ARS 2022 - NTHU TechArt Exhibition
Date: 2022.09.07 - 2022.09.11
Location: Atelierhaus Salzamt, Linz
Organizers : Su-Chu Hsu, Cheng-Yu Pan, Patryk Lichota
Nature of Prototyping
In the face of the growing problems of the Earth resulting from intensification of human life, technology is often seen as an opportunity to help order this chaos of overproduction. However, technology is like a serpent eating its own tail. As Martin Heidegger says, “the purpose of modern technology is to remove the veil to reveal the truth; however, paradoxically, technology itself becomes a hindrance and prevents the truth from appearing.” The technology appears thus to be not a remedy, but the cause — and at the same time the consequence of the chaos. There are five artworks in the exhibtion.
“Live the Moment” explores this chaos. In the never-ending game of technoculture-homeostasis, an arbiter is needed — an eye that cannot be deceived. “Future Vision” tries to reflect on the impact of changes in the living environment. Transferring the technological gesture of prototyping to the area of human content and social constructs to reveal the final destination of man-made objects is the main issue of “SeaDrift” work. By hearing the world through the augmented colors, “Voice in Sight” work makes the unreal veils come true and sends our extension of senses into the distant desert. “Datafixation” work traverses the geometric meshes’ topographies as our planet’s invisible datasphere.
The Nature of Prototyping provides not solutions but reflections, and the development of technology serves to know others better. We try to observe, imagine, and establish a dialogue by the way of our prototypes.
原型之原形
隨著人類生活步調的日益加劇，地球的問題與日遽增；為修補這些過度生產所致的混沌，科技常被當作是某種契機。實際上，科技卻更像是個正在吞噬自己銜尾蛇。一如馬丁．海德格所言︰「現代技術的目的，應是為了除去遮蔽以揭露事物的真理，然而弔詭的是，技術自身成為阻礙真理彰顯的絆腳石。」科技恐怕並非解方，有時反而是病因 ─ 混沌的製造者。本次展覽的五件作品，各自以「技術原型」的重新思考與開發，來回應這樣的現狀。
作品「活在當下」在這樣的的混沌當中切換生活的軌跡，提供我們對未來可能性的省思；作品「視．網．模」則旨在反映科科技發展對生活環境所致的影響。透過將人造物同時視為科技物與海飄垃圾，作品「海漂計劃」轉換了所謂原型的科技化符碼，揭示了人與人造物的最終去處。作品「心視域 – 看見聲音」將聲音及話語具象化，展延成斑斕的色彩之舞，試圖穿透無聲之沙漠。作品「Datafixation」則透過虛擬現實的視覺重構，揭露平常不可見但天天圍繞我們的的網絡數據基礎設施。
在「原型之原形」中，我們提供的毋寧是對現狀的反映而非解方。我們意圖觀看、恣意想像，並試圖透過這些技術原型，開創對話，使人與人、人與環境更加互相理解。
Abstract of Curatorial Text
In the face of the growing problems of the Earth resulting from the intensification of human life, technology is often seen as an opportunity that would help to order this chaos of overproduction. The "nature of prototyping" provides not solutions but reflections, and the development of technologies acts on behalf of knowing others. Five works from National Tsing Hua University explore the theme.
Organizers
許素朱 Su-Chu Hsu (TW)
Su-Chu Hsu is a professor, dean of the College of Arts, director of the Technology Art Center in NTHU (TNUA before 2017), and founding president of the Taiwan Science and Technology Art Society. She specializes in Technology Art, Internet of Things Art, and STEAM education. She is a vital bridge promoted by Taiwan's technology and art.
潘正育 Cheng-Yu Pan (TW)
Cheng Yu PAN , artist, curator and assistant professor of Graduate Institute of Art and Technology in National Tsing Hua University, Taiwan. Holding a PhD in Arts Plastiques, Université Paris 1 Panthéon-Sorbonne, his research and artworks are around (post) Internet subcultures, maps and GIS, and cyber mythology.
Patryk Lichota (PL)
Musician, composer, multimedia artist, academic researcher, webVR and AR developer, and curator. Assistant prof. in the Inst. of Theatre and Media Art at Adam Mickiewicz University in Poznań. In his research work, he deals with VR and telepresence, cybereschatology, interactivity, sound studies, the theory of new media, and critical media.
Project Credits / Acknowledgements
春之文化基金會 Spring Foundation
台灣國科會 Ministry of Science and Technology, Taiwan, R.O.C.
台灣教育部 Ministry of Education, Taiwan, R.O.C.