雙頻道錄像、點雲掃描／尺寸依場地而定／2020 Two-Channel Video, Point Cloud Scanning / Dimension Variable / 2020
大氣森林
Atmospheric Forest
Rasa Smite / 拉脫維亞 & Raitis Smits / 德國
《大氣森林》揭示了森林、氣候變化和大氣之間的複雜關係。樹木不僅生成氧氣，它們也會呼吸，並釋放大量揮發性有機化合物到空氣中——這就是我們識別為森林的特有味道。科學家長期以來已知道芬芳的森林和氣候變暖之間的關聯，但其具體影響和規模尚不確定。《大氣森林》虛擬實境作品是一項三年藝術研究項目的結果，針對瑞士古老阿爾卑斯松林Pfynwald所遭受的氣候變化引起的乾旱；瑞士WSL研究所的科學家將此森林轉變為「生活觀測站」。藝術家掃描Pfynwald以創建虛擬點雲環境，將科學家提供的資料視覺化。他們收集了一整個生長季節的揮發性排放、松樹幹樹脂壓力和天氣測量數據，並將這些數據轉化為動態粒子，呈現森林生態系統與大氣過程之間的複雜相互作用。觀眾能在此作品中穿越散發氣味的樹木和虛擬森林，使用觀測塔、粉色標籤、樹幹周圍的測量「綁帶」，以及其他科學「工具」來觀察。觀眾還可以從底部觀察森林，沿著樹幹內的路徑向上，遠至森林上方，成為散發生態系統的一部分。儘管森林排放之於氣候變化的影響仍充滿不確定性，但視覺化的資料模式表明，隨著氣候變遷，未來的森林將更加芬芳、更具「大氣感」。 本作品為「生態數據 - 生態媒體 - 生態美學」研究項目（2017年至2021年）之創作計畫，該項目由Yvonne Volkart領導，由巴塞爾藝術與設計學院（FHNW）主辦，由瑞士國家科學基金會資助，與瑞士聯邦森林、雪地和景觀研究所（WSL）的科學家Arthur Gessler、Christian Ginzler、Andreas Rigling，以及赫爾辛基大學的訪問科學家Kaisa Rissanen合作。 由 RIXC / 里加、Ecodata-Ecomedia-Ecoaesthetics項目 / 巴塞爾，以及ZKM / 卡爾斯魯厄於2020年聯合製作。
Atmospheric Forest visualizes the complex relations between the forest, climate change and atmosphere. Trees are not only oxygen generators, but they breathe as well, and emit large amounts of volatile organic compounds into the air – we recognize it as a habitual scent of the forest. Scientists have long known about the link between a fragrant forest and the warming climate, but are uncertain about the impact and scale. Atmospheric Forest VR artwork is the outcome of a three-year artistic research project on Pfynwald, an ancient Swiss Alpine coniferous forest suffering from drought due to climate change; the Swiss scientists from WSL Research Institute have turned this forest into a “living observatory”. To create the Atmospheric Forest VR artwork, the artists scanned the Pfynwald creating a virtual point cloud environment, and visualized the data provided by scientists. The data sets collected during one growing season included measurements of volatile emissions, resin pressure in pine tree trunks and changing weather. The artists transformed these data into animated particle flows, revealing the complex interaction between the forest ecosystem and atmospheric processes. The viewer can navigate through the emitting trees and virtual forest with observation towers, pink labels attached to the plants, measuring 'bonds' around the trunks, and other scientific 'artifacts'. The viewer also can observe the forest from the bottom up, and follow the path inside the tree trunk to go far up above the forest, becoming a part of the emitting ecosystem… Uncertainty regarding the forest emission effects on climate change remains. However, the visualized data patterns show that with climate change we are set for a more fragrant and more 'atmospheric forest' in the future. Created as a part of the “Ecodata–Ecomedia–Ecoaesthetics” research project (2017–2021), led by Yvonne Volkart, hosted by the Academy of Art and Design (FHNW) in Basel, funded by the Swiss National Science Foundation, in collaboration with the scientists Arthur Gessler, Christian Ginzler, Andreas Rigling from Swiss Federal Institute for Forest, Snow and Landscape Research (WSL), and visiting scientist Kaisa Rissanen, University of Helsinki. Co-produced by RIXC / Riga, Ecodata-Ecomedia-Ecoaesthetics Project / Basel, and ZKM / Karlsruhe, 2020. Premiered at Critical Zones exhibition (2020-2022) curated by Peter Weibel and Bruno Latour.
Rasa Smite / 拉脫維亞 & Raitis Smits / 德國
Rasa Smite 和 Raitis Smits 自 90年代中期以來便開始從事藝術、科學和新興技術跨領域的創作與研究，為拉脫維亞 RIXC 新媒體文化中心創始人，策劃RIXC藝術科學節主辦人及期刊出版。Rasa Smite於利耶帕亞大學教授新媒體藝術、拉脫維亞藝術學院副教授（2015）、瑞士應用科學與藝術大學「生態數據計畫」研究員（2017）。Raitis Smits 於2017年起擔任紐約市立大學研究員。兩位兼為麻省理工學院客座教授。作品曾在 Ars Electronica Center、HeK（瑞士）、Van Abbe 博物館（荷蘭）、塔林 KUMU 博物館（愛沙尼亞）、斯德哥爾摩科技博物館（瑞典）、RAM 畫廊（奧斯陸）、KIM當代藝術中心、阿森納國家藝術博物館（拉脫維亞）等地展出。曾獲 Prix Ars Electronica (1998)、國家優秀文化獎（2016）殊榮。
Rasa Smite and Raitis Smits have been engaged in interdisciplinary art, science, and emerging technology research and creation since the mid-1990s. They are the founders of RIXC Center for New Media Culture in Latvia, and have organized the RIXC Art Science Festival and publications. Rasa Smite is a professor of New Media Art at the University of Liepaja, an associate professor at the Art Academy of Latvia (2015), and a researcher for the "Eco Data" project at the University of Applied Sciences and Arts Northwestern Switzerland (2017). Raitis Smits has been a researcher at The City University of New York since 2017. Both have also been visiting professors at the Massachusetts Institute of Technology. Their works have been exhibited at venues such as Ars Electronica Center, HeK (Switzerland), Van Abbe Museum (Netherlands), KUMU Art Museum (Estonia), Museum of Science and Technology (Sweden), RAM Gallery (Oslo), KIM Contemporary Art Centre, and the Latvian National Museum of Art, among others. They have received accolades including the Prix Ars Electronica (1998) and the National Award for Outstanding Contribution to Culture (2016).
程式設計：洪念寬、帆布、油性顏料／尺寸依場地而定／2023 Programming: Hung Nien-Kuan, Canvas, Oil Paint / Dimension Variable / 2023
文本分析計畫：意識的形構
Text Analysis
我們能否觀察到意識的物質性？ 一份文字文本，是以作者所選定的一個語言系統為基礎、以該系統所使用的最小意義單位作為基本敘事單元，再根據作者意識，以語言系統的規則進行特定的排列組合，進而將作者心中非具象的意識進行連續性、具時間性的虛構性記敘，使其成為一種基於作者意識的虛構文本。這個文本能夠被作者以外的其他人閱讀，進而達到可以重複被讀取、傳遞原作者意識的目的。 透過重新排列文本內的文字組合以及將使用字元進行量化，我們可以破壞文字文本基於語言系統規則的時間性。 藉由消除文本的時間性，以及讓虛構文本回到非虛構的物質形構狀態，亦即回歸文字的原始狀態，使我們可以觀察到此虛構文本基於語言文字的構形。藉此，我們或許得以窺見潛藏在文字文本之下，那一份意識的物質性。
Can we observe the materiality of consciousness? A piece of textual content is based on the language system chosen by the author, using the smallest units of meaning within that system as fundamental narrative elements. Following the author's consciousness, specific arrangements and combinations are made according to the rules of the language system. This process transforms the non-concrete consciousness of the author into a continuous, temporally constructed fictional narrative, resulting in a kind of fictional text rooted in the author's consciousness. This text can be read by others besides the author, achieving the purpose of repeated reading and transmitting the original author's consciousness. By rearranging the textual combinations within the text and quantifying the use of characters, we can disrupt the temporality of the textual content based on the rules of the language system. Through eliminating the temporality of the text and returning the fictional text to a non-fictional material construction, that is, reverting to the original state of text, we are able to observe the structural formation of this fictional text based on language. Through this, we may be able to catch a glimpse of the materiality of consciousness that lies beneath textual content.
賴彥勳
大致可以用「結構觀察」敘述賴彥勳的作品傾向：觀察在權力階級的上下，各單位之間的凝視結構；觀察語言、聲音的結構；觀察形成記憶的結構；觀察物的結構。結構是各種事件趨勢的結果、遺留物。透過觀察結構（或者在這邊，也可以說是構成物、關係的規則），有可能可以察知到相對隱晦，不可名狀之物。試圖將這些不可名狀之物用旁敲側擊的方式拉上較容易被觀測的視覺層面，是他傾心的事情。 因為這些不可名狀之物，可能和新性有著密切關係。我們難以真正迎接「新」的到來，它永遠保持著將至未至的狀態，但我們可以試圖站在一個位置，遠眺它即將形成的形狀。
Lai Yen-Hsun's artistic inclination can be described as an "observance of structures." He observes the gaze structures between units within hierarchical power dynamics; he observes the structures of language and sound; he observes the structures that give rise to memories; and he observes the structures of objects. Structures are the outcomes and remnants of various events and trends. Through observing structures (or in this context, the rules that constitute entities and relationships), it is possible to discern relatively elusive and ineffable entities. Lai attempts to subtly bring these ineffable entities onto a more easily observable visual plane, a pursuit that deeply resonates with him. Because these ineffable entities might be closely related to the new and the novel, we struggle to truly embrace the arrival of the "new," which perpetually exists in a state of imminent yet unattained presence. Nonetheless, we can endeavor to position ourselves to glimpse the forming shapes it is about to take.
講座式表演錄像／尺寸依場地而定／2019 Lecture Performance Video / Dimension Variable / 2019
① Yusoff, Kathryn. 《A Billion Black Anthropocenes or None》（明尼蘇達大學出版社，2019年） Yusoff, Kathryn. A Billion Black Anthropocenes or None(Minneapolis: University of Minnesota Press, 2019)
銅色景觀
Copperscapes
銅是一種存在於我們體內和我們所依賴的家居、城市、數碼慾望和自身的礦物。雖然我們的身體依賴銅來正常運作，但全球南方地區由婦女和兒童高度勞動的掠奪性銅礦提取對他們的健康造成了不良影響。具體而言，對銅的過度暴露通常會導致威爾森氏病——肝衰竭、認知和神經併發症——其特徵是銅色的眼睛。在這些數碼印刷品中，藝術家Marisa Morán Jahn將銅色的眼睛定位為「身體負擔」①，這些負擔被礦區社區吸收，並且為了滿足他人礦物依賴的需要而失去了身體主權。
Copper is a mineral that lives with(in) us and on which our households, cities, digital desires and selves depend. And while our bodies rely on copper to function properly, the rapacious extraction of copper disproportionately labored by women and children in the global South takes a deleterious toll on their health. Specifically, the overexposure to copper often results in Wilson’s disease — liver failure, cognitive and neurological complications — and whose tell-tale sign are copper-colored eyes. In these digital prints, artist Marisa Morán Jahn positions the copper-colored eyes as witnesses to the “body burdens”①absorbed by mining communities and the loss of bodily sovereignty to meet the needs of Others’ mineralogical dependencies.
Marisa Morán Jahn
身為具有厄瓜多和華裔血統的藝術家，Marisa Morán Jahn的作品討論權力分配，「展示了藝術作為社會實踐可能性的典範」（ArtForum）。Jahn探索「市民空間和遊戲的激進藝術」（《芝加哥論壇報》），與移民家庭、家政工人和公共住房居民共同設計了從小型到城市尺度的藝術項目。Jahn的作品已透過聯合國、翠貝卡電影節、奧巴馬的白宮、威尼斯建築雙年展，以及BBC、CNN、PBS新聞時報、Univision Global等媒體報導，吸引了數百萬人的參與。她是聖丹斯電影節和創意資本的獲獎者，麻省理工學院（她的母校）的高級研究員，國家公共住房博物館的駐地藝術家，以及帕森斯/紐約新學院的綜合設計主任。她與Rafi Segal合著了一本名為《設計與團結》（哥倫比亞大學出版社，2023年）的書，並共同創辦了Carehaus，美國第一個以關懷為基礎的合作住房計畫（carehaus.net）。Sapar Contemporary藝廊為其代理。
An artist of Ecuadorian and Chinese descent, Marisa Morán Jahn’s works redistribute power, “exemplifying the possibilities of art as social practice” （ArtForum）. Jahn, who explores “civic spaces and the radical art of play” (Chicago Tribune), codesigns small to urban-scale projects with immigrant families, domestic workers, and public housing residents. Jahn’s work has engaged millions via the United Nations, Tribeca Film Festival, Obama’s White House, Venice Biennale of Architecture, and through media coverage in the BBC, CNN, PBS Newshour, The New York Times, Univision Global, and more. She is a Sundance and Creative Capital grantee, a Senior Researcher at MIT (her alma mater), artist in residence at The National Public Housing Museum, and the Director of Integrated Design at Parsons/The New School. With Rafi Segal, Jahn co-authored a book, Design & Solidarity (Columbia University Press, 2023) and co-founded Carehaus, the U.S.’s first care-based co-housing project (carehaus.net). She is represented by Sapar Contemporary.
膠囊種子、土、種子手冊／尺寸依場地而定／2019 Semilla, Soil, Manual / Dimension Variable / 2019
種子，與種子手冊
Semilla, and Semilla Manual
這個小巧的工藝品是一個膠囊，內含一個揚聲器和一個MP3播放器，名為「Semilla（種子）」，旨在進行一種儀式，將這個物品埋入地下，以象徵性的共鳴和互相關懷的方式，將這個物件獻給大地。微妙的聲音將從地下浮現，發出一個與地球共振頻率的聲音組合。為了聆聽它，我們必須將我們的身體和耳朵與大地接觸。這顆種子具有一種象徵性，代表著某種在時間中生長的開始，如同一個想法，或者一場運動。同時也是一個共鳴護身符，保護著它所埋入的土地。Semilla會產生噪音和不需要的振動，使其地點無法被油氣公司用來尋找開採地點的地下感測器測量/看見。於是Semilla也成為了一個積極保護土地、與之共鳴和互相關懷的代理媒介。
A small artifact, a capsule containing a speaker and an mp3 player, Semilla is meant to be buried in the ground in a ritual where this object is offered to the Earth as a symbolic act of resonance and mutual care. From the underground, a subtle sound piece emerges, emitting a sound composition done with the resonant frequency of our planet as its fundamental frequency. In order to listen to it, we must put our bodies and ears in contact with the Earth. This seed is a symbolic piece that marks the beginning of something that grows in time, like an idea, or like a movement. It is a resonant amulet that protects the place where it is buried. Semilla produces noise and unwanted vibrations that render its site of burial unsoundable/invisible to extractive telluric sensors used by oil and gas companies to find new places for extraction. In this way, Semilla is an agent of active protection, resonance, and mutual care.
Nicole L’Huillier
Nicole L’Huillier (b. 1985)是一位跨學科的藝術家和研究員，來自智利的聖地亞哥。她的實踐以探索聲音和振動作為建材，深入探討代理、身份、集體性和振動想像的啟發等問題。她的作品通過裝置、聲音/振動雕塑、定制（聆聽和/或發聲）設備、表演、實驗性作曲、膜詩和寫作等方式具現化。她擁有麻省理工學院（MIT）媒體藝術與科學博士學位（2022年）。她的作品近期在Transmediale、Sonic Acts、Kunsthalle Baden Baden、Ural Industrial Biennial、Museo de Arte Contemporáneo MAC、Bienal de Artes Mediales、Venice Architecture Biennale和Ars Electronica等場合展出。
Nicole L’Huillier (b. 1985) is a transdisciplinary artist and researcher from Santiago, Chile. Her practice centers on exploring sounds and vibrations as construction materials to delve into questions of agency, identity, collectivity, and the activation of a vibrational imagination. Her work materializes through installations, sonic/vibrational sculptures, custom-made (listening and/or sounding) apparatuses, performances, experimental compositions, membranal poems, and writing. She holds a Ph.D. in Media Arts & Sciences from MIT (2022). Her work has been recently shown at Transmediale, Sonic Acts, Kunsthalle Baden Baden, Ural Industrial Biennial, Museo de Arte Contemporáneo MAC, Bienal de Artes Mediales, Venice Architecture Biennale, and Ars Electronica, among others.
錄像、文件、衛星裝置／尺寸依場地而定／2022 Video, Documentation, Cubesat Installation / Dimension Variable / 2022
與細菌混了三千年
3000 Years Among Microbes
《與細菌混了3000年》是一項由太空探索的推測性計劃（speculative design），透過仍在發展中的科技去描述一個可能未來，試圖以「共生」（symbiosis）和「親屬關係」（kinship）邏輯想像居於星際間的生活樣態。主角是一個嗜極端菌（extremophile bacteria），火星原住，這是一個關於第一類接觸（First Contact）的故事。在無法用文字描繪的接觸過程中，嗜極端菌在女孩腸裡的微生物群系中認出屬於相同系譜的祖先菌。一個發生在無法被人類觀察到的規模的第一類接觸會長什麼樣子？或許第一類接觸只是兩個細菌在打招呼，火星原著菌與演化成「人類」的祖先菌的重逢故事。這兩個生命體會如何擁抱抑或傷害對方？我們必須記得，共生並不是一場和平的交易，而生存必然含帶商榷、衝突、與協作。
This proposal is a transdisciplinary speculative design project that imagines a possible space faring future via the logic of "symbiosis" and "kinship." The story is about a microbiologist who was mistakenly turned into a bacteria by a magician, looking at the world from the perspective of a bacterium that retained its human memory. Inspired by his narrative techniques, the protagonist of this project is an extremophile bacteria, a native of Mars, in this story about First Contact. In the post-climate change Earth, the privileged have immigrated to the planets near Earth, and the supporting roles of the story are two girls that work at the National Space Center repairing parts . They boarded a rocket's storage compartment and stowed away to Mars. After landing, they ran in the opposite direction of the space city, left the jurisdiction, and found a foothold, where they met the protagonist of the story.
徐叡平 HsuRae / 臺灣
徐叡平是一位以創新和多元化媒介作為藝術表達方式的藝術家。她的作品曾在國際各地展出，包括臺北美術館、羅馬MAXXI博物館、歐洲文化中心、杜拜BAIT15等。她曾參與的藝術駐村計畫包括澳洲SymbioticA、巴賽隆納Hangar、馬德里MedialabPrado、荷蘭V2 動態媒體中心等。徐叡平畢業於臺灣大學職能治療系，隨後在羅德島設計學院取得數位媒體藝術碩士，並在麻省理工完成藝術、文化和科技碩士學位。她是紐約大學ITP的Red Burns獎學金得主，並曾於NYU Tisch與The New School Parsons任教。
HsuRae （she/they/it）is an artist and educator from Taipei, Taiwan, currently based in New York, United States. Their practice is research-based and materially-informed, spanning across multiple disciplines and materials; from hot glass to fibroblasts, passports to fecal sports. Working with the MIT Media Lab’s Space Exploration Initiative, her recent works speculate on microbial ethics within interplanetary travel, reconstructed against narratives of colonization. It is currently working on a book that explores the notion of a “living archive” of contamination and incorporation. A performance of endosymbiosis in microgravity. A film on alternative cosmologies regarding the celestial and its extended voyages. It holds a Masters of Science in Art, Culture, and Technology from MIT, and currently teaches at Parsons, The New School and SVA.
Nancy Dayanne Valladares / 宏都拉斯
來自宏都拉斯的德古西加巴 (Tegucigalpa)，為跨領域藝術家及電影工作者。她的作品致力於處理植物性想像的建構及之中的幽靈。受化學民族誌、批判性植物研究和未來主義影響，其影像實踐探討光學工具的構成，及其伴隨的視覺機制。她的創作近距離檢驗了攝影與植物性想像、化學遺產的歷史糾纏。她在芝加哥藝術學院取得了美術學士學位，並在麻省理工學院獲得藝術文化與科技的碩士學位。她近期為哈佛大學電影研究中心的研究員，也是麻省理工學院跨媒體敘事計劃 Fialkow 研究員，現駐村於德紹包浩斯校舍。她的作品曾展覽及放映於麻省理工 Sakiya 學院 (巴勒斯坦) 、Wiesner 藝廊、Chuquimarca 計劃、歌德學院 Sullivan 藝廊、德紹包浩斯、芝加哥藝術學院、亞洲藝術研究所及 Roman Susan 藝廊。
Nancy Dayanne Valladares (b.1991) is an interdisciplinary artist and filmmaker from Tegucigalpa, Honduras. Her work grapples with the constructions of vegetal imaginaries and the specters that lie within. Influenced by discourses on chemoethnography, critical plant studies, and speculative futurism, her image-based practice delves into the formation of optical tools and their accompanying visual regimes. Her practice closely examines photography’s historical entanglement with botanical imaginaries and chemical legacies. Valladares completed her Bachelor in Fine Arts from The School of the Art Institute of Chicago and a Masters of Science in Art, Culture and Technology from Massachusetts Institute of Technology. She was recently a Fellow at Harvard University’s Film Studies Center, a Fialkow Fellow from the Transmedia Storytelling Initiative at MIT, and a resident at Bauhaus Dessau. Her work has been exhibited and screened at Massachusett’s Institute of Technology, Sakiya (Palestine), Weisner Gallery, Chuquimarca Projects, Sullivan Galleries Goethe Institute, Bauhaus Dessau, The Art Institute of Chicago, The Research House for Asian Art, and Roman Susan Gallery.
紀柏豪 CHI Po-Hao / 臺灣
現為「融聲創意」負責人，畢業於麻省理工學院「藝術、文化與科技」項目。兼具經濟學與音樂背景，他的藝術實踐大多源自於對規則與邊界的好奇，常經由觀察日常生活中的差異來設計方法。近期主要關注方向為被連結實體如何在網路中共構彼此，以及人與科技物的能動性與協同可能。曾於荷蘭 V2 動態媒體中心(2014)、 西班牙 Laboral 藝術與創意產業中心(2016)、英國FACT藝術與創意科技基金會(2018)等科技藝術機構駐村，隔年獲選為國家兩廳院短期駐館藝術家，作品曾於國內外諸多藝術場館及活動中呈現。
CHI Po-Hao is an interdisciplinary practitioner who works at the fusion of art, music, and technology. His practice usually stems from the fascination with boundaries and guidelines to associate diversities in everyday life. His recent research is about agencies and collaborative capacities between humans and artifacts with the evolving connectivity. Chi graduated from the Art, Culture, and Technology program at MIT and received his MMus from Goldsmiths, University of London, and a B.A. in Economics from National Taiwan University.
插畫27.94x43.18 ／尺寸依場地而定／2019 本作與藝術家Chucho Ocampo合作 Illustration 27.94x43.18 / Dimension Variable / 2019 This work is a collaboration with artist Chucho Ocamp
未定義食物體
Unidentified Food Objects
《未定義食物體》重新想像了地球上和外太空中的過去、現在和未來的飲食方式。它將太空食品的界限推向極限，激發了一個關於星際美食的新領域，既質疑了什麼是可能的，也探討了什麼是值得追求的。本書包含了Maggie Coblentz所開發的一系列推測性概念，並收錄了Coblentz精心挑選的公眾參與貢獻。
Unidentified Food Objects reimagines past, present, and future foodways on and off Earth. It pushes the boundaries of space food to inspire a new field of interplanetary gastronomy that questions both what is possible and what is desirable. This book includes a collection of speculative concepts developed by Maggie Coblentz and features selected public contributions curated by Coblentz.
Maggie Coblentz / 加拿大
Maggie Coblentz 是一位加拿大的研究員和藝術家，她將藝術、科學和技術結合，創作故事。她的工作範疇涵蓋了多個領域，從太空探索到星際美食。Coblentz的研究實踐包括在零重力研究飛行中進行實驗，參與國際太空站的實驗，以及北極遠征。她是麻省理工學院（MIT）太空探索計畫的研究聯合會員。她共同創辦並指導位於挪威斯瓦爾巴群島的北極研究站，致力於科學、藝術和技術探索的合作計畫，跨足多個學科，與科學家、工程師、藝術家、廚師和電影製片人合作。Coblentz擁有羅德島設計學院的工業設計碩士學位。她曾應邀在哈佛大學、耶魯大學、紐約大學、羅德島設計學院、帕森設計學院、巴斯克烹飪中心和伯克利音樂學院分享她的作品。她的作品曾在國際場合展出，包括奧地利林茨的阿斯電子藝術中心、美國劍橋的麻省理工學院媒體實驗室、2020年迪拜世博會、意大利威尼斯的Museo M9 Mestre，以及羅馬的MAXXI博物館。Coblentz的作品曾在《WIRED Japan》雜誌上亮相，並成為《WIRED》的封面故事。
Maggie Coblentz is Canadian researcher and artist who tells stories where art, science, and technology meet. Her work spans a wide spectrum, from space exploration to interplanetary gastronomy. Coblentz’s research practice has included flying on zero gravity research flights, an experiment in the International Space Station, and Arctic expeditions. Coblentz is a research affiliate at the MIT Space Exploration Initiative at the Massachusetts Institute of Technology (MIT). She co-founded and directs an Arctic research station in Svalbard dedicated to collaborative projects in science, art, and technology exploration. Coblentz collaborates across multiple disciplines with scientists, engineers, artists, chefs, and filmmakers. Coblentz has a Master of Industrial Design from the Rhode Island School of Design. She has been invited to share her work at Harvard, Yale, New York University, the Rhode Island School of Design, Parsons School of Design, Basque Culinary Center, and Berklee College of Music. Her work has been exhibited internationally at Ars Electronica, Linz, Austria; MIT Media Lab, Cambridge, US; World Expo 2020 Dubai, Dubai, UAE; Museo M9 Mestre, Venice, Italy; and MAXXI, Rome, Italy. Coblentz’s work has been featured in WIRED Japan and the cover story of WIRED.
風弦琴裝置、電扇、雙透布／尺寸依場地而定／2023 Wind Harp Installation, Electric Fan, Double Gauze Fabric, / Dimension Variable / 2023
卡努
Khanun
《卡努 (Khanun)》源於《尺度・訊號・光譜》計畫，是融聲創意與墨西哥BEMA和dériveLAB藝術機構合作的延續，聚焦於環境感知和身體性經驗的深入探索。墨西哥藝術家Chucho Ocampo於臺灣駐留期間，遊走花蓮至臺北，通過田野調查激發靈感，創造出這一可移動的裝置原型。 展示裝置為經由一系列公眾活動製作的風弦琴，使用了水管和魚線等日常材料，並結合了半色調條紋效果的印刷物。當風吹過弦線時，它會與風共振，產生共鳴旋律，然後通過FM發射器以無形的方式傳播。此創作鼓勵觀眾走到戶外，親自感受風的模式和周遭環境的變化，從而為感知自然世界提供了另類視角。
Derived from the "Scale, Signal, Spectrum" project, "Khanun" continues collaborating with Zone Sound Creative and Mexican institutions BEMA and dériveLAB, focusing on environmental perception and embodied experience. During his residency in Taiwan, Mexican artist Chucho Ocampo traveled from Hualien to Taipei, gathering inspiration through field research to create this mobile installation prototype. The exhibited installation is aeolian harps made through a series of public workshops, utilizing everyday materials such as water pipes and fishing lines combined with printed materials featuring half-tone effects. As the wind blows across the strings, they resonate with the wind, generating resonant melodies that are transmitted invisibly through an FM transmitter. This creation encourages the audience to venture outdoors, personally experiencing the wind patterns and changes in the surrounding environment, thus providing an alternative perspective on perceiving the natural world.
Chucho Ocampo / 墨西哥
Chucho Ocampo是將藝術、建築與科技領域交匯的墨西哥藝術家和建築師。他的核心藝術實踐，是通過各種介面、工作坊、行走或對空間的挪用，探索新的思考路徑，從而挑戰我們對周遭環境既定的看法。他使用漂移和錯誤作為方法，質疑尺度、功能性、遷移、官僚主義、公民身份，以及人類與其他存在的關係。Chucho與合作夥伴共同創建了學生運營的獨立出版社 PPPPRESS。他同時也是 dérive LAB 的創意總監和合夥人，這是一家專注於藝術、建築和都市規劃的事務所，多與居住、都市設計、公共空間介入和文化管理相關。他還在墨西哥克雷塔羅共同創立了文化中心BEMA。
Chucho Ocampo is a Mexican artist and architect bridging art, architecture, and technology. At the core of his artistic practice, he explores new paths of thinking through diverse interfaces, workshops, ambulatory experiences, and spatial appropriations, thereby challenging conventional perceptions of our immediate environment. Using drifts and errors as methodologies, he questions notions of scale, functionality, migration, bureaucracy, citizenship, and the myriad relationships humans form with entities beyond their existence. Together with partners, Chucho co-founded PPPPRESS, a student-run independent publishing house. He also holds the position of Creative Director and partner at dérive LAB, an agency dedicated to art, architecture, and urban planning, with projects often relating to housing, urban design, public space interventions, and cultural management. Furthermore, he co-established the cultural center BEMA in Querétaro, Mexico.
單頻道錄像、Riso印刷文件／尺寸依場地而定／2021 片長：22分鐘 語言：印地語、泰米爾語，附帶英文字幕 Single-channel video, Riso printed documents / Dimension Variable / 2021 Duration: 22min Languages: Hindi, Tamil, English with English Subtitles
鬼影剪輯：許多黑盒中的清晰像素
Ghost Cut: Some Clear Pixels Amongst Many Black Boxes
這部影片取材自藝術家與Amazon的派遣工作者間的真實對話，揭露了他們與Mechanical Turk平台所面對的複雜政治關係，從而反映出平台在不同狀況下的透明性與隱晦性。影片特別關注於AI和機器學習背後的核心過程，勾勒出模擬、數位技術與真實世界之間微妙的互動與聯繫。當我們追求自動化運作的完美流程，背後所需的一切努力和策略又是如何？這些看似微不足道但實為核心的工作是由誰負責、在哪進行，又具備了何種特質？本片巧妙地利用工作者在線上平台上所受的訓練流程，展示在不同情境下如何進行反覆的調適。其中，語言的精確運用，尤其是清楚的英語表達，被凸顯為關鍵要素。此外，影片進一步探討資料整合、分析和標注的主觀過程，以及其所倚賴的實體基礎。在一個缺乏明確參考和標準的數位世界中，抽象成為一個重要且被迫使用的工具。
This film draws from conversations with Amazon Mturk workers and their relationship with the politics of the Mechanical Turk platform – the varying forms of transparencies and opacities that make the platform what it is. Focusing on the backend of AI and machine learning processes, the film investigates the relationships between the analogic, the digital and the terrestrial. What kind of work is required for smooth functioning of automation? Who does this backend work, where does it take place, and what does it entail? Using the very processes that workers help train on online platforms as material, recursions of different scales take place, where we see language, the ability to define and speak clear English as central. A second focus is an exploration of the subjective nature of data gathering, processing and annotating, and the material infrastructures it is dependent on. In the absence of any fixed constants, context or averages, abstraction emerges as an important and forced tool.
Riso印刷/ 11”x 17”/ 2021 9 版印刷版畫 Riso Print/ 11”x17”/2021 edition of 9 risograph prints
OBJECT 3
在這些印刷品中，我探索了「物件」的概念，它與影像識別和註釋相關，與印刷及其相關的抽象性，以及存在於計算機視覺中的眾多小黑洞。這裡存在不同層次的物件化，每一個都進一步抽象了空間：從展示勞動的私密場所（同時針對好奇的人眼和冷漠的算法眼），到物件檢測算法，將這些空間拆分、切割、重新書寫和重鑄，使其成為可辨認和不可辨認的。 數位影像被送入亞馬遜的機械土耳其平台，以千萬計的數量被拆分成其元素（一棵樹、一輛汽車、一個人、一條道路），稱為物件。這對於計算機視覺來說至關重要。結果通常被餵入機器學習神經網絡，以便演算法在「看到」物件時能夠識別它們。然而，有時視覺會出現嚴重的錯誤。再多的訓練也不能確保計算機視覺能夠確定每次看到貓都會辨識出貓；但它確實可以變得越來越擅長這方面的工作。以下的印刷品遊戲玩弄了這個錯誤。一系列來自Mturk工人的工作場所圖像*被餵入影像識別算法。結果的圖像原本應該是原始圖像的數碼複製品，但幾乎無法辨認。然後，這些無法辨認的圖像被分解為色彩通道——進一步抽象、提取和分解它們——然後再次打印成一個構建的「整體」。我們如何理解和看待這些圖像是我們理解技術決定論、錯誤的空間和荒謬敘事潛力的一部分。 * 工作場所是網上零工工作的重要特徵。可以說，這種家庭工作空間是最現代化的IT辦公區形式。
In these prints, I explore the idea of the ‘object’ that is intrinsic to image recognition and annotation, to printing and its associated abstractions and the many small black holes of uncertainty that lie within computerized vision. Different levels of objectification exist here, each one abstracting the spaces further as further: from opening up intimate sites of work (for the voyeuristic human eye and the impersonal algorithmic eye simultaneously), to object detection algorithms that split, cut, re-write, and re-cast these spaces as legible and illegible. Digital images are sent into Amazon’s Mechanical Turk in the crores to be broken down into their elements (a tree, a car, a person, a road) known as objects. For computer vision to take place, this is crucial. The results are often fed into machine learning neural networks so that algorithms can identify these objects when it ‘sees’ one. Sometimes, however, the vision goes terribly wrong. No amount of training can ensure computer vision can determine that a cat will be identified as a cat every time it sees one; it can however get better and better and better at it. The following prints play with this error. A series of images sourced from Mturk workers of their place of work* were fed into image recognition algorithms. The resulting images, meant to be digital replicas of the original, were hardly recognizable. These unrecognizable images were then broken up into colour channels – further abstracting them, distilling them, breaking them down further – only to be printed as a constructed ‘whole’ again. How we understand and view these images are a part of how we understand techno-determinism, rooms-for-error, and the potential for outlandish storytelling. * The site of work is an important feature of online gig work. It can be argued that this kind of home working space is the most updated form of the IT cubicle.
Aarti Sunder / 印度
Aarti Sunder居住並工作於印度，畢業於麻省理工藝術、文化與科技碩士。她主要用影像、寫作和繪圖作為創作媒介。她的興趣在於科技政治，專注於基礎設施的研究——從當代勞動實踐、抗議的虛構邊緣、神話，以及數位——球遊戲到廣泛的平台政治。Aarti曾在Akademie der Kunst、Hayy Jameel、2022新加坡雙年展、Haus der Kulturen der Welt、MIT、Warehouse421、Goethe-Institute、Kunstverein Leipzig、Bauhaus Imaginista、ISCP和Yugoslav History博物館等地展出她的作品。她曾獲得MIT、Sommerakademie Paul Klee、Ashkal Alwan、Harvard FSC Film Center、Sarai和Khoj的獎學金和獎助。
Aarti Sunder is an artist living and working in India. She largely works with video, writing and drawing. Her interest lies within techno-politics, focusing on the study of infrastructure – from contemporary labour practices, fictional edges of protest, myth, and digital-terrestrial play to expanded platform politics. Aarti has exhibited her work at the Akademie der Kunst, Hayy Jameel, Singapore Biennale 22, 1ShanthiRoad Studio Gallery, Haus der Kulturen der Welt, MIT, Warehouse421, Goethe- Institute, Kunstverein Leipzig, Bauhaus Imaginista, Alserkal Avenue, ISCP and the Museum of Yugoslav History amongst othes spaces. She has been the recipient of grants and fellowships from MIT, Sommerakademie Paul Klee, Ashkal Alwan, Harvard FSC Film Center, Sarai and Khoj.
⟪離岸⟫：不鏽鋼、透明片、噴墨印刷於透明片、碳／H91x26x60cm ／2021 ⟪地殼與星⟫：石膏、描圖紙、碳／依場地裝置而定 ／2021
地殼與星：石膏、描圖紙、碳／依場地裝置而定 ／2021 Crust and Stars : Plaster, Tracing Paper, Carbon / Dimension Variable / 2021
移山：不鏽鋼、環氧樹脂、活性碳粉／H13x23x124cm ／2021 Moving Mountains : Stainless Steel, Epoxy , Activated Carbon / H13x23x124cm / 2021
⟪離岸⟫、⟪地殼與星⟫、⟪移山⟫
Beyond the Surface, Crust and Star, Move the Mountain
畢業於國立臺北藝術大學美術系碩士班。生活及工作於臺北。作品透過空間裝置、材質轉換及雕塑來描繪生活角落的枝微末節、實體及思想所在的記憶與視覺的情緒。作品透過精心組織，將觀察到的影像與視覺間的關係及邊界的重新劃定注入其中，藉此來探索我們當下所在的視覺樣貌。近期創作以城市及實質居住空間的來回轉換作為途徑，試圖探索人對於空間的認知、儀式及心理的切換過程。
With an MFA in fine art from the Taipei National University of the Arts, CHEN Chao-Tung currently lives and works in Taipei, Taiwan. His art works depict the niceties of everyday life, the memories where entities and thoughts reside, and the visual emotions through spatial installations, material transformation, and sculptures. The observed relationship between image and vision and the re-delineation of boundaries are infused into the works through artful arrangement to explore the visual landscape of where we are now. The artist’s recent works have utilized the to-and-fro transition between urban areas and physical living spaces as a means in their attempt to explore the alternation between cognitive, ritual, and psychological processes by which humans comprehend space.
陳肇彤 CHEN Chao-Tung / 臺灣
⟪離岸⟫ 在架子上放了三種不同的石頭樣態，翻製的中空不鏽鋼石頭、將地面石頭描繪於透明片上並將其揉成球狀來模擬石頭與噴墨於透明片貼於牆上的石頭，中空的石頭是由表面向內一個均勻的厚度所構成的，揉製的石頭是由描繪的質感所堆疊出來的，而牆面上的透明片則是對現實的扁平與壓縮（立體平面化），試圖用這三種不同物件來呈現對表面的不同想像。 ⟪地殼與星⟫ 紙上描繪的是地面的影像，而上方擺放的石膏塊則是透過翻製所呈現出的地面質地，以平面與立體兩種相異的路徑來呈現同一空間。平面透過深淺聚散來描繪輪廓，立體則是以凹凸起伏，透過兩者的並置，試圖來呈現視覺可見的「輪廓」對感官的影響。 ⟪移山⟫ 不鏽鋼台座上放置了環氧樹脂所翻製的半透明石頭及牆上所殘留下來的碳粉痕跡，碳粉從架上的縫隙而掉落至地面上。以再製的方式來去除石頭中的沙礫與雜質，並將掉落的碳粉清除只留下痕跡，透過人為的揀選及剔除試圖讓常被忽略的輪廓及痕跡被凸顯出來。
"Beyond the surface" Three different forms of stones are displayed on the shelf - a hollow stainless steel stone, a transparent film with an inkjet-printed image of a ground stone crumpled into a ball to simulate a stone's texture, and an inkjet-printed image of a stone on a transparent film attached to the wall. The hollow stone is composed of a consistent thickness from the surface inward. The crumpled stone is stacked to create a textured surface, while the transparent film on the wall flattens and compresses the reality (two-dimensional flattening), attempting to present different imaginations of the surface using these three distinct objects. "Crust and Star" The image of the ground is depicted on paper, while the plaster block placed above represents the ground texture achieved through casting. This installation presents the same space through two different paths: two-dimensional and three-dimensional. The contours are depicted through light and dark variations in the two-dimensional plane, while the three-dimensional approach involves undulations and reliefs. By juxtaposing both, an attempt is made to showcase how the visually perceptible "contours" influence the senses. "Move the mountain" A semi-transparent stone crafted from epoxy resin is placed on a stainless steel pedestal, along with carbon powder traces left on the wall. The carbon powder has fallen from the crevices of the shelf to the floor. By reproducing the process, the impurities and debris in the stone are removed, leaving behind only traces of the fallen carbon powder. Through deliberate selection and removal, an effort is made to emphasize overlooked contours and traces.
展場配置圖
