展覽策劃EXHIBIOTIONS

策展實績 > 潮間凝視-科技藝術特展 Intertidal Zone of Generations

文 / 羅禾淋LUO He Lin


如果科技與自然生態是一種二元對立的關係,當科技高速發展之時,自然必定朝向崩壞的未來。然而人口密度與日俱增,由邊陲朝向中心發展的同時,為了應付大量人口的生活需求,科技成為唯一的手段。人們已經無法脫離科技化的生活模式,如不可逆的科技身體,驅使我們習慣拿起手機連結雲端;但人的生物本能,不斷想回歸自然,使其在科技與自然之間拉扯。從「生態倫理學(ecological ethics)」的觀點來思考,人雖歸納進自然生態系中,但人卻和生態對立,科技又是人所製造的產物,在上述關係中,從而推論出科技與生態是彼此對立的。以「人類世(Anthropocene)」的觀點看待人與科技,人類文明對整個地球的生態與地質的改變是不可逆的狀態,因此人與自然要怎麼透過科技找到平衡點,將是人面對生態永續的關鍵問題。科技將是手段,如何用科技重新建構自然,使人與生態共存,是近年環保意識高漲最重要的命題。當科技與自然並非二元對立,而是相輔相成之時,人們才可能從馬克思提及的「第二自然」,逐步走向「人造自然」下的「後第二自然」,假設未來科技將與自然共生,那人與科技也將近乎共體。


在此我們假設了「後第二自然」的重要性,人與自然在二元對立下又需要進行共生。「人」、「自然」的二元狀態可比擬成「陸地」、「海洋」,彼此雖牽引對方生態上的變化,但又因為彼此的變化擁有「開創的可能」,「陸地」與「海洋」這之中的接觸點即是「潮間帶」。潮間帶如同二元關係下的共生之所,除了緩衝海浪沖刷陸地的力量,也孕育出豐富的海邊生物。類比「後第二自然」是另一種循環狀態下的「潮間帶」,人、科技、自然就如同海浪因引力潮汐所產生的「潮間帶」,雖改變了地理環境,但又持續與生態共生,而這個等待潮起潮落的過程如同是一場「潮間凝視」。


「人的自然化」子題中,將討論「科技」、「人造」與「自然」,在此呼應第二自然的觀點,並找尋科技下對於生態自然的理想期望。此期望是「正面的」,也是科技發展下,人與自然企圖找到的平衡點。如黃致傑的作品《Surface》,用動力的氣壓與薄膜材料相互牽引,模仿生命系統中的細胞組織,擬造了一個人造的生態運動;林經堯的作品《未來家庭》,以AR的方式展示與預言未來在家中養殖景觀水族箱的可能;劉邦耀的作品《每秒12位小朋友》,與敦化國小的學生合作之計劃,一分鐘的動畫是由720位小朋友的畫作組成,宛如720位小朋友共同創造了一個影片中未知的虛擬空間;陶亞倫的作品《國美館No.1》,以沉浸式VR的方式創造了一個任意門,讓觀眾帶上VR設備的同時進入另一場域;有電互動的作品《生息》,偵測人的呼吸,在虛擬世界產生對應的樹木,達到人的生息與虛擬的生息吐納合一;周巧其、胡悠揚的作品《Biosignal_Syn-thesasia》,以科技的方式讓人與植物產生觸覺上的共感,思考人與自然是否可以更直接的連結在一起。


展覽邀請的藝術創作者使用「科技」為媒材,以體感互動、AR、VR等科技進行藝術創作。同時透過「自然的人化:反思」與「人的自然化:期許」,探討如果「後第二自然」是目前人與生態共生的目標,那不同世代的藝術創作者,如何由科技藝術創作,重新觀看自我成長的這塊土地,再一次的思考科技與自然之間的共生。


If technology and nature are binary oppositions, nature would collapse as technology thrives. Nevertheless, as the population grows and people moves into the center from the suburbs, technology has become the only way of resolving the souring need of living. We have gotten so used to the irreversible technology-driven lifestyle that we couldn’t help but connect to the cloud through smartphones. At the same time, our humanity desires nature, dragging us back and forth between both poles. Viewed from ecological ethics, human beings are against the nature despite of being part of it; as technologies are artificial productions, it indicates that technology and nature are in opposing positions. Viewed from Anthropocene, human civilization has altered the earth thoroughly; as changes are irreversible, finding the balance between human and nature through technology would be a constantly-raised issue. Technology would be the means to reconstruct nature and strike a balance between human and nature. People could only move forward to a Post-artificial Nature from Marx’s Artificial Nature when technology and nature support each other. And if they coexist in the future, human and technology would be nearly united.


In the Post-artificial Nature, human and nature have to coexist as binary oppositions like land and ocean affecting each other, while the effects bring both sides new future possibilities. Land and ocean meet in the intertidal zone, where slamming wave buffers and the intertidal animals reproduce. The Post-artificial Nature is like an intertidal zone with a circulation created by human, technology and nature, where the environment is changed as the species live together. The rises and falls in the zone have created an intertidal zone of generations.


The exhibition Intertidal Zone of Generations, based on Post-artificial Nature, intends to discover the balance between human and nature in the irreversible civilization shaped by technologies. Artists from different generations are invited to display their perspectives on sustaining the environment with technology. In responding to Marx’s Artificial Nature, two subjects are raised – The Humanized Nature and The Naturalized Human. On Humanized Nature, the artists respond to human’s remains and influences to the nature in the Anthropocene. Possibly negative, the responses direct ways of going along with nature. Artist TSAI Tsun Hung visualizes air pollutions through his AR artwork "Breathe, Glance, Ignorance". Artist CHEN I Chun ponders upon global warming through the prophecy of the end of the world in her video creation “Tomorrow’s Lonely City”. Artist LAN Yi Shan focuses human’s pursuit of fortune under Capitalism and new constructions’ effects on the land with her artwork “Best Investment To Make”. Through the first VR news “Offshore Wind Farm and Fishing Ground” in Taiwan, Artist LIN Zhao Zhen explains the complex energy policy and reflects on how energy needs and nature could balance.


On Naturalized Human, the artists discuss on technology, manmade objects and nature to expect an ideal nature. Being positive, the expectations intend to find a balance between human and nature. With air pressure and films interacting, artist HUANG Chih Chieh’s creation “Surface” demonstrates a manmade imitation of growing cells and tissues. Through his AR artwork “Home in Future”, artist LIN Jin Yao shows how an aquarium could possibly be built at home. Cooperating with students in Dunhua elementary school, artist LIU Bang Yao’s video artwork “Twelve Kids per Second” features 720 children’s drawings in one minute, as if constructing an unknown virtual space with the kids. Also bringing the audiences into another space, Artist TAO Ya Lun opens an anywhere door for the audiences with his VR creation “NTMoFA No.1”. Detecting the audiences’ breath, a corresponding tree would grow in the virtual world of artist Art Power’s creation “Breathe Life”, indicating a correspondence between human and nature. Letting human and plants experience a synesthesia through their co-creation “Biosignal_Syn-thesasia”, artists CHOU Chiao Chi guides the audiences to imagine possible direct connections with nature.


The exhibiting artists create with motion sensing techniques, AR, VR and other technologies. Through the responses to the Humanized Nature and the expectations on the Naturalized Human, they look into how technology art of different generations could bring different perspectives to this land, and how technology and nature could coexist under the Post-artificial Nature.

展覽照片

林照真 展區2
林照真 展區
陶亞倫 展區
蔡遵弘 展區
陳依純 展區2
陳依純 展區
周巧其 展區
黃致傑 展區
劉邦耀 展區
林經堯 展區
藍苡珊 展區
夢裡繁花 展區
潮間凝視