| 神明再會Aura_Inpaint
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".
「神明再會」（Aura_Inpaint）的中文取自於兩個詞組，“神明”在人類活動中，作為一種前現代的超自然產物，成為不同社區文化、不同族群間塑造的概念化偶像，這種「萬物有靈」的信仰，賦予了物質以人格化的精神形象。對應的英文「Aura」本義為靈暈、靈韻，通常指圍繞著人類或其他靈性生物個體的光環能量場。在印度哲學中氣場透過心靈感應描繪，由脈輪所組成，同時反應出人類個體當下的情緒或思維。在德國哲學家本雅明（Walter Benjamin.1892-1940）其在《機械覆制時代的藝術作品》（1935）中，「Aura」借引為攝影術的發明對藝術特質產生根本性影響的概念，使得古典藝術中的手工感、本真（Authentic）、拜物教的黯淡與消逝，繼而以新的藝術體驗方式的媒體變革。本作名稱中的後綴英文單詞「inpaint」取自AI圖像生成中的功能，指重建圖像或影片中丟失或損壞的部分的過程，亦或是抹除輸入圖的內容進行再次繪制。「再會」一詞，在中文的語境中，同時包含分別和再次相聚之意，這種意義可釋的狀態，開啟作品中舞者即興與AI自訓練模型再次繪制之間的偶合與契機，賦予錯誤的識讀（生成不完整的神明形象，某種意義上，即是不在文化時間脈絡上，可以被觀眾辨識為具體職能的神明造像，如大伯公、媽祖等，這些具體的神明形象在不同的文化社群中，代表不同的祈福、保佑功能，手勢與身姿的表現成就了宗教舞蹈中動作的標準，這在各民族舞蹈間可以被辨識，成為即興舞蹈與神明造像間值得留意的關聯。）與文化的辨識以新的藝術體驗。
The Chinese title "神明再會" (Aura_Inpaint) is derived from two phrases: Prefix terms"神明", as a pre-modern supernatural product, has become a conceptual icon in human activities, shaped by different communities and cultures, and among different ethnic groups. The belief that "everything has a spirit" has given material things a personalized spiritual image. The word "Aura" originally means spiritual halo, spiritual rhythm, and usually refers to the aura energy field that surrounds human beings or other spiritual beings. In Indian philosophy, the Aura is depicted telepathically and consists of the chakras, which also reflect the emotions or thoughts of the individual human being at present. In German philosopher Walter Benjamin's (1892-1940) The Work of Art in the Age of its Technological Reproducibility (1935), "Aura" is cited as the concept that the invention of photography had a fundamental impact on the qualities of art, causing the sense of craftsmanship, authenticity, and fetishization of classical art to fade and disappear, followed by new media change in the way art is experienced. The word "inpaint" in the title of this work is taken from the function of AI image generation, which refers to the process of reconstructing lost or damaged parts of an image or movie or erasing the content of an input image to draw it again. The term "再會", in the Chinese context, contains both the meaning of separation and meeting again, and this state of interpretable meaning opens up the coincidence and opportunity between the dancer's improvisation and the AI's self-training model's re-painting in the work, which empowers the misinterpretation (generating incomplete images of deities, which in a sense are deities that are not in the cultural timeline, and which can be recognized by the viewers as specific functions of gods and goddesses, such as Tua Pek Kong（大伯公）, Mazu（媽祖）, etc. These specific images of deities represent different functions of praying and blessing in different cultural communities, and the gestures and postures of the performers have created a standard of movement in religious dances, which can be recognized among ethnic dances as a noteworthy connection between improvisational dances and images of deities). This is the connection between improvisational dance and the images of the gods, which is recognizable among ethnic dances.