前往主要內容區塊
:::

城市轉藝器

城市轉藝器

城市的定義,在維基百科上如此的描述,更細部的觀察,城市還包含了居民、樓房、街道、文化、民俗等,這些城市包含的元素,彷彿程式語言中不同的關鍵字, 都各自必須存在且有獨特性和功能性。隨著時間、地方人群活動與改變與大自然的影響,城市的樣貌與文化也在改變,就如同一個不斷在進行轉譯的過程,根據生活在這做城市中的人事物,不斷的發酵出新的轉譯流程。 新竹這座城市,不僅國立大學、科學園區、各行各業林立,歷經 40 年後,已成為台灣科技重要城市,並被視為台灣的矽谷。

 

本次邀請在地團隊與年輕數位藝術家,成為這座城市之中重要的轉譯參數,透過藝術作品、響應場域進行一項「轉藝」流程,試圖在新竹各區域產生震盪與影響,期待不久的將來能像矽谷一樣再次進化為「科技文化藝術重鎮」。 在「城市轉藝器」展覽中,多位新銳藝術家與在地團隊參與, 以 241 藝術空間為主要場域透過新媒體、跨領域、燈光裝置與社會參與等面向, 吸引民眾一起參與。展覽核心圍繞的新竹這座城市的各種地景、影像、人口組成等紋理,許多藝術家為此次展覽製作新作,呼應新竹這座城市。

 

藝術家劉庭均作品「帶我去一個地方」以虛擬建築地景表現關於城市的記憶、空間、區域,並透過軟體演算同時呈現及時地景與數位資訊。純禾作的作品「新竹奇幻劇場-關於新竹的數據想像」以新竹影像物件符號,透過參與者的互動不斷累積,產生一個對新竹既熟悉又陌生的空間想像。清華大學林俊遑與楊子慕作品「程市」透過改造投影機的焦段控制,投影出訊息結合影像隨機生成在作品畫面,討論著新竹這座城市容納眾多外來人口,描寫的每一個人心目中對家的面貌。

 

以新竹城市地景影像作為思考點之外,藝術家們更對感官進行轉換,透過日常生活中的物件來建立連結。林瑜亮作品「造景:縮小再放大」透過微縮模型結合裝置作為呈現, 帶領觀看者從另一個重構的世界觀閱讀。田子平作品「失重計劃」持訊循環敲擊破碎的液晶螢幕,同樣打破對於日常物件的閱讀感官。清華大學林子妍、曾柏瑜、黃紀虹、楊允箏與鄭子芸共同創作的「後。日常」更以日常物件做為創作元素, 打造一個看似平常的四個場景,場景中充斥著與我們過往使用經驗不同的物件, 如打開水龍頭卻是從把手噴出水來這樣的意外,期待民眾參與會得到不同的思考與體驗。 在地團隊的參與,從對於發生在新竹這個地點的民眾、節日、體驗等面向來參與響應。由李孟一帶領的夢想一號魔術方塊工作室與設計師符嘉文合作「Hello Hsinchu」,在展覽入口處以 3000 個魔術方塊打造新竹意象視覺,以更親近民眾的方式來進行一場共創工作坊,並於場域中展示。在地學校清華大學與交通大學也分別以個人以及團隊參與,清華大學由蔡奇宏老師帶領七位學生兩件作品「程市」和「後。日常」參與;交通大學由交大傳播所x交大者工坊團隊作品「東門聲友匯」以新竹特色東門市場作為採集基地,透過 AR、VR、自製聲音裝置等與民眾互動參與。在地新媒體藝術團隊沃手工作由創辦人蔡宜婷針對展場空間進行思考,以燈光裝置「時間是一道長河」懸掛與場域中,並結合手機與民眾進行互動,向未知的數位世界傳第一道訊息。工研院服務系統科技中心團隊作品「光之綻-生命微動」,以人體節拍器,將生理訊號轉化為光、聲音、機械等元素,引領民眾參與體驗。

 

城市的想像包含了上述藝術家與團隊們討論的地景、影像、聲景與多重感官,更進一步思考民眾參與、發聲的許多事件、歷史與生活在這座城市的記憶。Dimension Plus 以作品「白傘計畫蔓延懸掛於展場中,過去民眾們在街上手持著白傘,透過傘面上投射出的畫面表達著對於人權、民意的與多聲音。衍象設計-闞凱宇團隊作品「仿生衍藝」則以衍生藝術結合自造者工具,帶領民眾參與並認識自造者精神,為生活、為社會貢獻一小份力量,完成一件集體創作作品懸掛於展覽場域。

 

「城市轉藝器」由多種面向的藝術家與團隊參與,每一位藝術家的都提出了對新竹這座城市主觀性的觀念、創作手法、思考核心、運用的元素、表現的材料、光的媒材表現,也有許多與民眾近距離互動的對話方式。在這半年來,新竹這座城市注入了許多新意象,無論是歷史建物的活化、民眾參與空間的改善、臺灣設計展的風采以及臺灣燈會在新竹的節慶,都將大量的人群以及對新竹的記憶不斷的翻轉,這些不同的面向發展都是作為新竹這座城市的進行「轉譯」的演算參數,參數們不斷的累積、進化和轉變,也期待透過此展覽帶領民眾在參與和閱讀作品時,發酵對新竹正在「轉藝」的印象,新竹不再只是大多數人兒時記憶中的科技城,而是同時具備先進的科技、在地濃厚的文化與新媒體藝術的舞台,並期待在未來成為跨領域的溫床。

 

----

「 城市轉藝器」

▶展期|2020/11/20 (五) - 2021/3/07(日)10:00-18:00 (免費參觀,週一及民俗節日休館)

▶地點|新竹241藝術空間(新竹市中央路241號6F)

▶主辦單位|新竹市政府

▶策展人|蔡奇宏

▶參展團隊/藝術家|Dimension Plus 、 純禾作 、 沃手工作 、 闞凱宇 、 林瑜亮 、 田子平 、 劉庭均 、 工業技術研究院文化科技發展團隊 、 國立交通大學傳播研究所X交大佼佼者工作坊 、 國立清華大學藝術學院學士班 、 夢想一號工作室X符嘉文

▶工作坊設計|想要設計

 

Programming languages can be categorized into compiled language and interpreted language. The process of compilation includes writing codes and connecting to library; lastly, compilers of different programming languages will interpret codes written in a high-level language that can be read and maintained by men into a lower level machine language that can be interpreted and executed by a computer; therefore, a compiled language needs to be interpreted before it can be executed by a computer, performing its functions in front of our eyes. An interpreted language, on the other hand, simultaneously converts and executes codes, and the process of conversion can be seen during the process of execution. Regardless of which kind of programming languages, they all interpret codes through different interpretation procedures in the process of conversion to achieve certain purposes. The process of interpretation includes the conversion of declaration statements (int, float, long), logical, conditional expressions (if-else, switch), and control flow statements (for-loop, while), into binary series, such as 10011101010101001, that can be read by a computer and be executed to achieve various purposes and perform diverse functions. 

 

Regions with dense populations and robust industrial and commercial developments, usually include functional zoning such as residential, industrial, and commercial zones, and have administrative and governing functions. 

 

The above description is the definition of city on Wikipedia. Through closer observation, a city also includes citizens, buildings, streets, cultures, and folk customs. These elements of city resemble the different keywords in programming languages—unique and functional, and their existences are necessary. With the passing of time, activities of local people, and influences of nature, a city’s look and culture are also changing, just like a continuous interpretation process, constantly brewing new interpretation processes based on the people, events, and things in this city. 

 

The ZERO 1 Biennial San Jose 2012 took place in the Silicon Valley, bringing technology and art together. The happening of art exhibition became a key interpretation parameter, and evolved into a major international hub of technology, culture, and art. The City of Hsinchu has National Tsing Hua University, National Chiao Tung University, Hsinchu Science Park, and thriving industries. Over the past four decades, Hsinchu has become an important city of technology in Taiwan, and been regarded as Taiwan’s Silicon Valley. This exhibition has invited local teams and young digital artists to become the city’s important interpretation parameters, responding to the venue through works of art to initiate a process of “interpreting art,” and try to generate resonances and influences in various areas of Hsinchu. We hope that, in the near future, Hsinchu can evolve again into an “important hub of technology, culture, and art,” just like the Silicon Valley. 

 

The “Urban Interpreter Online” exhibition features a number of emerging artists and local teams, using Hsinchu 241 Art Space as the main venue to attract citizens to jointly participate through diverse channels, including new media art, interdisciplinarity activity, light installation, and social engagement. The exhibition focuses on the various urban fabrics of Hsinchu, such as landscapes, images, and demographics. Many artists have created new works for this exhibition, to respond to and echo with the City of Hsinchu. Artist Liu Ting-chun’s “Take Me to a Place” uses virtual architectural landscape to express the memories, spaces, and regions of the city, and simultaneously presents real-time landscapes and digital information through computation of software. CHUN CHEN+HELIN LUO Work’s “Hsinchu Fantasy Theater – Data Imagination about Hsinchu” uses symbols of Hsinchu’s images and objects to generate a spatial imagination that is familiar yet strange to Hsinchu through the continued accumulation of the interaction of participants. “Programcity” by Lin Chun-huang and Yang Tzu-mu, students of Tsing Hua University, modifies the focus control of projector and randomly combines and generates information and images to be projected onto the screen, discussing how the city has embraced many immigrants and depicting the different ideas of home of different individuals. 

 

In addition to using Hsinchu’s urban landscapes and images for conceptualization, artists convert perceptions to establish connections through daily objects. Lin Yu-liang’s work “Landscaping: Shrinking and Enlarging” combines miniature model and installation for the presentation, guiding audience to read from another reconstructed view of the world. Tian Zi-ping’s “Project Weightless” continuously and repeatedly knocks and breaks the LCD to also break the reading perception of daily objects. Jointly created by Tsing Hua University students Lin Tzu-yen, Tseng Po-yu, Huang Chi-hung, Yang Yun-cheng, and Cheng Tzu-yun, “Post. Daily” uses daily objects as creative elements to create four seemingly ordinary scenes filled with objects we have had different user experiences in the past, such as accidentally splashing the water when turning on a tab, hoping that citizens will get different ideas and experiences through their participation. 

 

Local teams participated in the exhibition by focusing on the people, holidays, and experiences of Hsinchu. Dream One Cube Studio led by Li Meng-yi cooperates with designer Foo Jia Wen for work “Hello Hsinchu,” using 3,000 Rubik’s cubes to build a new imagery of Hsinchu at the entrance of the exhibition, and conducting a co-creative workshop in a more down-to-earth manner, which also takes place in the venue. Individual students and teams from local universities, Tsing Hua University and Chiao Tung University, also participate in the exhibition; under the guidance of Tsai Chi-hung, lecturer of Tsing Hua University, seven students exhibit two works, “Programcity” and “Post. Daily.” The team formed by Institute of Communication Studies, NCTU, presents “Sound Collection of Dongmen” that uses Hsinchu’s unique Dongmen Market as the site of collection, and interacts with citizens through AR, VR, and self-produced audio installation. Tsai Yi-ting, founder of local new media art team, WINNOWORK, targets the exhibition space and suspends light installation, “Time Is a Long River,” within the venue, utilizing smartphones to interact with citizens, and sending the first message to the unknown digital world. The team from ITRI’s Service Systems Technology Center presents work “Bloom of Light – Pulses of Life” that uses human metronome to convert physiological signals into various elements, such as light, sounds, and mechanics, guiding the experiences of participating citizens

 

The imagination of city incudes landscapes, images, soundscapes, and multi-senses, discussed by the aforementioned artists and teams, who have taken things a step further to consider the memories of the events, history, and life involved and voiced by people in this city. “White Umbrella Project” by Dimension+ is suspended in the venue; in the past, people held white umbrellas in the streets, and expressed their voices on human rights and public opinions through the scenes projected onto the umbrellas. The work, “Parametric Vine,” presented by FabCraft Design Lab team led by Kamm Kai-yu combines generative art and maker’s tools, guiding citizens to participate and learn about maker’s spirit, so they can contribute to life and society, completing a collective creative work suspended in the exhibition venue. 

 

Urban Interpreter Online” features multifaceted participations of artists and teams. Every artist has proposed own subjective concept on the City of Hsinchu, creative method, core consideration, elements used, expressive materials, and expression of light, as well as ways to dialogue with citizens. Over the past six months, Hsinchu has been injected with many new imageries; revitalization of historical buildings, citizens’ participation in spatial improvement, Taiwan Design Expo, and Taiwan Lantern Festival in Hsinchu, have constantly reinvented people’s memory of the city. These developments in different aspects are all parameters of the “interpretation” of the City of Hsinchu. The parameters continue to accumulate, evolve, and transform, and we hope that when citizens participate in this exhibition and read the works, the impression that Hsinchu is being “interpreted” will also grow stronger. Hsinchu is no longer the city of technology in most people’s childhood memory, but a stage with advanced technology, rich local culture, and new media art. We also hope that, in the future, Hsinchu will become an interdisciplinary hotbed. 

 

 

--

 

Urban Interpreter Online
 
▶ Exhibition Period | 10:00-18:00 from 20th November, 2020 to 7th March, 2021 (Closed on Mondays and holidays)
▶ Location | No.241, Zhongyang Rd., Hsinchu City
▶ Curator | TSAI Chi Hung
▶ Artists | Dimension Plus, Pure Do, WINNOWORK, KAMM Kai Yu, LIN Yu Liang, TIAN Zi Ping, LIU Ting Chun, ITRI, Team of Cultural Technology Development & Application, NCTU, Institute of Communication Studies X NUCT CREAT STUDIO, IPTA, College of Arts, NTHU, Dream One Cube Studio X Foo Jia Wen
▶Events Design | Wanting Design

MORE 連結:前往更多展覽回顧