grand Opening 藝術節開幕禮
25.10.2024 (Fri 五)
18:00 - 21:00
Hong Kong City Hall 香港大會堂
Main Exhibition 主題展覽
26.10.2024 (Sat 六) - 3.11.2024 (Sun 日)
12:00 - 20:00
Hong Kong City Hall 香港大會堂
Guided tour is available. Reservation required. 設有導賞團，敬請預約。
https://forms.gle/GhnA5B6JvvsiztgF6
Art & Science Workout –
HOW TO CREATE AND REALIZE
A STRONG INTERDISCIPLINARY PROJECT
Juliana and Andrey Vrady
朱莉安娜與安德烈‧弗拉迪
02.11.2024 (Sat 六)
14:00 - 15:00
Hong Kong City Hall 香港大會堂
*Conduct in English 用英語進行
Inclusive Quiet Room
Dr. Shoko Kimura
木村正子博士
02.11.2024 (Sat 六)
15:00 - 16:00
Hong Kong City Hall 香港大會堂
*Conduct in English 用英語進行
UnConference Episodes
Prof. Jill Bennett (AUS)
Emanuel Gollob (AUT)
Daeun Yoo (US)
Online Episode link:
Project Room: Culture Stew 實驗O場：文化燉
Exhibition Opening 展覽開幕
(含30分鐘的藝術家座談 With 30 mins Artist Talk)
7.11.2024 (Thu 四) 19:00 - 20:30
Exhibition 展覽
8.11.2024 (Fri 五) - 24.11.2024 (Sun 日) 12:00 - 20:00
AI偏見工作坊 The AI bias workshop
9.11.2024 (Sat 六) 14:00 - 18:00
Dimensions Plus 超維度
(1)
Opening Screening 開幕放映:
The Reflecting Pool – Collected Work 1977 - 80 (60 min)
《倒影池》- 作品集 1977 – 80 (60分鐘)
Bill Viola 比爾‧維奧拉
25.10.2024 (Fri 五)
18:00 - 21:00
Hong Kong City Hall 香港大會堂
(2)
On-show Screening 展期放映:
Ars Electronica Animation Festival 2023 on Tour
奧地利 Ars Electronica 動畫節2023巡禮
Electronic Theatre (78 Min)
電子劇場 (78分鐘)
26.10.2024 (Sat 六) - 27.10.2024 (Sun 日)
12:00 - 20:00
Hong Kong City Hall 香港大會堂
(3)
On-show Screening 展期放映:
Ars Electronica Animation Festival 2023 on Tour
奧地利 Ars Electronica 動畫節2023巡禮
AI & Human (50 Min)
人工智能 & 人類 (50分鐘)
28.10.2024 (Mon 一) - 30.10.2024 (Wed 三)
12:00 - 20:00
Hong Kong City Hall 香港大會堂
(4)
On-show Screening 展期放映:
Ars Electronica Animation Festival 2023 on Tour
奧地利 Ars Electronica 動畫節2023巡禮
Data, Bodies, Space (48 Min)
數據、身體、空間 (48分鐘)
31.10.2024 (Thu 四) - 1.11.2024 (Fri 五)
12:00 - 20:00
Hong Kong City Hall 香港大會堂
(5)
On-show Screening 展期放映:
Ars Electronica Animation Festival 2023 on Tour
奧地利 Ars Electronica 動畫節2023巡禮
Austrian Panorama (40 min)
奧地利全景 (48分鐘)
2.11.2024 (Sat 六) - 3.11.2024 (Sun 日)
12:00 - 20:00
Hong Kong City Hall 香港大會堂
(6)
Closing Screening 閉幕放映:
Boundaries (55 min)
邊界 (55分鐘)
Season 6
第六季
Art in the Twenty-First Century
藝在廿一世紀
3.11.2024 (Sun 日)
14:00 - 15:00
Hong Kong City Hall 香港大會堂
Unless specified, all talks, workshops and screenings will be conducted in English.
除非特別註明，所有講座、工作坊及放映會以英文進行。
* First-come, first-served. 座位有限，先到先得。
Programme is subject to change without prior notice. Organisers and presenters reserve the rights to make the final decision.
節目如有任何改動，恕不另行通知。如有任何爭議，主辦單位保留最終決策權。
Exhibition Hall, Low Block, Hong Kong City Hall, 5 Edinburgh Place, Central 香港大會堂低座展覽廳中環愛丁堡廣場五號
Dimensions Plus, L2-10, Jockey Club Creative Arts Centre, 30 Pak Tin St, Shek Kip Mei
超維度, 石硤尾白田街30號賽馬會創意藝術中心2樓10號
董事 BOARD OF DIRECTORS
羅揚文 Teddy Lo
鮑藹倫 Ellen Pau
楊嘉輝 Samson Young
節目總監 PROGRAMME DIRECTOR
鄺佳玲 Joel Kwong
執⾏監製 EXECUTIVE PRODUCER
衞葉麗 Florence Wai
技術總監 TECHNICAL DIRECTOR
林志輝 Jason Lam
營銷經理 MARKETING MANAGER
高穎琳 Kobe Ko
節⽬主任 PROJECT OFFICER
鄺俊軒 Jackson Kwong
節目統籌 PROJECT COORDINATOR
馬域 Ma Wik (Joy)
編輯 EDITOR
鄺佳玲 Joel Kwong
視覺及網站設計伙伴 DESIGN & WEB PARTNERS
Alonglongtime
nekogato
Thingsidid
EXHIBITION DESIGN 展覽設計
Surge Production
This project revolves around the following questions: Where do we come from? What do our emotions look like? What moves, scares, delights or inspires us as humans? How can we describe the times we live in? How does artificial intelligence perceive us? Do we humans still have the know-how and are we still the center of attention? And how can we leave our mark on history? This project focuses on a person and humanity. Visitors will create the digital artworks with their own emotions, dreams and visions of the future. To do this, various data and facts about visitors will be visualized with help of A.I. and new technologies.
此項目旨在探討以下問題：我們從哪而來？我們的情緒長什麼樣？什麼可以憾動我們，讓我們受驚受喜，又或是啓發靈感？如何描述我們身處的時代？人工智能如何看待我們？人類是否仍然是世界焦點？又或且我們還懂不懂如何成為眾所矚目的焦點？我們又該如何在歷史洪流中留下自己的印記？作品的重點在於人與人性；參與者在人工智能與新科技的協助下視覺化個人數據，涉及個人情緒、夢以及對未來的願景，從而創造數位藝術作品。
Juliana and Andrey VRADY are multimedia artists based in Germany. Andrey has been an artistic director of leading print and advertising companies for many years. He is keen on undertaking experiments with photography, making digital collages and finding new aesthetics in the new media. Juliana, his other half, comes from the film industry. The duo has achieved several milestones in interactive works and is still developing further. Their latest two media art installations, running as part of Future Forum (DWIH NY) in New York and Campus Germany (EXPO 2020) in Dubai, were inspired by the dialogue between people and technology.
朱莉安娜與安德烈‧弗拉迪為駐德國的多媒體藝術家。安德烈曾為知名廣告公司任職藝術總監多年，熱衷於攝影實驗，創作數位拼貼以及在新媒體中尋找新的美學。他的另一半朱莉安娜則來自電影界，二人在互動創作路上已達至數個里程碑，並持續在探討進步中。最新的兩件媒體藝術裝置，分別在紐約的未來論壇 *DWIH NY)及杜拜的德國校園 (EXPO 2020)展出，作品靈感來自人與科技之間的對話。
Casper’s Ex is a playful interactive installation on the relationship between human beings and everyday technology. More specifically, this installation is about the relationship between our smartphones and ourselves.
Our phones have grown into one of our most intimate companions. We go everywhere together, share everything with them. The relationship we have with our devices is co-dependent, verging on toxic.
Yet when a newer, better model comes along we discard them into the bottom drawer without remorse. The phone, however, cannot move on. Have you ever thought about how they feel? Your data, your scent, and your picture are all they have left. Casper’s Ex is a lonely smartphone that’s been left behind and is trying to connect with you while you are passing by.
Can you turn your back and simply walk away?
《卡斯帕的前任》是一件玩味的互動裝置，旨在探索人與日常科技之間的關係；更精確地說，這是一件探索人們與智能手機之間關係的作品。
我們的手機現已變成我們最親密的伙伴之一，我們去哪都在一起，我們與之分享一切。我們與之的關係似是共生互依，漸趨有毒。
然而當有更新更好的型號出現，人們會毫不猶豫將之前的手機丟棄在抽屜底，那手機就再沒有然後了。你有沒有想過手機的感受？你的數據、你的氣味以及你的照片是僅存的東西。《卡斯帕的前任》是一支被遺忘的寂寞智能手機，在你路過的時候試著跟你聯繫。
你能否轉過身乾乾脆脆地一走了之？
photo: AlanWeedon
photo: AlanWeedon
Casper de Jong is an interdisciplinary artist and professional prototyper from Utrecht (Netherlands) who works within the fields of technology, visual art and theater. Whilst pursuing a degree to become a theater technician Casper saw that technology has its own stories to tell and thus deserves a stage for itself. This eventually motivated Casper to enroll for the art academy and still informs his artistic process to this day.
Through a light-hearted approach in which he combines theater, ethics and complex human emotion, Casper takes technology out of its original context and shows how strange our connections with technology often gets.
In his artistic practice Casper researches the physical and emotional properties of machines. Casper senses a feeling of frustration within the machinic, one that resembles the behavior of young children who are starting to explore what they're capable of by falling and standing up again. Within the design process of new machines this aspect of imperfections, emotions and frustration is often hidden underneath a layer of clean design.
By stripping away these covering designs and highlighting these aspects of machines Casper sheds a light on this hidden frustration. In doing so he mostly works with concepts of repetition and failure. Casper vouches for always embedding an element of play through which we can open up and feel freer to explore/interact with our surroundings in new ways. Building upon the concept of the ‘homo ludens’ (the idea that we always engage in a form of play whatever we do) Casper’s works highlight the often overlooked aspects of technology that lend it to become a creative and playful tool.
卡斯帕‧德容是來自荷蘭烏特勒支的跨領域藝術家及專業原型設計師，專注在科技、視藝以及劇場範疇。在他攻讀與劇場科技相關的學位時，卡斯帕發現科技也有自己的故事想說，它們值得擁有屬於自己的舞台。因此最後他報考了藝術學院，直至今天他的藝術創作過程仍然充斥著這些元素和想法。
卡斯帕以輕鬆的方式，將劇場、倫理和複雜的人類情感結合，將科技抽離於本來的情境之中，繼而呈現人們與科技之間奇異的連繫。
在卡斯帕的藝術實踐中，他探究機器的物理和情感特性；他能在機器中受感一些困擾挫折，這些情緒就像幼童在開始探索自己能力的時候，從跌倒再站起來的感覺。在新機器設計的過程中，這種不完美、情緒以及挫折感往往藏匿於乾淨整潔的設計之下。
通過剝離這些蓋掩性的設計，並強調機器的這些面向，卡斯怕揭示了這些隱藏的挫折困擾。在這個過程中他主要運用重複和失敗的概念，他在作品中加入了遊戲的元素，讓觀眾能更開放、自由地以新的方式探索環境。他的作品以「遊戲人」的概念為基礎（就是我們無論什麼時候都在玩的意思），作品強調科技經常被忽略的面向，讓科技成為創意的遊戲工具。
A Safer Place? offers viewers a deeply immersive and empathetic experiences intersecting with hospital Emergency Departments (ED). Narrated by eight people, viewers journey through their lived experience of engaging with ED with mental health concerns providing insights into their emotional and physical encounters. The project engages with candid stories of distress, the challenges of waiting rooms and hospital beds, and the procedures underwent, while highlighting the systemic shortcomings of emergency care.
The immersive VR experience provokes conversation, and inspires compassionate, patient-centred approaches to mental health care in emergency settings. A Safer Place? builds on research by RMIT Melbourne and fEEL (felt Experience and Empathy Lab), UNSW.
《比較安全的地方？》讓觀眾身歷其境、感同身體於醫院急症室的體驗。由八人聲演，觀眾通過他們在急診室有關心理健康問題的真實經驗去深入受感他們的情緒與身體遭遇。此項目以坦率的故事陳述緊急狀況、候診室與病床的難題，以及所要經歷的程序，同時強調急症室系統的缺點。
身歷其境的虛擬實境經驗會引發對話，並啟發以病人為中心的同情心，在緊急狀況下提供心理健康的照護。《比較安全的地方？》建立於由皇家墨爾本理工大學與新南威爾士大學fEEL實驗室的研究基礎上。
A Safer Place? (still), 2022, virtual reality, image courtesy and © fEEL/Big Anxiety Research Centre, UNSW
A Safer Place? (still), 2022, virtual reality, image courtesy and © fEEL/Big Anxiety Research Centre, UNSW
Production/design team 製作/設計組:
Volker Kuchelmeister, Jill Bennett, Gail Kenning, Alex Davies, Melissa Neidorf
Script editors/authors 文本編輯/作者:
Gail Kenning, Jill Bennett, Volker Kuchelmeister, Peter Rolfe, Elinor, Sue Walker, Kate, Richard Pilkington and other anonymous participants
Research team 硏究組:
Jill Bennett, fEEL, UNSW Sydney, Renata Kokanović, Nicholas Hill, Critical Mental Health Group, RMIT, Natasha Swingler, Peter Rolfe, Richard Pilkington, Sue Walker and other anonymous participants;
A felt Experience and Empathy Lab (fEEL) production in collaboration with the Big Anxiety Research Centre, UNSW Sydney and the Critical Mental Health Group, RMIT University. This research was funded by the Australian Government’s Australian Research Council. Professor Jill Bennett is the recipient of an Australian Research Council Australian Laureate Fellowship (FL170100131).
作品為fEEL實驗室與the Big Anxiety研究中心、悉尼新南威爾士大學及皇家墨爾本理工大學的危急心理健康小組的合作項目。研究由澳洲研究局資助。吉兒‧班奈特教授 (Prof. Jill Bennett) 是澳洲研究局澳洲桂冠獎學金(FL170100131) 的得主。
The felt Experience & Empathy Lab (fEEL) was established with funding from the ARC Australian Laureate Fellowship, awarded to Scientia Professor Jill Bennett, Director of the Big Anxiety Research Centre at the University of New South Wales. The lab brings together specialists in immersive media, participatory design, trauma studies and psychology to advance new methods in the study of embodied subjective experience – focusing in the two areas of trauma and ageing.
感覺體驗與同理心實驗室又簡稱為fEEL實驗室，是ARC澳洲桂冠奬學金的資助下成立的，該奬學金授予新南威爾士大學the Big Anxeity 研究中心主任及擁有傑出研究成就的吉兒‧班奈特教授 (Prof. Jill Bennett)。實驗室匯集了身歷其境媒體、參與式設計、創傷研究和心理學等領域的專家，共同推進體驗式主觀體驗研究的新方法，並將重點放在創傷和老化這兩個領域上。
Hard Place/Good Place: Yarra Ranges is a creative research project, focusing on lived experience, told through Augmented Reality [AR]. Seven young people in the Yarra Ranges were impacted by the 2021 storm event, which damaged more than 170 properties. The viewer is immersed into a series of experiences, narrated by the storyteller and shown key places and objects identified as the focus of the stories. The project gives voice to hardship and triumph, and reflections on the complex and nuanced realities of living through adversity and finding moments of solace and strength.
The project was made in partnership with UNSW’s Felt Experience and Empathy Lab, Yarra Ranges Council Recovery Directorate for community engagement, state government funding for psychological support, RMIT University and the Big Anxiety Festival. This research was funded by the Australian Government’s Australian Research Council. Professor Jill Bennett is the recipient of an Australian Research Council Australian Laureate Fellowship (FL170100131).
《好壞參半：丹頓農山脈區》是一項創意研究計劃，專注於通過擴張實境 (AR) 技術去敍述生命經驗。七個來自丹頓農山脈區的年輕人受到2021年風暴事件影響，事件導致超過一百十七多處受到破壞。觀眾沉浸在一連串的經驗之中，故事敍述者把細節娓娓道來，並展示作為故事焦點的主要地點與物件。作品訴說當中的艱辛與喜悅，反思在逆境中生活的複雜與細碎，以及找尋慰藉與力量的時刻。
此項目由fEEL實驗室與丹頓農山脈區促進社區參與的復甦局、州政府的心理支援資助、皇家墨爾本理工大學以及The Big Anxiety藝術節合作而成。研究由澳洲研究局資助。吉兒‧班奈特教授 (Prof. Jill Bennett) 是澳洲研究局澳洲桂冠獎學金(FL170100131) 的得主。
Hard Place/Good Place: Yarra Ranges, 2022, augmented reality, installation view, Yarra Ranges Regional Museum, image courtesy and © fEEL/Big Anxiety Research Centre, UNSW Sydney
Hard Place/Good Place: Yarra Ranges, 2022, augmented reality, installation view, Yarra Ranges Regional Museum, image courtesy and © fEEL/Big Anxiety Research Centre, UNSW Sydney
Project and production 項目及製作:
Professor Jill Bennett, Volker Kuchelmeister, Megan Sheehy, Gretel Taylor, Hugh Martin, Jessica Adams, Lucia Barrera, Dr Gail Kenning, Dr Lydia Gitau, Melissa Neidorf, Steph Vajda.
Participants 參與者:
Willow Swaneveld, Harry Bruce-Tennant, Jess Stewart, Claudia Tibbals, Kayla Delacoe, Damien Mauch, Fionn
The felt Experience & Empathy Lab (fEEL) was established with funding from the ARC Australian Laureate Fellowship, awarded to Scientia Professor Jill Bennett, Director of the Big Anxiety Research Centre at the University of New South Wales. The lab brings together specialists in immersive media, participatory design, trauma studies and psychology to advance new methods in the study of embodied subjective experience – focusing in the two areas of trauma and ageing.
感覺體驗與同理心實驗室又簡稱為fEEL實驗室，是ARC澳洲桂冠奬學金的資助下成立的，該奬學金授予新南威爾士大學the Big Anxeity 研究中心主任及擁有傑出研究成就的吉兒‧班奈特教授 (Prof. Jill Bennett)。實驗室匯集了身歷其境媒體、參與式設計、創傷研究和心理學等領域的專家，共同推進體驗式主觀體驗研究的新方法，並將重點放在創傷和老化這兩個領域上。
Perpetrators of domestic violence typically constrict women’s space for action over time, narrowing their life choices and constraining their freedom. Created from survivors’ perspectives Space for Action is a virtual reality experience that amplifies the voices of survivors, which are often silenced, not only by perpetrators but by the systems that should offer help and support. It evokes the physical sensations of entrapment, and the processes of grooming and gaslighting that combine to create the conditions of ‘unfreedom’.
Space for Action is a felt Experience and Empathy Lab (fEEL) production in collaboration with the Big Anxiety Research Centre, UNSW Sydney, and the Australian Centre for Justice Innovation, Monash University Melbourne. This work was supported by PBS106.7FM, and the Australian Research Council.
家庭暴力的施暴者通常會長期限制婦女的活動空間，縮減她們的生活選擇並限制她們的自由。《活動空間》是從倖存者的角度出發而創造的虛擬實境體驗，它放大了倖存者的聲音，而這些聲音往往被施暴者以及應該提供協助支援的系統所壓制。作品喚醒了被禁錮的身體感覺，以及造成「不自由」狀況的過程。
《活動空間》是由fEEL實驗室與the Big Anixety研究中心、悉尼新南威爾士大學、墨爾本莫納什大學的澳洲司法創新中心的合作項目。作品獲得PBS106.7FM及澳洲研究局的支持。
Space for Action (still), 2024, virtual reality, image courtesy and © fEEL/Big Anxiety Research Centre, UNSW Sydney
Space for Action (still), 2024, virtual reality, image courtesy and © fEEL/Big Anxiety Research Centre, UNSW Sydney
Production, creative concept, design 製作、創意概念、設計:
Jill Bennett, Gail Kenning, Volker Kuchelmeister
Script 文本:
Gail Kenning, Jill Bennett, Delanie Woodlock, Kat Johnston, Michelle, anon.
Immersive media design 沉浸媒體設計:
Volker Kuchelmeister
Sound design 聲音設計:
Adam Hulbert
Researchers 研究:
Michelle, Kat Johnston, Delanie Woodlock, Jill Bennett, Gail Kenning, Cate Banks and other anonymous participants
The felt Experience & Empathy Lab (fEEL) was established with funding from the ARC Australian Laureate Fellowship, awarded to Scientia Professor Jill Bennett, Director of the Big Anxiety Research Centre at the University of New South Wales. The lab brings together specialists in immersive media, participatory design, trauma studies and psychology to advance new methods in the study of embodied subjective experience – focusing in the two areas of trauma and ageing.
感覺體驗與同理心實驗室又簡稱為fEEL實驗室，是ARC澳洲桂冠奬學金的資助下成立的，該奬學金授予新南威爾士大學the Big Anxeity 研究中心主任及擁有傑出研究成就的吉兒‧班奈特教授 (Prof. Jill Bennett)。實驗室匯集了身歷其境媒體、參與式設計、創傷研究和心理學等領域的專家，共同推進體驗式主觀體驗研究的新方法，並將重點放在創傷和老化這兩個領域上。
A large percentage of people with autism or developmental disorders, which are mental disabilities, have sensory hypersensitivity. Therefore, the spread of “quiet rooms” in which they can feel at ease in social life is a necessary element in realizing a symbiotic society.
However, the high cost of installing quiet rooms, which require highly soundproof rooms isolated from the outside, is an obstacle to their widespread use. The Inclusive Quiet Room is a new concept of portable quiet rooms that combines an easy-to-construct instant house, immersive videos, and relaxing sounds. In addition to enabling many people to experience the benefits of the room, the work proposes an image of the future quiet rooms that can be easily constructed anywhere.
The room gives the feeling of being warmly embraced and secured. If all people including those without mental disorders could experience this embraced feeling, they would understand the need and benefits of relaxing environments for the people with sensory hypersensitivities.
"We want your heart to be saved, your mind not to be lost and your own mind to be cared for."
患有自閉症或發育障礙（屬於精神障礙）的人當中，有很大比例的人有感官過敏的問題。因此，普共及「寧靜房間」讓他們在社會生活中能稍為感到自在，是實現共生社會的必要元素。
然而安裝「寧靜房間」需要的是設立與外界隔離的高隔音房間，成本高昂，成為普及「寧靜房間」的一個巨大的障礙。《包容式靜室》則是一個的可攜式靜音室，結合了易於建構的臨時房間理念、身歷其境的視頻以及令人放鬆的聲音。除了能讓更多人體驗到「寧靜房間」的好處以外，作品也是提出了可以輕鬆地在任何地方建構的未來寧靜房間的形象與概念，可以輕鬆地在任何地方建構。
這個房間讓人有被溫暖擁抱、安全感十足的感覺。如果所有的人，包括沒有精神障礙的人，都能體會到這種被擁抱的感覺，他們也許會理解感官過敏患者對環境的需求與好處。
「我們渴望你的心得到拯救，思想不會迷失，自我意識也得到關顧。」
https://internal-space.com/en/
Shoko Kimura is an Assistant Professor, at the Department of Intelligent Information Technology at Aoyama Gakuin University. She received her Doctor of Engineering degree at the Department of Architecture Design, Graduate School of Engineering, Nagoya Institute of Technology, Japan. She received her B. Eng. from Nihon University in 2009 and her M.S. degree from the Japan Advanced Institute of Science and Technology in 2021, respectively. Her current interests are Mental/Autism/Developmental Disability Support, Calm Down, Inclusive, Digital Rehabilitation, Digital Fabrication, Media art, and Interaction. Before she worked at Yamagata University as a researcher between 2015-2016, and an Academic Specialist and Technician at The University of Tokyo from 2021-2023. She was also previously interested in HCI, affective engineering, and facial emotion. These studies are connected to the realization of an inclusive society that she is aiming for.
木村正子是青山學院大學智能資訊科技學系的助理教授，以及在日本名古屋工業大學研究所工程學部建築設計學系獲得博士學位。她分別於2009年及2021年取得日本大學工程學學士學位及日本先端科技大學碩士學位。她目前的興趣集中於對精神/自閉症/發展障礙的支援、冷靜、包容、數位復健、數位製作、媒體藝術與互動等方面的研究。在此以前，她於2015-2016年間在日本山形大學擔任研究員，2021-2023年在東京大學擔任學術專家和技術人員。她之前對於人機介面、情感工程及臉部情緒表現也很感興趣，這些研究跟她現在追求實踐包容性社會有莫大關係。
Ayaka Fujii was born in Nagano, Japan in 1990. She received her master's degree from the Graduate School of Interdisciplinary Information Studies in 2019 and a doctorate degree from the Graduate School of Information Science and Technology in 2023 at the University of Tokyo. She is a project researcher at National Institute of Advanced Industrial Science and Technology. She engages in research on human-agent interaction.
藤井綺香在1990年生於日本長野縣，在2019年獲得東京大學跨學科資料研究碩士學位，並於2023年獲得東京大學資訊科學與技術研究博士學位。她是國立先端產業科學與技術研究所的項目研究員，專注從事人機互動的研究。
Kenichi Ito received his Master of Environmental Studies degree in 2021 and Ph.D. degree in 2024 from the Graduate School of Frontier Sciences, University of Tokyo, Tokyo, Japan. He is a researcher at Diver-X Inc. from 2024. His research interests include enhancing the sense of presence of virtual reality using multisensory stimuli.
伊東健一於2021年獲得環境研究學碩士學位，並於2024年在日本東京大學先端科學研究所獲得其博士學位。他在2024年起於Diver-X Inc. 成為研究員，他的研究興趣包括使用多感官刺激來增強虛擬實境的臨場感。
Rihito Tsuboi was born in 1999 in Nagoya, Aichi, Japan, and has been active as a composer since the age of 16, providing music for commercial games and creating media art works, etc. He graduated from Meiji University in 2022 with a Bachelor's degree in Advanced Media Science and Technology, Faculty of Integrated Mathematics and Science, and currently works for a game company as a sound creator.
坪井理人於1999年出生於日本愛知縣名古屋市，自16歲起便以作曲家身份活躍於音樂界，為商業遊戲編寫配樂以至創作媒體藝術作品。他於2022年在明治大學綜合數學與科學系先進媒體科學與技術專業獲得學士學位，目前於一家遊戲公司任職音效創作人。
Born in 2001.
Pianist, composer, arranger, conductor, lecturer at the Music and Arts University of the City of Vienna (MUK), and actor. Won three first-place awards in his first international competition (Italy) at the age of 10. Moved to Vienna at the age of 11. Since then, he has been actively performing as a pianist, holding solo concerts in Tokyo, Vienna, and other locations. Entered the composition department at the Music and Arts University of the City of Vienna (MUK) at the age of 16, and from the age of 18, was also enrolled in the piano department of the same university. Completed his Bachelor’s degree in Composition at the age of 20 and his Master’s degree in Composition at the age of 22. Starting from the fall of 2024, he will advance to the Master’s program in Piano Chamber Music at the University of Music and Performing Arts Vienna (MDW). Additionally, starting from the fall of 2024, he will take on a new challenge as a lecturer in the Piano Department at the Music and Arts University of the City of Vienna (MUK).
He has also shown an interest in Japanese culture from a young age. Currently studying Kyogen under Taichiro Nomura and Noh and chanting under Atsuo Kanze. His activities span various genres including classical, jazz, pop, contemporary music, improvisation, coaching, chamber music, band performances, organ, opera, operetta, Viennese folk music, electronic music, film music, live electronics, Kyogen, and Noh, both domestically and internationally.
児島響生於2001年。
身兼鋼琴家、作曲家、編曲家、指揮、維也納市音樂藝術大學 (MUK) 講師及演員等角色。10 歲時首次參加國際比賽（義大利）即贏得三個第一名。11 歲移居維也納，自此以鋼琴家身份積極演出，在東京、維也納等地舉辦個人音樂會。16 歲進入維也納市立音樂藝術大學 (MUK) 作曲系，18 歲起同年進入該校鋼琴系。 20 歲完成作曲學士學位，22 歲完成作曲碩士學位。自 2024 年秋季起，他晉進至維也納音樂與表演藝術大學 (MDW) 的鋼琴室樂碩士課程並於同年在維也納城市音樂與藝術大學 (MUK) 的鋼琴系擔任講師，迎接新的挑戰。
他從小就對日本文化表現出濃厚的興趣。目前在野村泰一郎 (Taichiro Nomura) 的指導下學習日本傳統藝能Kyogen，並在金澤敦夫 (Atsuo Kanze) 的指導下學習能樂和吟唱。他的活動橫跨國內外場地 及多種類型，包括古典、爵士、流行、當代音樂、即興、教練、室內音樂、樂團表演、管風琴、歌劇、歌舞劇、維也納民間音樂、電子音樂、電影音樂、現場電子音樂、共聽以及能樂等。
Tamami Kitagawa received her Bachelor of Engineering degree from Nagoya Institute of Technology in 1998. She researches and designs Instant House as a first-grade licensed architect.
北川珠美於1998年獲得名古屋工業大學工程學學士學位，她專注於研究及設計臨時房屋，是一名一級註冊建築師。
Professor of Graduate School of Engineering, Nagoya Institute of Technology and CEO of LIFULL ArchiTech Co., Ltd. In 2001, Doctor of Engineering from NITech. In 2016, the Commendation for Science and Technology by the Minister of Education, Culture, Sports, Science and Technology, Japan. From 2017 to 2018, Visiting Fellow at Princeton University, U.S.A. From 2018, Professor of Graduate School of Engineering, NITech. After about 20 years of experience in architectural design and architectural education in Japan and abroad, he devises future-oriented architecture and design based on intellectual property and promotes commercialization with practical application.
名古屋工業大學研究生院工程系教授以及LIFULL ArchiTech公司的首席執行官。2001年獲得名古屋工業大學的工學博士學位，2016年獲得日本文部科學大臣科學及科技表彰。2017至2018年為美國普林斯大學訪問學者，2018年起擔任名古屋工業大學的研究院教授。在日本及國外從事建築設計與教育超過廿年，他以知識產權為基礎，設計面向未來世界的建築與設計，以及推廣結合實際應用的商業設計。
Natsume Yoshinori was born in Japan in 1970. He received his Doctor of Engineering degree from Nagoya Institute of Technology in 2008. He is an Associate Professor of Graduate School of Engineering, Nagoya Institute of Technology from 2015.
夏目欣昇，1970年生於日本，他在2008年於名古屋工業大學獲得其工學博士學位。他自2015起擔任名古屋工業大學工學研究生學院的副教授。
In Kind words, players anonymously write out their concerns and sorrows by making short requests for letters. Then everyone browses that list of worries to find messages they relate to or empathize with. Then they respond with messages of comfort, advice or just acknowledgement to let people know that they have been heard and are not alone.
They can also trade stickers and listen to chill music.
This simple, unlikely game has pulled together hundreds of thousands of people and been celebrated by players and critics alike, making it one of the top reviewed games on Steam. In the first five years since its release, players have written over six million messages to each other.
在《好話》之中，玩家以匿名方式，通過簡短的信件，道出他們的憂慮與悲傷。然後每個人都可以瀏覽這些信件留言，找出讓他們感同身受的訊息，他們都可以回覆予以安慰、建議又且是單純地回應確認，讓人們知道自己被聽見，不再孤單。
他們都可以交換貼紙和聆聽輕鬆的音樂。
這個簡單的遊戲已經在線上聚集了數十萬人，受到玩家與評論家的一致好評，成為Steam平台上評價最高的遊戲之一。在推出之後的頭五年，玩家已經寫了超過六百萬條訊息給對方。
Game Website 遊戲網站
https://lofichillbeats.com/kindwords/
Company Website 公司網站
https://popcannibal.com/
Social Media 社交媒體
https://mastodon.gamedev.place/@popcannibal
Contact 聯絡
support@popcannibal.com
Ziba Scott founded indie game studio Popcannibal in 2010. Popcannibal makes games that explore the lines between fantasy and meaningful actions. And sillier stuff too. Awards include a BAFTA for Games Beyond Entertainment (2020) and the IndieCade Europe Grand Prix (2019). Popcannibal's letter writing game, "Kind Words," is one of the best reviewed games of all time on Steam. The Washington Post called it a "refreshing anomaly" and a "therapeutic experience that counters loneliness". Based in Boston, Popcannibal makes games to lift people up and push the medium forward.
斯科特 於2010年創立獨立遊戲工作室Popcannibal。工作室所製作的遊戲旨在探索幻想與富有意義行動之間的界線，也會有一些傻氣的東西。曾獲奬項包括BAFTA 的超越遊戲娛樂大奬 (2020)以及IndieCade 歐洲大奬 (2019)等。Popcannibal製作的書信遊戲《好話》是Steam上評論最佳遊戲之一，華盛頓報稱其為「令人耳目一新的反常現象」以及「對抗孤獨的治療體驗」。Popcannibal工作室位於美國波士頓，製作遊戲的目的是希望振奮人心，並致力推動媒體向前發展。
All of the art for Kind Words was produced by Luigi Guatieri
《好話》美術製作
https://luigiland.carbonmade.com/
All of the music for Kind Words was produced by Clark Aboud
《好話》音樂製作
https://clarkaboud.com/
Human emotions are complex and transitory, rendering them particularly difficult for us to model and predict. Typical approaches to emotion recognition tend to rely on simplistic and outdated theories. Namely, we assume the existence of a set of basic, innate, and universal emotion categories that have a unique fingerprint of expression. Recent research in neuroscience has revealed that ‘basic’ emotions such as happiness, anger and fear, are not ‘built-in’ to the brain. Instead, emotions are dynamically constructed from a number of more basic processes; we continuously construct our emotional state based on information from our senses, the context of a situation, as well as the emotion concepts we have available to us.
Language is not only a tool to express emotion but has been found to be part of emotion perception. Mirror Ritual is an affective interface that engages you in the co-construction of your emotion through the use of machine-generated text. The interface appears as a standard framed mirror, with interaction triggered when a user is present. The mirror perceives your emotional state, informing the generated output which ultimately materializes as a poem on the surface of the mirror.
Mirror Ritual provokes you to reflect on your internal emotional state, drawing attention to its intentional or unintentional expression, highlighting the harmony or the conflict between the two. Rather than prescribing your emotional state, the work allows you to freely reflect on how you’re feeling, entering into an interpretative dialogue between human and machine.
人類的情緒複雜而短暫的，因此特別難以建模和預測。也就是說，我們假定存在一套基本的、與生俱來的、普遍的情緒類別，它們富有獨特的表達特質。近期的神經科學研究表示，快樂、憤怒及恐懼等基本情緒，並不是由大腦內置的，相反情緒是由一些更基本的過程動態構建的；我們不斷根據感官信息、情境背景以及我們可用的情緒概念來建構我們的情緒狀態。
語言不僅是表達情緒的工具，也是情感感知的一部份。《照鏡成詩》是一個情感介面，通過運用機器生成的文本，讓觀眾參與情感的共同建構；該介面為一面鏡子，當觀眾站在鏡子跟前即時會洐生互動，鏡子會感知觀眾的情緒狀態，為生成輸出提供信息，最終在鏡子裡呈現專屬詩句。
《照鏡成詩》促使一個人反思自己的內在情緒狀態，引起對甚有意無意表達的關注，突顯兩者之間的和諧或衝突。怍品不是規範一個人的情緒狀態，而是讓人自由隨意地反思受感自己的情緒，進入人機之間的對話。
Project members 項目團隊
Dr Nina Rajcic 尼娜‧拉吉奇博士
Prof Jon McCormack 喬恩‧麥科馬克教授
Dr Vince Dziekan 文斯‧傑炊博士
We believe true insight can only come from unrestrained experimentation.
Prof Jon McCormack founded SensiLab in 2015 on the idea that the best way to learn was by making things. His vision was of a space where researchers from unconnected disciplines could collaborate freely in a vibrant and supportive environment. Today, that vision flourishes.
Our purpose-built workshop incorporates dedicated design, fabrication and production studios, all integrated with advanced computing infrastructure. Facilities include immersive visualisation spaces, sound and imaging studios, fabrication areas, a wet lab and a dedicated deep learning supercomputer. This mixture allows researchers to undertake complex, multifaceted projects under one roof.
The lab operates as a joint initiative between the Faculty of Information Technology and Monash Art Design and Architecture (MADA). It is located in Building G on the University’s Caulfield campus. Our team come from a wide range of backgrounds and bring a diversity of ideas and expertise to the lab.
We are a resource for industry, researchers and postgraduate students interested in the unexplored possibilities of technology.
我們相信真正的洞察力來自無拘無束的實驗。
喬恩‧麥科馬克教授於2015年創立SensiLab實驗室，他認為學習的最佳方式就是動手製作。他的願景是要建立一個讓來自不同領域學科的研究人員能夠在充滿活力和支持的環境中自由合作，至今仍堅持志願發展當中。
我們目標為本，工作室包括了專門設計、製作及生產的空間，全部空間通過先進的計算機基礎架構連結。空間設施包括沉浸式可視化空間、聲音與影像工作室、製作區、濕件實驗室和專用深度學習超級計算機等，這些設施使研究人員能夠在同一屋簷下開發複雜的多元項目。
SensiLab由莫納什信息技術學院和藝術設計與建築學院 (MADA)聯合創辦，實驗室位於大學考菲爾德校區的G號樓。我們的團隊擁有不同背景，為實驗室帶來多元化的理念和專業知識。
我們為業界、研究人員以及對尚未開發的技術可能感興趣的研究生提供資源。
Dr Nina Rajcic is an artist, researcher and developer with a background in particle physics, as well as industry experience in data science and engineering.
She completed her PhD under the supervision of Prof Jon McCormack and Dr Vince Dziekan in September 2022. Her research explored new forms of human-machine relationships through a posthumanist lens. She is currently working as a Research Fellow in SensiLab, on the ARC Discovery Project, “Explainable Artificial Creativity”.
Nina holds a Bachelor of Science, and a Master of Physics (Theoretical Particle Physics) from The University of Melbourne and a PhD from Monash University.
尼娜‧拉吉奇是一位藝術家、研究人員及程式開發人員，擁有粒子物理學背景以及在數據科學和工程方面的經驗。
2022年9月，她在喬恩‧麥科馬克教授及文斯‧傑炊博士的指導下完成其博士學位。她的硏究旨在通過後人道主義視覺去探索人機關係的新形式。現時於SensiLab擔任研究人員，負責ARC 發現項目《可解釋的人工創造力》。
尼娜擁有墨爾本大學的理學學士學位及碩士學位（理論粒子物理學），以及莫納什大學的博士學位。
According to Greek mythology, humans were once whole beings and wielded great power. In their hubris, they challenged Zeus, king of the gods and the universe, who in rage commanded thunder to split the humans in half. Zeus said to them, “Go find your other half,” before scattering these humans and their halves all over the world, erasing their memories so they would never remember what their counterparts looked like. From then on, humans spend their entire lives searching for the other person who completes them so they can become whole and powerful again. This is a myth that has been passed down over generations by oral tradition. In a similar vein, the word “technology” originates from Ancient Greek: τέχνη (techne) and -λογία (-logia), or “technologia,” the study of techniques and methods. If this myth about one’s other half and technology appear entirely unrelated, one may perhaps find their connection in the revelatory words of Nam June Paik, the father of video art:
“Our life is half natural and half technological. Half-and-half is good. You cannot deny that high-tech is progress. We need it for jobs. Yet if you make only high-tech, you make war. So we must have a strong human element to keep modesty and natural life.”
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
According to Greek mythology, humans were once whole beings and wielded great power. In their hubris, they challenged Zeus, king of the gods and the universe, who in rage commanded thunder to split the humans in half. Zeus said to them, “Go find your other half,” before scattering these humans and their halves all over the world, erasing their memories so they would never remember what their counterparts looked like. From then on, humans spend their entire lives searching for the other person who completes them so they can become whole and powerful again. This is a myth that has been passed down over generations by oral tradition. In a similar vein, the word “technology” originates from Ancient Greek: τέχνη (techne) and -λογία (-logia), or “technologia,” the study of techniques and methods. If this myth about one’s other half and technology appear entirely unrelated, one may perhaps find their connection in the revelatory words of Nam June Paik, the father of video art:
“Our life is half natural and half technological. Half-and-half is good. You cannot deny that high-tech is progress. We need it for jobs. Yet if you make only high-tech, you make war. So we must have a strong human element to keep modesty and natural life.”
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
