混合現實、AI影像、空間AI
本作是由中國園林藝術中的石造像衍生，作Ai-3D生成物的再討論。「砼」在中文漢字中為上世50年代的新造字，用於特指自然物中不存在的人造石，實際上AI-3D生成物亦可視為不存在的模型，「象」在此虛實地帶中展開。英文標題前綴以梵語「Animitta」（無相）為題，試圖與中文宣物之法產生互文，並以「insight」（洞觀）指代作品中的混合現實體驗（空間中的模型，可穿透並實現聲音的聯覺），以求獲得對AI-3D生成物，肉身感官上的關照「物」的存在。
Mixed Reality, AI-3D
This work is derived from the stone sculptures found in Chinese garden art and presents a re-exploration of AI-3D generated artifacts. The Chinese character 「砼」 is a word coined in the 1950s, specifically referring to artificial stone, a material that does not exist in nature. In fact, AI-3D generated objects can also be seen as models that do not exist in reality, and the concept of "form" unfolds at the boundary between the virtual and the real. The English title is prefixed with the Sanskrit word "Animitta" (formless), aiming to create an intertextual dialogue with the concept of '宣物' (proclamation of objects). The term "insight" is used to represent the mixed reality experience in the work (models in space that can be penetrated, evoking synesthetic responses to sound), seeking to evoke an awareness of the existence of AI-3D generated objects in relation to the sensory perception of "artifacts."
混合現實、AI影像、空間AI
本作是由中國園林藝術中的石造像衍生，作Ai-3D生成物的再討論。「砼」在中文漢字中為上世50年代的新造字，用於特指自然物中不存在的人造石，實際上AI-3D生成物亦可視為不存在的模型，「象」在此虛實地帶中展開。英文標題前綴以梵語「Animitta」（無相）為題，試圖與中文宣物之法產生互文，並以「insight」（洞觀）指代作品中的混合現實體驗（空間中的模型，可穿透並實現聲音的聯覺），以求獲得對AI-3D生成物，肉身感官上的關照「物」的存在。
Mixed Reality, AI-3D
This work is derived from the stone sculptures found in Chinese garden art and presents a re-exploration of AI-3D generated artifacts. The Chinese character 「砼」 is a word coined in the 1950s, specifically referring to artificial stone, a material that does not exist in nature. In fact, AI-3D generated objects can also be seen as models that do not exist in reality, and the concept of "form" unfolds at the boundary between the virtual and the real. The English title is prefixed with the Sanskrit word "Animitta" (formless), aiming to create an intertextual dialogue with the concept of '宣物' (proclamation of objects). The term "insight" is used to represent the mixed reality experience in the work (models in space that can be penetrated, evoking synesthetic responses to sound), seeking to evoke an awareness of the existence of AI-3D generated objects in relation to the sensory perception of "artifacts."
温辰旻、嚴欣怡（即興舞蹈）
AI實驗影像、讲述展演
本作是由舞者即興動作與自訓練數據庫模型（神明造像）之間所展開的創作實驗。靈韻（Aura）被視爲一個上古藝術能量場遺存，在AI圖像修複技術再繪（Inpaint）中獲得 “人之靈性狀態的電子尋回”。
Wan Senman, Naomi Yan (Dance Improvisation)
AI experimental video, Lecture performance
This work is an experiment between the dancers' improvisational movements and a self-trained database model (the graphic of a deity). Aura is regarded as a remnant of an ancient artistic energy field, in the AI image Inpaint to obtain "the electronic restoration of the spiritual state of mankind".
温辰旻、嚴欣怡（即興舞蹈）
AI實驗影像、肢體演出、即興舞蹈
本作是由舞者即興動作與自訓練數據庫模型（神明造像）之間所展開的創作實驗。靈韻（Aura）被視爲一個上古藝術能量場遺存，在AI圖像修複技術再繪（Inpaint）中獲得 “人之靈性狀態的電子尋回”。
Wan Senman, Naomi Yan (Dance Improvisation)
AI experimental video, physical performance, improvisational dance
This work is an experiment between the dancers' improvisational movements and a self-trained database model (the graphic of a deity). Aura is regarded as a remnant of an ancient artistic energy field, in the AI image Inpaint to obtain "the electronic restoration of the spiritual state of mankind".
AI 科幻、三頻影像
本作品名“蘭芳”一詞，意指17-18世紀在南洋婆羅洲島上的華人建立的海外家園，一種烏托邦沖動營造的理想現實。歷史通過口述、傳說、儀式的方式不斷重新排演，「現實不是我們棲息其中的容器，而是我們依之而生的支撐，甚至是因我們而實現的東西」。人工智能以一種 “大他者”的形態，將人類文明建構的歷史成為整體的素材，本作試圖以藝術實踐的姿態，呈現文化中被隱藏在主流歷史之外的他者，在南洋華裔次族群文化的潛在空間中，發現一個可以被經驗到的中華歷史科幻。
AI Sci-Fi, Triple Screen Video
The word "Lan Fang" in the title of this work refers to the overseas homeland established by the Chinese on the island of Borneo in the South Seas in the 17th and 18th centuries, a kind of ideal reality created by utopian impulses. History is constantly re-enacted through oral narratives, legends, and rituals, and "reality is not a container in which we reside, but a support upon which we live, and even something that is realized because of us". Artificial Intelligence takes the form of” The Other", turning the history of human civilization into the material of the whole. This work attempts to present the Other in the culture that has been hidden outside the mainstream of history as a gesture of artistic practice and to discover a Chinese historical science fiction that can be experienced in the latent space of the sub-culture of the Nanyang Chinese people.
AI 科幻、全景影像、虛擬現實
本作品名“蘭芳“一詞，意指 17-18 世紀在南洋婆羅洲島上的華人建立的海外家園， 一種烏托邦沖動營造的理想現實。人類對生態的改造離不開文化深層記憶的投射與反思。“真實感”的營造，某種意義上是“那個世界”的裝飾性的表征，而人工智能正以一種大他者的“薄膜”覆蓋或接管了“真實世界”。本作以全景視聽裝置作為載體，爬取南洋華裔歷史空間中的全景圖像數據作為AI訓練模型，以科幻歷史想像為界，使用歷史上的失落與無法實現作潛能，擁有了書寫歷史的“特權“，並激活為一個可以被經驗到的考古現場。
AI Sci-Fi, Panorama, Virtual Reality
The word ”Lan Fang“ in the title of this work refers to the overseas homeland established by the Chinese in the 17th and 18th centuries on the island of Borneo in the South Seas, an ideal reality created by utopian impulses. The transformation of the ecology by human beings is inseparable from the projection and reflection of deep cultural memories. The creation of a sense of reality is in a sense a decorative representation of ”that world“, and artificial intelligence is covering or taking over the ”real world“ with a kind of ”film“ of ’the Other’. Using a panoramic audio-visual device, this work crawls panoramic image data from the historical space of Nanyang Chinese as an AI training model, and uses the lost and unattainable potentials of history as the boundary of sci-fi historical imaginaries, possessing the "privilege" of writing history and activating it as an archaeological site that can be experienced.
此作品以GAN對抗生成模擬，將藝術家手工創作之作品建立模型庫。其中所繪之物皆是想像出來的符號空間（作爲創作者與人工智能之間對于圖像所看到何物的異同），具有非視覺元素的心理層面，而機器學習時對于符號的抓取與模擬，其中存在的偏差使我在對吐出的生成圖像再次篩選能指靈感，比如：山水、撕裂、折疊、肌體等值得玩味的意象。創作者與人工智能協同工作，如攝影術與藝術家的共生，將技術工具與藝術實踐帶入新的語境。
This work utilizes GAN adversarial generation to establish a model library of the artist's handcrafted creations. The depicted items represent an imagined symbolic space, highlighting the similarities and differences in perception between the creator and AI. It incorporates psychological elements beyond the visual, and the biases present during the machine learning process influence my subsequent selection of generated images for inspiration, such as evocative motifs like landscapes, tearing, folding, and bodies. The collaboration between the creator and AI, akin to the symbiosis between photography and the artist, brings technical tools and artistic practice into a new context.
繪畫所劃破的痕跡，
那自然未有的方圓；
成了極精密的虛擬，
也是最基礎的真實。
The lines drawn by painting's hand,
Shapes not found in nature’s plan,
Become the most precise virtual,
Yet echo the simplest truth we understand.
「人間劇場」Parasite Theater(2020)
“當奧斯修斯回到伊薩卡島，當他醒來，沒有人辨認出他的身份，他是誰，他也認不出自己的家鄉。雅典娜只得現身，並向他保證這就是他的伊薩卡。”
"When Odysseus returned to Ithaca, when he awoke, no one recognized him—who he was, and he could not recognize his own homeland either. Athena had to appear and reassure him that this was indeed his Ithaca."
——
除了從社會事件的親曆者處得來創作的來源之外，圖像能否承載“純粹過去”的永生媒介和記憶支撐？在此，彌合“回不去的”客途下，重構一個象徵意義上完整的“家”。
Beyond drawing inspiration from social events as experienced by direct participants, can images serve as an immortal medium and support for “pure past” memories? Here, under the reconciliation of the “irretrievable” journey, a symbolically complete “home” is reconstructed.
“當奧斯修斯回到伊薩卡島，當他醒來，沒有人辨認出他的身份，他是誰，他也認不出自己的家鄉。雅典娜只得現身，並向他保證這就是他的伊薩卡。”
"When Odysseus returned to Ithaca, when he awoke, no one recognized him—who he was, and he could not recognize his own homeland either. Athena had to appear and reassure him that this was indeed his Ithaca."
——
除了從社會事件的親曆者處得來創作的來源之外，圖像能否承載“純粹過去”的永生媒介和記憶支撐？在此，彌合“回不去的”客途下，重構一個象徵意義上完整的“家”。
Beyond drawing inspiration from social events as experienced by direct participants, can images serve as an immortal medium and support for “pure past” memories? Here, under the reconciliation of the “irretrievable” journey, a symbolically complete “home” is reconstructed.
「人間築」 Monolith Series（2020）
記憶作為集體的情感紐帶,是將人們以共同的身份聯繫在一起,比如元宇宙的開發,依然以現實的空間進行構建,其中的遊園體驗某種程度上是依賴群體互動1記憶保持鮮活,在觀看視覺上的「奇觀」,某種程度上也是在重塑觀眾「他者」的體驗,以及嘗試捕捉住猿人在第一次觀看「黑方體」時的那不可知的神秘.
——
Memory, as a collective emotional bond, connects people through a shared identity. For instance, the development of the metaverse still constructs based on real-world spaces. The experience of virtual parks, to some extent, relies on the collective memory of group interactions to remain vivid. In viewing visual "spectacles," it is also, in a way, reshaping the audience's experience as the "other" and attempting to capture the same unknowable mystery that the early human felt when first encountering the "monolith."
記憶作為集體的情感紐帶,是將人們以共同的身份聯繫在一起,比如元宇宙的開發,依然以現實的空間進行構建,其中的遊園體驗某種程度上是依賴群體互動1記憶保持鮮活,在觀看視覺上的「奇觀」,某種程度上也是在重塑觀眾「他者」的體驗,以及嘗試捕捉住猿人在第一次觀看「黑方體」時的那不可知的神秘.
——
Memory, as a collective emotional bond, connects people through a shared identity. For instance, the development of the metaverse still constructs based on real-world spaces. The experience of virtual parks, to some extent, relies on the collective memory of group interactions to remain vivid. In viewing visual "spectacles," it is also, in a way, reshaping the audience's experience as the "other" and attempting to capture the same unknowable mystery that the early human felt when first encountering the "monolith."
繪畫所劃破的痕跡，
那自然未有的方圓；
成了極精密的虛擬，
也是最基礎的真實。
The lines drawn by painting's hand,
Shapes not found in nature’s plan,
Become the most precise virtual,
Yet echo the simplest truth we understand.