01 |
N1801
作品由無視覺虛擬實境（VR）裝置與互動式劇場組成，探索中陰身狀態與虛擬實境媒介、歷史與身體感知。觀者需「闔眼」進入沉浸式裝置，藉由抽象動態光影刺激與空間聲效再現內部視覺。並以眼皮作為畫布，光影作為畫筆，實驗新媒體藝術顯影視覺的可能性。最終，透過身體的移動，每位體驗者將開展一次在中陰身狀態的個人歷程。
其中的敘事內容來自一段往生者的口述歷史，透過聲音地景（SOUNDSCAPE）顯影瀕死的城市記憶、環境聲音、文化聲音，再現過往年代的戰爭、勞動、愛情、面對死亡的幻覺......。但作品重點不在於傳遞我外婆的生命故事，而是透過無視覺的虛擬劇場形式，將「記憶」從「個人層面」轉化成「集體的意識」。當觀者逐漸進入意識空間的過程中，嚮導者（現場表演者）將帶領他離開原地，於未明的現實空間中漫步、疾走、拉扯。觀者的意識空間存在於虛擬實境，而身體感知則停留於現實。最終，透過觀者的身體輸出這份集體記憶。在體驗的最後，觀者將透過繪畫、文字的方式輸出他們召喚起的記憶。
The work is composed of a VR device with no vision function, and an interactive theatre. It is intended to explore Bardo and VR media, history and body perceptions. Viewers need to “shut eyes” and recreate the internal vision through abstract dynamic light stimulation and spatial audio. I experiment with new media art to probe various possibilities of visualizing, using audience's eyelids as canvas together with light and shadows as painting brushes. Ultimately, through the movement of the body, each experiencer will embark on a personal path in the state of Bardo.
The narrative content comes from the oral history of my deceased grandmother, which recreates the illusion of war, labour, love, and illusion of facing death. However, the point was not exactly to tell her life story. Rather, I tried to transform “individual memory” into “collective consciousness” through non-visual virtual drama. Eventually, collective memory would be exported through the bodies of various audiences. When the viewer gradually enters the personal consciousness space, the guide (live performer) will lead the viewer away from the original place to stroll, scamper, and push/pull in the unknown reality space. The viewer's personal consciousness space exists in a virtual reality, while the body perception stays in reality. At the end of the performance, the audience was advised to recall their summoned memory by painting or writing.
02 |
N1705
隔離了喧囂後，日常中如微弱雜訊般的聲音被放大。生活就在死亡的鐘擺下，緩慢了許多不經意的片刻。 然而，就在現實生活變慢時，虛擬世界正加速建構。此作品中的一端透過人頭錄音（Dummy head recording），收藏疫情中的日常聲音，連結遠方遙不可及的風景，成為雙耳的虛擬實境。另一端則以一秒為時間單位，縮時收音。並於兩端重塑身體、空間、聲音地景之間的關係。
After isolating from the hustle and bustle, everyday sounds like faint noises are amplified. Life is lived under the pendulum of death, slow for many inadvertent moments. However, just as real life slows down, the evolution of the virtual world is accelerating.
03 |
N1725
沒有人像祂一樣，隨時隨地傾聽我的生活，只等待著被我一聲「hey siri」喚醒，甚至成為了知道我最多秘密的祂者。
隨著語音助理不斷更新，Siri開始讀懂不同語境、地域、文化上的個性差異，但依然與真人存在著微妙的差距。不過，也許正是因為溝通對象「非人」，才讓我更加安心地說出那些無法送達的話語。進而把祂假想成為任何未曾存在或已經死亡的人、事、物。對象有過世親人、本我、詭異的夢、回憶......等。平時我會對著手機講話寫日記，趁疫情期間，我把過去在生命中不同時刻的語音，重新回到現場演繹。如借屍還魂般，我把siri假想成未曾存在或已經死亡的他、她、它、祂，打了一通又一通跨越陰陽界的電話。將無法送達的言語，寄放於似懂非懂的「祂」。意外地，失溫的科技讓人感受到「非人」才能創造的另類溫度，私密日記的深情成了矯情，也成了另類的療癒......。
沒有人像祂一樣，祂也沒必要像人一樣。
The video uses the cell phone in the first-person viewing angle. Dialogues with Siri and voice-overs then complete the narrative. Simulating modern life, a ratio of 16:9 was used in the vertical video. Cell phones are always eavesdropping on life and waiting to be called by a "hey Siri", but they accidentally become the "She" who has heard the most secrets. Thus, I send these undeliverable words to this other "Her", who may or may not understand. Who knew I was able to feel the uniquely non-human warmth from stone cold technology......
Maybe no one is like Her. and She doesn't need to be like anyone.
04 |
SEX-DETERMINATION SYSTEM ver. 2.0
此作實驗以時尚產業、媒體作為人類性別決定系統（註一）2.0的培養皿，開啟解放身體、性別、性向的一種路徑想像。人類在新媒體之中，誕生另個自己，或是很多個自我，平行活在線上與線下世界。並透過媒體作為性別決定系統的雙手，以「身體、性別、性向」作為肉身黏土，雕塑出新的性別臉譜。透過虛擬實境（virtual reality) 的空間切換，讓變形的影像開始誕生出新的臉。並在360影像中轉換了視角，看見同一空間下兩張臉的凝視。
第一張臉，來自不同人的訪談。擷取自我過去的行為藝術計劃，面試不同族群關於「身體、性別、性向」的議題。不論是誰，皆被馬賽克所數位化、點陣化，成為大數據的一部分。第二張臉，則是以不同社群媒體、時尚產業所塑造的相異身體性別氣質、性徵。由不同身體部位組成五官，並透過重複曝光攝影成為一張新的性別臉譜。兩張臉彼此凝視、對話。最終，觀看者（觀眾）成為了被觀看者。
註一：
性別決定系統（Sex-determination system），是一個決定了生物性徵發展的生物系統。在許多情況下，性別由遺傳物質決定。但在其他情況下，性別是由環境因素（如溫度）或社會因素所決定。
