Wikimania

Free Culture Space/Exhibition

< Free Culture Space

Recently open source and open content become pupolar in digital and internet art creation/proformance, and the usage among those creation also give us some example of possible opportunities for the content in Wikimedia projects. To understand more about the interdisciplinary trend, we'd like to have the exhibitions and Bofs discuss about that this year.

There'll be some facilitators bring the participants into this field and most of them are from art field who take advantage of or expand the creativity from open source and open content. You're also invited to join this and discuss/share with us about your experience and ideas. thanks

description about the works

Exhibition-3 (Room 313)

開放係數 Open Coefficient

  • 作品名稱/Caption:Mobile Brush(2007)
    • 藝術家/Artists: (http://www.cityu.edu.hk/scm/people/KeithLam.htm)
      • 林欣傑（又名 the Demos）為一位新媒體玩家，現職香港城市大學創意媒體學院導師，同時為「微波國際新媒體藝術節」擔任技術總監, 亦為ACMSIGGRAPHT首個亞洲展擔任場地設計顧問。林欣傑曾以藝術家身份參與多個藝術展的新媒體創作，包括「微波國際新媒體藝術節」、香港浸會大學舉辦的「拉闊文化」和「香港藝術雙年展2003」。他同時為電子音樂人，致力把新媒體元素注入具實驗性的電子音樂，曾合輯《香港電氣》、the Dusty City 和 When French Electro Meets Hong Kong，並參與「法國五月 '06 藝術節」 的現場演出。他同時亦積極於新媒體藝術的教育工作，曾擔任多個工作坊的講師如「微波國際新媒體藝術節０６」的Procedural Animation工作坊，開放源碼Pure Data中學等工作坊。林欣傑也是新媒體藝術團體「玖樓陸兜友」的創會成員之一。團體現正進行一項關於「開放資源」 (Open Source) Right Click的計劃 (http://www.gulldy.org)。 他同時是 init-Lab 的創立人之一，組織曾為多個商業及非商業機構 （包括「創新博覽會 '05」、Sony、 "Canon Expo"、「亞洲國際電訊展03」及「國際電信展06 」)製作互動媒體作品。 他將為十月於誠品的董陽孜書法展中聯合創作作品。
      • Keith Y.K. LAM (a.k.a. the Demos) is an intermedia player and a new media artist. He is currently Instructor at the School of Creative Media, City University of Hong Kong, and Technical Director at the "Microwave International New Media Arts Festival" and venue consultant of ACMSIGGRAPH First Asia Show. He has participated as a new media artist in festivals such as the "Microwave International New Media Arts Festival," "Live Culture" (organized by the Hong Kong Baptist University), and the "Hong Kong Art Biennial Exhibition 2003", etc. Besides, he is an electronic musician interested in combining music with new media. He has participated in compilation albums such as "Xiang Gang Electric Vol.1," "the Dusty City," "When French Electro Meets Hong Kong," and a live performance for the "French May '06 Arts Festival." At the same time, he active in the new media arts education, has been the lecturer in varies of workshops such as "Microwave International New Media Arts Festival 06" Procedural Animation Workshop, Open Source Pure Data Secondary School Workshop, etc. Keith is one of the founders of GuLLDY, a new media arts group currently working on an Open Source project "Right Click" (http://www.gulldy.org). He is also one of the founders of init-Lab, a laboratory established to produce and develop works of interactive environment for both the commercial and non-commercial sectors. So far they have created interactive installations for "Innovation Expo 2005," Sony, "Canon Expo," "ITU Asia03", "ITU World 2006" etc. He will co-produce a new media work for the exhibition of Tong Yang- Tze in Eslite this October.
    • 作品簡介 / Artist statement ::
      • 前言
        • 科技不只是工具, 或者一種距離我們遠遠的東西, 套用Marshall McLuchan 的用詞, 他是”第二層皮膚”。當現象學完結後, 人們不再對前語言學的知覺的本質存在懷疑. 套用同一原理，我們現在不可能想像我們的世界為一個沒有科技存在的地方, 只是因為科技已經變成了我們的語言，又或者是我們思想中不能避免的媒介. 我們利用科技工作, 生活, 並不是因為他的本質, 而是因為科技在我們生活中是不可避免。 “The Look makes painting”, 杜象在一百年前說過這樣的話. 藝術家不是其作品的唯一執行和解釋者。作品是一個和觀眾互動的平台. 當中包含了空間, 時間和變化。
      • Mobile Brush
        • 行動電話變成了我們城市生活的一部份, 甚至是我們身體的一部份。大部份城市人不能生活在沒有行動電話的情況下。它變成了我們的皮膚，行動電話的鏡頭是一種新趨勢, 一種增加犯罪的新趨勢, 同時也是一種引發創作的新趨勢。Mobile Brush 想探討的, 是時空(Spatiotemporal)的關係: 時間和空間和物件的關係。 行動電話擁有它的特別角色: 時間和空間. 手提電話的輕便, 使用者可以在任何地方任何時間移動手提電話. 同時間, 時間其實繼續在進行中。 空間在指定的時間中會因為被動及主動的物件而被創造: 手提電話鏡頭前的物件和手提電話本身. 使用者的動作（移動，被動或不動）就是在探索這個物件, 時間, 空間的三角關係。 行動電話可以是被動或主動，同樣地，手提電話前的物件也可以是被動或主動。作品呈現的結果就展示出特定時間內被創造的空間，或者是空間在特定時間內的變化。此外，Mobile Brush在嘗試創造一個結合了城市生活的平台：行動電話和其具有拍攝功能如何讓觀眾變成創作者。
      • 研究
        • 行動電話的的鏡頭在任何時間及地方擷取現場影像。觀眾又或者藝術家可以利用自己附有拍攝功能的行動電話參予創作和創作自己的作品。在研究的過程中，我們探索了四個利用Mobile brush去探索空間，時間和物件的關係的可能性。
          • １）自我移動：空間是停頓的，時間是流動的，物件是停頓的：創作者作為主動，轉動或移動身體去探索時間和空間。空間被創作者的移動伸延。
          • ２）在電梯：空間是流動，時間是流動，物件是流動：創作者站在電梯上（或其他流動的物件上），即是被移動。時間和空間被移動創作者的物件（電梯）伸延。
          • ３）站在街上，空間是停頓，時間是流動，物件是流動：創作者站著面向馬路，車子和行人是流動的物件。時間在指定的空間中被伸延。
          • ４）揮動行動電話，空間是流動的，時間是流動的，物件是停頓的：創作者主動地揮動行動電話，好像利用行動電話作為畫畫的工具一樣。時間和空間被行動電話的移動伸延。
      • Abstract
        • Technology not as tool, or as something that is separate from us, but rather as a “second skin” to use the words of Marshall McLuchan. After the end of phenomenology people no longer wondered about the nature of pre-linguistic consciousness. In the same way, we now consider it impossible to think about our world without technology simple because technology has become the language or the unavoidable medium for our thoughts. We work with technology not because it is original, but precisely because it is inevitable and commonplace in our global society.”“The Look makes painting”, said by Dunchamp about 100 years ago. Artist is not the only executor and interpreter of his/her art work. It is a platform which involve the interaction with audience. It involve space, time and variation.
      • Mobile Brush
        • As the mobile become a part of urban life, even part of the body, a big portion of people who are living in urban cannot survive without mobile. It really becomes the skin of our body. Camera embedded mobile phone is the new trend which increasing crime, at the same time, creation.Spatiotemporal is the main focus of this work. Mobile phone has its role in between time and space:Mobile phone itself is handy in the sense of space as user can move the mobile phone freely in any space and using it anytime; At the same time, the element of Time is moving. Space is created by the action of passive and active object in a specific period of time: object in front of the mobile phone and the mobile phone itself. The relationship between object, time and space is explored by the action of the user. Mobile phone can be passive or active (you stand still without moving the mobile phone, or you keep moving the mobile phone), so as the object in front of the mobile phone. The result of the work is showing the created space or the varies of the space in a specific period of time.In addition, Mobile brush is trying to create a platform which combining the very important part of urban life: mobile and its special features Camera to include audience as creator of the work.
      • Research
        • Camera Mobile Phone captures live image in anywhere and anytime. Audience or the lay-artist can input their contribution to the piece and generate their own artwork with their own Camera Mobile.In the research period, we explore four possibilities to play with Mobile Brush in exploring the relationship between Time, Space and Object:
          • 1) Self-turn, Space is freeze, Time is moving, Object is freeze (Active): Artist is taking an active role to explore time and space when object is freeze. Space is extended by the movement of the artist.
          • 2) Moving on the escalator, Space is moving, Time is moving, Object is moving (Passive): Artist is being moved by the something (escalator), time and space is explored by the moving object itself. Time and Space extended by the moving object.
          • 3) Stand still on the street, Space is freeze, Time is moving, Object is moving (Passive): Artist is standing on the street but all other objects include time and space is moving. Time is extended in a fixed space.
          • 4) Moving the mobile, Space is moving, Time is moving, Object is freeze (Active): Artist is taking an active role to explore the space by moving mobile just like painting. Time and space extended by the movement of the mobile phone.
      • 創作媒材/media:mobile processing,Open Source
  • 作品名稱/Caption:Neon Organic (2005)/ElectroPlastique #2 (2006)
    • 藝術家/Artists:
      • 馬里烏斯‧瓦茲(挪威)Marius Watz (Norway), Marius Watz is an artist working with visual abstraction through generative processes. "An autodidact, he dropped out of Computer Science studies to pursue visual work through programming. His work is known for its bold colors and strong geometric composition. Watz is the founder of Generator.x, a blog and series of events related to generative art and design. He also lectures and gives workshops on computational strategies for artists and designers.
      • Q9：很可惜您不能參加台北的「維基年會」（Wikimania 2007）的數位藝術展覽與活動。但我們仍然很想知道您最近幾年的創作計畫.....W：我也很遺憾不能親自參加台北的 Wikimania 年會，期待下次有機會造訪。最近我的創作越來越趨近於自然的抽象造形，像是軟體作品所創作印成的圖形，或像是實際的實體物件。電腦螢幕儼然成為現下我很想突破與擺脫的一種限制，因此另外尋找不同的輸出方式，將是接下幾年內主要的探究領域。馬里烏斯‧瓦茲專訪(interview Marius Watz by TDAIC) http://www.digiarts.org.tw/en/ShowIntvTW.aspx?lang=en&CI_NO=21
    • Description: 2 abstract sketches in generative composition and dynamic form. http://workshop.evolutionzone.com/
    • 創作媒材/media:processing
  • 作品名稱/Caption:ReactMemor(2007)
    • 藝術家/Artists: 微型樂園 Microplayground (Taiwan)-http://www.microplayground.net
      • 微型樂園(microplayground)創立於2004年，為台灣專注數位藝術發展與實驗數位新媒體創作的團隊。創作方面以人文思考為基礎，應用互動、行動通訊、軟體藝術等新媒體為主要方向。2004 年舉辦「 Mobile Art Festival －行動數位藝術紀」， 以台灣的行動通訊科技特色，發展台灣數位藝術的獨特性。2005年起由國立台灣美術館(National Taiwan Museum of Fine Arts)委託微型樂園維運「數位藝術知識與創作流通平台」(Taiwan Digital Art and Information Center)至今，該網路平台以建立最完整的數位藝術資訊與台灣數位藝術人才與作品資料庫為目標，目前已成為台灣數位藝術最完整的人才與作品資料庫，同時逐漸發展為華文世界中重要的全球數位藝術訊息入口網站，也是台灣數位藝術對全球發聲的重要窗口。微型樂園自詡為科技與藝術的跨界媒合者，除了新媒體創作與實驗外，媒合藝術家與工程師間的跨領域合作，同時也關注數位藝術文化各種議題，諸如數位落差、數位美學之教育推廣、跨領域整合之各種開發計畫等。微型樂園主張開放與分享，參與台灣關注Creative Commons的創意、創作人共同組成的CC樂園(CC Garden)民間組織，並與自由軟體鑄造場 OSSF(OSSF Supports Software Freedom) 計畫合作鼓吹推廣Open Source，亦與台灣的學術單位共同合作，針對年輕學子持續進行軟體藝術與數位美學的教育推廣。 微型樂園希冀創造出一個充滿多元與開放精神的實體與虛擬的平台，同時藉由網路與實體的交流，吸引各種數位藝術的相關人員參與多樣性跨領域的合作計畫藉此激盪出新的數位創意與藝術的火花。
      • Microplayground was established in 2004 as a group devoted to the development of digital arts and the experiment of digital new media artworks. Based on humanistic thinking, it has researched into major issuses of new media, including application of interactivity, mobile communication and software art.In 2004, microplayground organized “Mobile Art Festival” which featured digital arts in Taiwan, a place where mobile communication technology tops the world. In 2005, National Taiwan Museum of Fine Arts commissioned microplayground to operate “Taiwan Digital Arts and Information Center” (TDAIC). TDAIC is an internet platform that aims at establishing a database for digital arts information as well as Taiwanese digital artists and works. Now TDAIC has become the No.1 database of digital arts in Taiwan while developing as the most important portal of global digital arts information in the Chinese speaking world. It also serves as a window of Taiwanese digital arts to the world.Microplayground considers itself the interdisciplinary mediator of arts and technology. Besides new media creation and experiment, the cooperation between the artist and the engineer as well as various issues of digital arts and culture are all of interests for microplayground. These issues might include digital gaps, promotion of digital esthetics, projects of interdisciplinary integration, etc. Microplayground believes in openness and sharing, so it participates in the Creative Commons creations in Taiwan, “CC Garden” composed of creators, and OSSF(OSSF Supports Software Freedom) with whom it works together to promote Open Source. Besides, microplayground also works with academic organizations, promoting software art and digital aesthetics to the young generation and students. Microplayground expects to create a physical as well as virtual platform that is diversified and open-minded. With interchanges of ideas on the internet as well as in reality, those who are related to digital arts can be drawn together to cooperate in the interdisciplinary projects, to brainstorm and stir up new ideas and creations for digital arts.
    • Description / 作品說明：
      • 賀爾蒙、避孕藥、威而鋼、阿斯匹靈、綜合維他命 …… ，這些再尋常不過的家庭藥品，貼近了妳我共同的生命經驗，也鋪陳了從生到死的生命縮影。不同的藥物常用以解決不同的人生問題，但當人們想要用藥物來增強或美化身體的功能，是否反倒隱隱訴說著生命本然的虛幻與無奈？隱晦卻又如實地映照出我們內心恆常的恐懼與陰影？「藥物」象徵一種讓自我更好的努力，透過經驗危機與重大事件，生命的內涵因此交織而成：女性一生在生理和情緒如潮汐的變化中所面對的角色掙扎；孩子的出生、成長；男性的自我成就、征服與恐懼；父母的衰老死亡 …… 。藥物也許提供了解決之道，或許賦予心理上的慰藉，但更多的，也許只是隨著歲月流逝而刻劃下一個個生命曾經存在過的印記。一個藥盒啟動了某些影像，帶領我們穿越時空，回到生命最幽微的深處，透過影像的敘事組合，腦波的運算處理，勾動了某種生命底層的記憶。透過觀看與參與，這些別人生命曾經演出或存在過的印記，訴說著什麼樣的生命故事呢？我們又如何理解與認知呢？也許我們在試圖參與別人生命情境的同時，其實只是在完成自我的旅程，而生命如幻，這一切，無非只是一場投射而已 …… 。
      • Hormone, contraceptive drugs, Viagra, aspirin, vitamins, etc. those that are commonly found in our medicine cabinet are already a part of our life and display a snapshot of what we have been through from life to death. Different drugs are used to solve different problems, but when they are used to enhance or refine our physical functions, are they reflecting the fundamental vanity and helplessness of living? Will they mirror, implicitly yet actually the fear and crisis that we constantly have in our heart?“Drugs” represent an effort to better oneself. Through the major events and crises such as periodic physiological and emotional fluctuations and the role struggles by women; self-achievement, conquers and fears by men; children’s birth and growth, parents’ aging and death, life is expanded and enriched. Drugs may offer a solution or a consolation, but, more often than that, they offer an imprint of the lives that have passed through in the stream of time.A box of drugs sparks off certain images, takes us through the time and space and back to the deep and intricate part of life. Through the narration of the images and the computation of the brain waves, the hidden memories deep in life are triggered. What kind of story do these imprints that have existed in someone’s life tell, through watching and participating? How do we understand and interpret? Or maybe when we try to join others’ life, we are simply trying to accomplish ourselves? Life is an illusion and all these are but a projection of it...
    • 創作媒材/media:processing,TUIO,Open Source



"Virtual i.d.ea" - Interactive Net Art

 


Exhibition-1 (Corridor) 與 Exhibition-3 (Room 312) 這兩個單元之作品為台北藝術大學科技藝術研究所 與 台灣大學資訊網路與多媒體研究所的學生所共同創作的互動式網路藝術作品，含「Many Me」、「報紙機」、「一百萬個心跳」、「一個都不能少」四件作品， 分別探討「id 共同體」、「偽新聞」、「社群行為」、「傳輸中的遺落封包」。"Virtual i.d.ea" 是這次的展覽主題。

這次作品都直接間接的探討著跟wiki相同的概念：wiki常常在難以理解與詭祕地的情況下被刪除資料，而「一個都不能少」便是探索著資訊的遺失。wiki內容經由不可思議的群體搜尋校勘與對照整合而成，「Many Me」則是來自各方身分的發表資訊整合。wiki的內容最後結果由社群決定，猶如「一百萬個心跳」胎兒誕生行由社群行為決定。wiki上的內容有真但也有偽，「報紙機」所販賣的新聞既真又偽。

這些作品探討著網路世界中的身份、資訊與群體行為，經過「重組」與「再現」，〝偽變、偽辯、偽辨〞成一種網路世界中的既偽又真的概念。


"Virtual i.d.ea" ：

它是虛擬的，因它是線上感知視界中的一種擬像 (simulacrum)。

它象徵著網路身份概念 (I.D.)。

它象訴說著我們的慾望 (id)。

它象告示著我們的計畫 (I would = I'd)。

它代表著我們每一件作品 (ea. = each)。

它是我們這次展覽的主題想法 (idea)。

--   策展指導老師：許素朱(小牛) / 陶亞倫


The artworks of Exhibition-1 (Corridor) and Exhibition-3 (Room 312) are interactive artworks from TechArt_TNUA and INM_NTU, which include "Many Me", "Newspaper Vending Machine", "One Million Heartbeats" and "Not One Less". These separately discuss id_community, false news, community social behavior, lost tramission packages. "Virtual i.d.ea" is the main theme of the exhibitions.

This artwork explores wikis from four different directions. Just as data is erased from wikis mysteriously, Not One Less explores missing information. Just as data is collated through the wiki search function in mysterious and serendipitous ways, so Many Me brings data together. Just as a wiki is a collation of a group effort, so is the log kept in a One Million Heartbeats. Just as people create information on wikis (not always correct or accurate) so Newspaper Vending Machine explores creation of "information" by an automaton, with information that is not exactly true.

These artworks explore id, information and community behavior through re-assembling and re-presentation "fake-change, fake-debate, fake-recognize" to the simulacrum idea of reality and virtuality of Internet.

"Virtual i.d.ea"

It is virtual because it is online -- a simulacrum of the tactile world.

It revolves around the notions of identity (I.D.)

It revolves around our needs and desires (our id from psychology).

It revolves around our plans (I would = I'd).

It revolves around our ideas (idea)

It revolves around each of us (ea. = each).

The exhibition presents our "Virtual i.d.ea" .

--   Curate Advisor : Xiaoniu Hsu / Allen Tao

Exhibition-1 (Corridor)

  • 1. Many Me

 


  • 作品形式 / Art type :
 網路藝術 / Blog net art
  • 作者 / Artists :
 張炳傑 / Pingchieh Chang (Pingchieh)
 武治中 / Daniel Wu (Synesthseia)
 林雅芳 / Bibi Lin (BiBi)
 郭冠良 / Kuan-Liang Kuo (Kuo)
 吳昌哲 / Chang-Tse Wu (Jason)
 -- 臺灣大學＋臺北藝術大學 / NTU+TNUA, Taiwan --
  • 作品簡介 / Artists statement :
 代表一個人的，可以是名字、身份證字號、綽號、指紋、DNA...。在網路世界上代表我們的則是一串由英文字母及數字所組成
 的ID。ID與真名不同的是，它不是由別人來為我們決定的，每個人都可以選擇最具代表性的一串符號來代表自己。
 然而，不同的網路平台就好像一個平行的世界，同樣的ID可以出現在不同的平台，被不同的人所擁有，一個ID沒有絕對的性別
 、年齡、國籍與個性。
 本件作品"Many Me"乃透過我們建置的個人網誌(Blog)，讓所有不同平台的同一個ID的post一起呈現在"Many Me"的blog中。
 本作品除了對不同平台上的同一個ID的好奇與想像外，我們也希望藉由同一ID的不同使用者來重新認識此ID的代表意義，並讓
 這些"Many Me"的同一個ID，共同創造出一個虛擬的個體，但又具體化了這個「想像的共同體」。

 On cyberspace, every user is represented by a sequence of characters and numbers, a.k.a. id. 
 Different from our given name, id is chosen and applied by each individual. 
 However, different platforms/websites are like parallel world,  there are no definite gender, age, 
 nationality and personality for a specific id. 
 "Many Me" wants to discover the possibilities of any given id. 
 Furthermore, we hope, by using blog-like interface, we can re-learn the meaning of the familiar symbol 
 that represents us.
  • 2. 報紙機 / Newspaper Vending Machine

 


  • 作品形式 / Art type :
 互動式網路藝術 / Interactive net art
  • 作者 / Artists :
 黃孝承 (臺北藝術大學) / Hsiao-Cheng Huang (TNUA, Taiwan)
  • 作品簡介 / Artist statement :
 「報紙機」是一件互動式網路藝術作品，是一部會製造報紙並且販售報紙的裝置。報紙機即時收集網路上的新聞，
  並抓取購買報紙的顧客的影像或是隨機取樣的影像，匯進新聞，加以重組偽撰。顧客成為頭條新聞...整份報既虛假又真實。

 "Newspaper Vending machine" is an interactive artwork.  It is an installation which can produce 
 a newspaper front page and also can sell it. 
 It collects real time news from the Internet and captures the viewer's image through a 
 webcam or a dandom image. The news and images are re-edited virtually. The viewer's face 
 is the breaking news. The newspaper can be real or false.

Exhibiton-2 (Room 312)

  • 一百萬個心跳 / One Million Heartbeats

 


  • 作品形式 / Art type :
 互動式無線感測網路藝術 / Interactive WSN net art
  • 作者 / Artists :
  許素朱 / Su-CHu Hsu        林經堯 / Jinyao Lin       陳家文 / Carven Chen
  陳瀅中 / Ying-Chung Chen   林俊賢 / Jiun-Shian Lin   林世昌 / Shih-Chang Lin
  余孟杰 / Meng-Chieh Yu     張耿豪 / Keng-Hau Chang   張耿華 / Geng-Hwa Chang
  -- FBI.TechArt group, 臺北藝術大學 / TNUA, Taiwan --
  
  ※感謝經濟部技術處學界科專計畫支援補助本作品執行 (94-EC-17-A-02-S1-049)。
  ※亦感謝資策會網路多媒體研究所提供無線感測器ZigBee技術。
   
  We gratefully acknowledge support for this work, in part, from Taiwan’s 
  Department of Industrial Technology, Ministry of Economic Affairs under 
  grant 94-EC-17-A-02-S1-049. Also thanks to the Neworks and Multimedia 
  Laboratory,Institute for Information Industry for supporting ZigBee wireless 
  sensor technology.
  • 作品簡介 / Artists statement :
  數位時代的來臨，社群行為有力又無形的在新媒體的推波助瀾下，早已悄悄地滲入了現代人的意識型態，
  它隨時隨處的影響甚至主宰著我們的生活樣貌、政治傾動、經濟變向、道德重審……。
 「一百萬個心跳」是一件由展場參與者的身份與行為所建構的一個互動式網路裝置行動藝術，
  主要乃探討數位時代的社群行為。民眾藉由無線感測器ZigBee參與作品，我們預計蒐集一百萬個心跳，使胎兒誕生。
  民眾的性別、血型、生肖等身份資訊與心跳脈搏、情境感知的行為，將會決定胎兒的最後孕育情形。 
  http://millionheartbeats.org / ACM_MM 2007

  "One Million Heartbeats" is an interactive artwork using ZigBee wireless sensor. 
  It depicts struggle, and many people interpret it as commentary on political or social events.
  We show twin fetuses struggling in the "world" of the mother's womb. 
  We will collect one million heartbeats from participants - the behavior of participants 
  will determine the characteristics of the babies and the experience of the mother. 
  Participant comments become part of the piece. 
  This artwork explores collective social behavior.
  http://millionheartbeats.org / ACM_MM 2007


  • 一個都不能少 / Not One Less

 


  • 作品形式 / Art type:
 互動式網路藝術 / Interactive net art
  • 作者 / Artists:
 葛如鈞 / Ju-Chun Ko (dAb)
 詹力韋 / Li-Wei Chan (Allen)
 許加緯 / David Hsu (David)
 陳郁欣 / Sheila Chen (Sheila)
 -- 臺灣大學網媒所 / INM, NTU, Taiwan --


  • 作品簡介 / Artists statement :
 有網路封包的傳送、取得，就有網路封包的落、失。
 當我們透過光的形式傳遞訊息至各處、溝通著各人，究竟是不是有可能曾經、正在或即將掉了些什麼？
 這些傳輸中掉落遺失在數碼位元的洪流的封包訊息，會不會在哪一處地方又形成些什麼？這是本作品所要探討的。
 本作品藉由蒐集自身影像，並透過光速繞行所掉落的封包訊息經重塑與再現，
 我們重新還給掉落的封包一個不確切但該有的尊嚴、不確切但應有的存在。我們期望 - 一個都不能少！

 Packets are lost when messages pass through the Internet.
 We collect all the lost packets 
 -- of unknown type sent at unknown times -- arriving at an unknown place -- into an unknown form.
 All of these packets are reformed -- gathered here -- for you.
 Not one piece unaccounted for.

Suggestion/idea

Please leave your suggestion/ideas here:

Doug Tygar, UC Berkeley says: This looks like a very interesting exhibition. The virtual i.d.ea is an interesting topic to explore. And the name is very good. Congratulations!

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