台北數位藝術節講評 之三

黃心健 Hsin-chien Huang
( Assistant Professor of Institute of Applied Arts, ChiaoTung University)

The works entered in the Interactive Installation category of the Digital Art Awards Taipei
this year cover a diverse range of forms and styles, from the minimalist "Water Drama," the
Wii game-based puppet theater piece, "Play," and the Tom's World-inspired audio "Doubles,"
to the exploration of interaction between illustration and physical existence, "Cheerful," and
the first prize winner, "Urban Journal", which treats the city as its playground. Each of these
works offers a response to "Open Play," the theme for Digital Art Festival Taipei 2007 (DAF
'07).
What is particularly noticeable about the works entered for this year's exhibition is the
appearance of inter-departmental, trans-disciplinary collaborations, the involvement of more
(and younger) artists, and the application of a wider variety of technology and production
methods; all of these developments reflect the healthy state of digital art in Taiwan today. In
particular, the presence of works that have germinated from local thinking (such as
"Doubles") further illustrates the ongoing emergence of a unique style and thinking in
Taiwan's digital art.
Deciding who to award first prize to was a very difficult decision for the jury, as "Play" and
"Urban Journal" both triggered extensive discussion among the members. Having worked in
the video game industry for many years, I am fully aware of the breadth and depth of
technologies integrated in these two pieces, and the amount of reflection on the
human-machine interface that went into achieving their high level of fluidity. Although in the
end all of the judges were won over by "Urban Journal", with its concept that expanded the
arena of interaction to the entire planet Earth, I would like to use this opportunity to point out
the immense effort that went into "Play," in the hope that, rather than just looking at these
works, visitors to DAF '07 will also think about how they were produced, and become more
tolerant with regard to the minor glitches that often affect works involving technology.

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這次台北數位藝術獎互動裝置的參賽作品，類型涵蓋十分多樣，從極簡的戲水戲，由
wii 遊戲電玩轉換的傀儡劇場玩˙劇，由湯姆熊得來靈感的聽覺作品雙打，或是插畫與肢
體互動的作品愉悅，乃至首獎作品，將城市當成是一個遊戲場的城市日誌，都回應了這
次數位藝術節的主體：玩開。

在這次的參賽作品中，我們發現了有跨系所與領域的合作出現，更多與更年輕的藝術家
的加入，和應用更廣泛的技術與製作方法，這都表現出數位藝術在台灣的發展與蓬勃。
尤其是逐漸看到一些由本土思維所發展的作品（像是雙打）這樣的作品，也說明了台灣
的數位藝術發展，不斷有自己的風格與思維浮現。

而這次首獎的選出，對所有委員都是一個十分困難的決定，玩 · 劇與城市日誌兩件作
品，在委員間引發了廣泛的討論，我本身曾在電玩界從事多年，十分了解這件作品裡整
合的技術的數量與廣度，同時也做了許多人機介面的思考，才能達到這樣的流暢度。雖
然最後首獎歸到城市日誌這件作品，將互動的場域擴大到整個地球的思維贏得了所有評
審的青睞，但是，我希望在此點出玩 · 劇這件作品的幕後努力，希望參觀台北數位藝
術節的觀眾，能在欣賞作品之餘，也能了解這些作品製作的過程，並對這些科技作品經
常會有狀況發生的現象，有更多的體諒。