台北數位藝術節講評 之二

袁廣鳴 Goang-Ming Yuan
(Lecturer of Graduate School of Arts & Technology, Taipei National University of the Arts)

Interactive Art?
In the field of media art, interactivity has a different meaning than in traditional usage,
referring to a more narrowly defined quality. As digital computation is derived in essence
from the "play" of computer games, a work of interactivity requires the intervention of the
viewer to become complete. Interactivity can be presented in many forms, for example as
interactive art on a CD-ROM, as an interactive website online, １or as an interactive
installation involving space. As the Digital Age formally began in the late 1980s, art also
evolved in its forms and thinking, in line with the changes in the tools available to it, to make
use of non-linear and interactive concepts. Specifically, the American artist Lynn Hershman
is considered by European critics to be the first outstanding interactive artist who used
computers to control her works, the most representative of which is the 1978 piece, "Lorna."
How to Interact?
Sometimes, when dealing with interactive art, it may seem that the imagination and
interactivity contained in the work are diminished rather than augmented, especially when a
wide range of different kinds of interaction have been attempted and found to lead to the
same result. In other words, the question of how to get closer to the spirit of interactivity
through the thoughtful application of new interfaces is of pivotal importance in interactive art.
The works nominated for the DAF award this year have all attained a high standard in terms
of quality, with "Play" being the most mature and complete, though more design oriented.
The matching sound and almost real-time interaction in "Doubles" are very impressive, but in
its combination of the mobile phone and Internet, the winner, "Urban Journal" presents a
more profound interpretation of the spirit of "remote controlled" interactivity.

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互動藝術？

在媒體藝術領域的互動不是一般傳統定義下的互動，這裡所指的互動有著狹義的特質-
數位的運算，本質來自於電玩遊戲（computer game）的「遊戲性」，作品需由觀眾的介
入得以完成，它的形式有非常多種，譬如CD-ROM 的互動藝術或網路上的互動性的網
站，或者牽涉空間的互動裝置藝術等。80 年代末正式進入數位的時代，創作的形式及
思考模式也隨著工具進入非線性及互動的概念，歐洲的評論家特別指出美國的琳恩‧赫
緒曼（Lyhn Hershman）應該算是第一個利用電腦去控制作品的傑出互動藝術家，代表
作為1978 年的羅拉（Lora）。

被動式的互動？

當我們在欣賞互動藝術的時候，有時候反覺得作品的想像力及互動性無增反減，尤其當
我們嘗試並知曉所有互動後的結果都是一樣的時候。於是更貼近互動的精神及新介面的
巧妙運用在互動藝術中有著極關鍵的位置。本次入圍的作品都在一定的水準之上，『玩˙
劇』為本次入圍作品中完整度及成熟度最高，但較偏向設計範疇；『雙打』配合聲響及
非常即時的互動令人印象極其深刻，『城市日誌』因結合手機、網路等，將「遠距遙控」
的互動精神表現的更為深遠。