最近版面上多了一堆火星文
感覺還是真是有點糟糕，因為我明明是阿卡巴星球的國民
為什麼還要寫這麼多火星人才看得懂的東西呢？
沒辦法，大隱隱於市，因為我快要到一個騙子訓練所裡面了
以前都是我被騙，現在終於要輪到我來騙人了
一直以來都有一種感覺，藝術就是一個騙人的遊戲
只要我說的東西你不懂，我就贏了，因為這樣代表我比你高級，比你有藝術氣息
我也就成了一個藝術家，而且還是一個沒有人懂的藝術家
可是這樣到底有什麼好處呢
難道一定要沒有人懂的東西，才是一個好作品
而且
明明才二十出頭的年輕小伙子，哪來這麼多情感，那麼多苦悶
這麼悶的話不會去看全民大悶鍋喔，解悶救台灣啊...
唉...說到底，這還真是個苦悶的社會呢(哇咧！連我也在亂悶，真是自婊...)
2008年2月4日 星期一
2008年2月3日 星期日
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.
##CONTINUE##
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。
( 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.
##CONTINUE##
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。
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.
##CONTINUE##
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。
(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.
##CONTINUE##
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。
台北數位藝術節講評 之一
陶亞倫 Ya-Lun Tao
(Assistant Professor of Graduate School ofArts & Technology, Taipei National University of the Arts)
There has been very intense competition between the works in the Interactive Installation
category in this year’s Digital Art Awards. The works entered this year are all more mature
than last year’s; showing that this event has encouraged the development of this field with
good results. Among the entered works, there are two works from students of the Yuan Zhi
University Graduate School of Information Communications which stand out. These works
show that the style of our digital arts creation has completely escaped the realms of
traditional art and has formed an inter-disciplinary artistic style.
The winner of the top prize in the Interactive Installation category, “Urban Journal,” features
the interaction of cell phones and the Internet and the interaction of different regions and
times. It displays the form and characteristics of digital media with intentional actions,
forming a new style of social relationship. The work shows a boundless expansion of time
and space, winning it the approval of the jury. It allows our national new media arts to
completely escape from aesthetic theories of art museums and performance centers, climbing
over the walls of Academia and into the community, changing the shape of society through
intentional interaction.
New media itself has intense social significance, drawing on the massive energy of
“incidents”. It is hoped that the winning of “Urban Journal” can attract more outstanding
works, and make people think about the significance and expansiveness of new media,
leading to even more discussion and even greater creative energy.
##CONTINUE##
本屆數位藝術獎，互動藝術類作品競爭非常激烈，入圍的作品的完成度皆比去年成熟，
顯示本活動帶動了國內相關領域的發展，已有了良好的成效。在入圍的作品中，元智大
學資訊傳播研究所的同學，有兩件作品入圍，表現最為突出，也突顯了國內數位藝術創
作的風潮已經完全跳脫原有的藝術族群，已形成跨領域、跨學門的整合創作。
互動藝術類的首獎「城市日誌」，以手機、網路，與地域性、時間性的互動，充分展現
了數位媒體的形式與特色，以積極性的行動，建構新型態的社會關係，作品呈現了無遠
弗屆、強大的時空擴張性，贏得評審一致的肯定。使國內的新媒體藝術完全擺脫了美術
館與表演場內的美學論證，跨越了學術高牆，融入了社群，以積極介入的方式改變社會
的型態。
新媒體本身具有強烈的社會意義，與引發「事件」的巨大能量，期望「城市日誌」的得
獎，能拋磚引玉，思維新媒體的意義與擴張性，引發更多的討論與更大的創作能量。
(Assistant Professor of Graduate School ofArts & Technology, Taipei National University of the Arts)
There has been very intense competition between the works in the Interactive Installation
category in this year’s Digital Art Awards. The works entered this year are all more mature
than last year’s; showing that this event has encouraged the development of this field with
good results. Among the entered works, there are two works from students of the Yuan Zhi
University Graduate School of Information Communications which stand out. These works
show that the style of our digital arts creation has completely escaped the realms of
traditional art and has formed an inter-disciplinary artistic style.
The winner of the top prize in the Interactive Installation category, “Urban Journal,” features
the interaction of cell phones and the Internet and the interaction of different regions and
times. It displays the form and characteristics of digital media with intentional actions,
forming a new style of social relationship. The work shows a boundless expansion of time
and space, winning it the approval of the jury. It allows our national new media arts to
completely escape from aesthetic theories of art museums and performance centers, climbing
over the walls of Academia and into the community, changing the shape of society through
intentional interaction.
New media itself has intense social significance, drawing on the massive energy of
“incidents”. It is hoped that the winning of “Urban Journal” can attract more outstanding
works, and make people think about the significance and expansiveness of new media,
leading to even more discussion and even greater creative energy.
##CONTINUE##
本屆數位藝術獎，互動藝術類作品競爭非常激烈，入圍的作品的完成度皆比去年成熟，
顯示本活動帶動了國內相關領域的發展，已有了良好的成效。在入圍的作品中，元智大
學資訊傳播研究所的同學，有兩件作品入圍，表現最為突出，也突顯了國內數位藝術創
作的風潮已經完全跳脫原有的藝術族群，已形成跨領域、跨學門的整合創作。
互動藝術類的首獎「城市日誌」，以手機、網路，與地域性、時間性的互動，充分展現
了數位媒體的形式與特色，以積極性的行動，建構新型態的社會關係，作品呈現了無遠
弗屆、強大的時空擴張性，贏得評審一致的肯定。使國內的新媒體藝術完全擺脫了美術
館與表演場內的美學論證，跨越了學術高牆，融入了社群，以積極介入的方式改變社會
的型態。
新媒體本身具有強烈的社會意義，與引發「事件」的巨大能量，期望「城市日誌」的得
獎，能拋磚引玉，思維新媒體的意義與擴張性，引發更多的討論與更大的創作能量。
何謂 Mixed Reality？
Mixed reality
From Wikipedia, the free encyclopedia
Mixed reality (MR) (also referred to as augmented reality or augmented virtuality) refers to the merging of real and virtual worlds to produce new environments and visualisations where physical and digital objects co-exist and interact in real time. A mix of reality, augmented reality, augmented virtuality and virtual reality.
我來充當一下火星文翻譯機
混合實境(MR)(也被稱作是擴增實境或是擴增虛擬)也就是把現實世界與虛擬世界合併在一起，從而建立出一個新的環境以及符合一般視覺上所認知的虛擬影像，在這之中現實世界中的物件能夠與數位世界中的物件共同存在並且即時的產生互動。也就是真實環境、擴增實境、擴增虛擬、與虛擬真實環境的混合。
如果大家有玩過SONY的EyeToy就可以理解，畫面中可以看一個真實的人(利用攝影機擷取真實環境中的影像)，而這個人可以跟電腦虛擬出來的物件產生互動，好比用手去撥動畫面中的球，而這顆球是由電腦虛擬出來的並且可以即時的偵測到真實世界中的活動與作出回應。
Examples
- Free-floating holograms made by Vizoo, a mix of Augmented Reality and Virtual Reality. This example shows that neither just the term Virtual Reality nor Augmented Reality are applicable in this case; it is a combination.
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