台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

首頁 展覽資訊

【因腦維新族:新媒體藝術的華麗旅程 】The Innovationists

展覽名稱 Exhibit


The Innovationists: The Spectacular Journey of New Media Art

展覽時間 Date


展覽地點 Venue

台北當代藝術館1樓 MOCA Taipei, 1F

門票 Admission

新台幣50元,NTD 50

策展人 Curator

鄺佳玲 Joel Kwong

參展藝術家 Artists

史考特.赫塞爾斯(Scott Hessels)XEX GRP / 張瀚謙(Chris Honhim Cheung)楊嘉輝(Samson Young)超維度互動(dimension+)蕭子文(Eric Siu)COGOO × SEMITRANSPARENT DESIGN × TBWA\HAKUHODO桑久保亮太(Ryota Kuwakubo)circumstance蒂芬妮•霍姆斯(Tiffany Holmes )

貼心小叮嚀 Note

本展適合闔家觀賞 This exhibition is for general public.

展覽介紹 About the Exhibition

二十世紀六○年代開始出現的「新媒體藝術」,呼應了觀念藝術的需要,並受到早期達達主義的影響,七○年代後,隨著科工技術的發展,原本偏重前衛與實驗性格的新媒體藝術,逐漸結合運用聲、光、影像與機械動力等各種元素,將科技的發明轉化為藝術表現的融入,八○年代後,藝術從現代主義純粹美學的鑽探回歸到當代社會文化的關照與呼應,而新媒體藝術的發展,也隨之進入了藝術/ 科技/ 人文形成鐵三角關係的新時代。

【因腦維新族】作為二十一世紀的新媒體藝術展,希望透過來自美國、英國、日本、香港、台灣等地藝術家的作品集結和對話,將台北當代藝術館展場空間轉化為超越視覺感官的多重體驗行程,本次展出的9 組18 件作品,從某方面說,是結合了科技、設計與創意理念的機動藝術類型,但這些作品也衍生了許多觀看與閱讀和詮釋的角度,例如由互動穿戴式裝置看宅男文化現象,或透過冷硬機械裝置呈現軟性環保訴求等,或植根於生活/ 環境/ 物件/ 現象來發展藝術與社會生活、當代文化的對話;或以風力結合動畫原理與巨型紙雕造型;或透過互動化的微型電子物件反映當代媒體現象等等。「因腦維新族」像煉金術士般,從生活出發而共同成就了一場華麗冒險的旅程。


“New Media Art” began during the 1960s as a response to the artistic demands of Conceptual Art, and was further influenced by early period of Dadaism. With advances in scientific and industrial technologies from the 1970s, the avant-garde, experimental nature of New Media Art led it to gradually incorporate various elements including sound, light, video, and mechanical power, transformed technological invention into artistic intervention. From the 1980s, art returned from the pure aesthetic exploration characteristic of modernism to an approach which focused more on observing and echoing contemporary society and culture. New Media Art also responded to these developments and entered into a new era of a triangular relationship between art, technology and culture.

The Innovationists, as a New Media Art exhibition in the 21st century, attempts to transform the space of the Museum of Contemporary Art, Taipei into a multifaceted experiential journey transcending mere sight through the dialogues and artworks created by artists from United States, Britain, Japan, Hong Kong and Taiwan. This exhibition gathered 18 pieces created by 9 different units. All are in some sense of mechanical art which unite concepts of technology, design and creativity. These pieces also generate multiple observations, readings and interpretations: interactive wearable device casts light on the culture of Otaku/ Geeks/ Computer nerds; gentle appeals for environmental concerns and protection from a series of cold kinetic installations; creative works and ideas inspired from our daily lives/phenomena/ objects/ environment, which created the dialogue among art, social lives and contemporary culture; kinetic sculptures which applied wind power and connected with the principles of animation; huge paper sculptures which consisted of the concept of archeology; or through small interactive objects to reflect contemporary media phenomena, and so on. The Innovationists, like alchemists, inspired from daily lives and surroundings, together to create a spectacular journey for all of us.

New Media artists are the forward-looking observers of our society, as well as artistic rebels. They apply technology and science to their works and challenge existing concepts and values which intrinsic to humanity. Thus, they re-examine the new position art holds in the modern society, and the ever-changing relationship between people and art; these are what The Innovationists attempts to inspire audience to understand, investigate and explore.

作品介紹 About the Artworks


史考特.赫塞爾斯 Scott Hessels

〈可持續影院No. 3: 動畫磨坊〉
Sustainable Cinema No. 3: PRAXINOSCOPE WINDMILL
鋼、壓克力 Steel, Plexiglass
75 x 75 x 200 cm | 2011

〈可持續影院No. 5: 雙向磨坊〉
Sustainable Cinema No. 5: DUAL WINDMILL
鋼、壓克力 Steel, Plexiglass
100 x 100 x 250 cm | 2011


史考特.赫塞爾斯以不同媒體創作,包括電影、錄像、音樂、網路等類型,擅長運用影像元素混合科技裝置以創造嶄新觀影經驗。其裝置作品曾於美國紐約的MoMA、日本新媒體藝術節、奧地利國際電子藝術節(ARS ELECTRONICA) 及ISEA 等展出。

本次展出的兩件作品,屬於赫塞爾斯結合工業設計構造及動畫圖像的可持續影院作品系列,其一是利用十九世紀「活動視鏡」原理製作的〈動畫磨坊〉,透過旋轉動力裝置和鏡像反射機制,呈現一種可以無限反覆的動畫影像;另外一件裝置〈雙向磨坊〉,利用視覺暫留原理,讓觀眾從正反方向同時運轉的風扇交錯細縫中,窺見兩種靜態圖像在15 個畫框中相互過渡轉換的趣味動畫。

Scott Hessels creates across different mediums, including film, video, music, Internet, and others; he specializes in mixing image elements into technological devices to create a new form of viewing experience. These works have been exhibited in New York City’s MoMA in the United States, at Japan New Media Art Festival, ARS ELECTRONICA in Australia, ISEA etc. 

Both works in this exhibition are from the “Sustainable Cinema Series”, which applies industrial design and animation principles. One of the works –Praxinoscope Windmill, applies the Praxinoscope mechanism in 19th Century and also the kinetics of windmill; the animation appears repeatly in the base of the windmill and is completely controlled by the speed and direction of the wind. The other work, Dual Windwill which is an optical illusion in which two disks rotate in opposite directions. When the disks spin, the lm is visible in the intersection of the two fans.




Chris Honhim Cheung +XEX GRP

感應器、Arduino 電路板、電腦系統、壓克力、鋼
Sensors, Arduino, Computer System, Acrylic, Steel
50 x 50 x 180 cm | 2011

〈Resonance Seed〉
Steel, Motor, Computer System
150 x 180 x 180 cm | 2012


張瀚謙為國際新媒體藝術家及設計師,除了本身專注於互動新媒體藝術創作,更於2007 年成立創作團隊XEX GRP,以五名核心成員串聯不同創意領域,包括演出、音樂、廣告、微電影、動畫等,XEX GRP 作品多元,創立以來已陸續應邀於義大利、俄羅斯、中國、日本、台灣、香港等地參展或演出。

105 室展出的互動裝置〈Anadelta〉是一件新媒體樂器,倒三角形的造型結構,結合了敏銳的感應器,將觀眾在不同位置上的碰觸行為,轉化為集音樂、聲效、影像及光像之無窮組合變化的影音即興演奏表演。此作的互動機制,擴大延伸了當代藝術與科技方興未艾的共享概念,也呼應了普普藝術大師安迪‧ 沃荷(Andy Warhol 1928-1987)當年的名句「: 人人都可成名15 分鐘」—拜當代科技之賜及各種大眾平台之普遍化,人人都有機會成為藝術家/ 演藝者!

另一件互動裝置〈Resonance Seed〉( 共鳴的種子),邀請觀眾以人力運轉圓盤,藉此旋轉力來驅動和產生不同的視覺光像與音景聲響。處於當下數位時代,藝術、科學和心理學之間的界限日趨模糊,互動藝術一方面帶動了人類感知的革新,同時也試圖引導人們關注心靈真實,此作藉由人力運作,讓種子般的光點化為盛開的生命種子(Seed of Life) 圖案,透過聲音的頻率及持續的視覺影像,引導觀眾進入冥想狀態。

Chris Honhim Cheung is an international new media artist and designer. He focuses mainly on the creation of interactive new media art, and established XEX GRP in 2007 ; with ve core members each specializes in a particular eld, including performance, music, advertising, lm and animation. The works of XEX GRP are diversed and have been exhibited in Italy, Russia, China, Japan, Taiwan, Hong Kong, and many other places. 

The installation work in Exhibition Room 105, Anadelta, is an interactive new media instrument; the inverted triangular structure is combined with keen sensors, transforming the touches of audience in different positions into endless combinations of music, sound and light. The interactive mechanism of the work extends to the concept the best blend of art and technology, and the aspiration of its everlasting development. It also echoes the famous quote of the father of pop art Andy Warhol (1928-1987), “In the future everyone will be world-famous for 15 minutes”; regards to the popularization of social media and the advanced technology, everybody get a chance to be an artist or performer! 

Another interactive installation work is Resonance Seed, which invites audience to operate a handwheel, which triggers the visual and sound of the installation. In the recent digital age, boundaries are blurred between art, science and psychology; interactive art, on one hand, stimulates the innovation of human perception, and also attempts to arouse people’s concern towards their spiritual development. Through the operation of the work, light spots transform into the pattern of “Seed of Life”; through the repeating frequencies and continuous light pattern, the audience will be led to a meditation stage.



楊嘉輝 Samson Young

〈無為機器 一號:大場面〉
Machines for Making Nothing #1: Triumph of the Spectacle
〈無為機器 三號:持恆的藝術〉
Machines for Making Nothing #3: The Art of Perseverance
〈無為機器 六號:論述的角度〉
Machines for Making Nothing #6: The Critical Angle
〈無為機器 七號:有陣時我會想太陽爆炸〉
Machines for Making Nothing #7: Someday, I Wish the Sun Will Just Explode
R105 旁機房門口 + R106 旁拱門
Aisle around R105 + R106 Archway

Interactive Electronic Objects, Microprocessor, LCD Display, Wires



Samson Young’s media art works are fused with classical music, technology and cultural phenomena; for instance using brainwaves as live data input to control and perform percussion, turning an entertainment console into a sound device and using iPhone as instruments to allow general public to group as an instant orchestra to perform. His illustrate works his experimental spirit, and also serve as a token for the signicance of the future road of art. 

The Machines for Making Nothing Series is a combination of a series of small electronic objects. They seduce people to interact with them, and provide no actual function but non-stop positive feedbacks. These feedbacks are a type of hypnotic visual image or a self-muttering type of interactive response. Young realized that interactive response or positive feedbacks for modern people means a special type of magic/trick, just like people keep checking updates from friends and surroundings on Facebook through their smart phones, they focus on the screen while keep swipping on the screen with no intention or meanings; which fully reects human infatuation with and dependence on devices. Young has taken the Machines for Making Nothing as a group of purely fun and meaningless devices, which the techno-objects became the object of desire for human perceptions.


〈貝多芬一至十四號鋼琴奏鳴曲 搞砸了〉

Beethoven Piano Sonata No. 1 - 14 messed up
發光二極體、喇叭LED, Speakers | 2010

另一件作品〈貝多芬一至十四號鋼琴奏鳴曲 搞砸了〉則是楊嘉輝的跨界之作,擁有傳統音樂背景的他,將貝多芬十四首鋼琴奏鳴曲演奏過程的旋律節拍,通過「編程線路板」上的信號燈與喇叭,進行信息轉換並重新呈現,使得原本已高度音樂化,或說被文化建制化了的音樂旋律和節拍,簡化為信號燈的閃爍與喇叭發出的劈啪聲,以此凸顯了聲音的另一種純粹性和當下性,觀眾在感受這種形式轉換之同時,也得到了音樂不必然以樂章方式演奏的新啟示。

Another exhibiting work from Young, Beethoven Piano Sonata No. 1-14 messed up, is a cross-discipinary work. With the background of traditional music training, he took out the melody and beats of Beethoven’s Piano Sonata Nr. 1-14, and through a circuit board reprograms it into lights and horns, which conducted a representation and transformation of the content, help raising the high level of music or the cultural institutionalization of the music and beat, then simplifying the blinking of the signal and its clattering of sound. This provides a prominence to outline the characteristics of pureless and modern feature of sound, which allows the audience to feel the transformation of form while at the same time experiencing the new revelation that musical performance doesn’t need to be performed in the traditional format.



超維度互動 Dimension+

聚丙烯紙Polypropylene Paper
150 x 100 x 33 cm | 2012

ABS 塑料、3D 列印ABS Plastic, 3D Print
直徑12 公分Diameter 12 cm | 2012

Polypropylene Paper, Servo Motor
55 x 77 x 17 cm | 2012


超維度互動是一個新媒體藝術創作團隊,由蔡宏賢(台灣) 和林欣傑(香港) 於2009年創立,關注藝術創作與科技媒體的整合,作品與空間環境的對應,乃至於跨領域知識與技術的對話互動。


Dimension+ is a New Media Art collective, which established in 2009 by Escher Tsai (Taiwan) and Keith Lam (Hong Kong). They mainly focus on the integration of artistic creation with technological medium and the relationship between artwork and space. Their works could be viewed as a dialogue between technology and interdisciplinary knowledge.

Their exhibiting work, Vertebra Series, is a set of three groups of work. In this series, alternative life forms have been created according to the concepts of “bionic- archaeology”, which leads the audience to back to the starting point of the development of life. The pieces are made from industrial plastic components, which shaped to resemble either in the forms of leaf or feather, and then assembled to mold into spine-like ctitious creatures. By applying the principle of domino effect, it is differentiated and represented different growing stages of this anonymous organism, which shown the evolution of variation in body forms, and leads to the imagination of different ways how these creatures navigate across earth, water and space. These spinal organisms are a kind of hybrid with animal backbones and the explicit features of plants. Thus, these creatures combine the features of exibility and strength, with stable structure and various physical forms, which convey a sense of rational order, cadence of perception and of all-rounded beauty.



蕭子文 Eric Siu

ABS 樹脂、鋁、不鏽鋼、機械零件、訂製電子零件
ABS, Aluminum, Stainless Steel, Mechanical Parts, Custom Electronics
20.8 x 16.3 x 23.9 cm|2012


蕭子文是曾經留美專研新媒體藝術的香港藝術家,作品曾於全球多個重要展覽及藝術節,包括 FILE, Transmediale, EMAF, WRO, SIGGRAPH Asia, ISEA, Microwave 等展出。他喜歡結合錄像、影像、動畫等媒材和物體/ 人體的移動性實驗,探討媒體藝術的各種可能性。


Eric Siu is a Hong Kong artist, who studied media arts in the United States.. His works have been shown in major exhibitions and art festivals around the globe, included FILE, Transmediale, EMAF, WRO, SIGGRAPH Asia, ISEA and Microwave. He has a broad interest in device art, interactive art, kinetics, installation, video and animation; his recent works combine designed objects and human interactive experiments to further explore the potential possibilities of media art.

TOUCHY is a wearable device. Through the real-time interaction between the audience and the work/the artist, it casts light on contemporary cultural phenomena and social issues. The piece was inspired by the artist’s observation and exploration of otaku culture in Japan; through the mechanism of the interactive performance, it attempts to encourage people to have physical contact with and communicate with others through the device. This not only helps to reverse the progression of processes of visualization, alienation, and virtualization in interpersonal relations, but also assists in dispelling the phobia of the otaku group in having general social contact. This piece begins with the transformation of a person into a human camera, but the emphasis is very much on its interactive nature – “machine” and audience must first “look at each other” in order to take a picture. This reects the norms that interaction could only be presented when real contact with each other occurred. Through human interaction, it recalls the delighted memory of our in-born body and mind synchronization.



Celastic, Goggles, Plastic, LCD, Camera, Custom Electronics
20 x 11 x 18 cm|2008


〈eeyee〉作品也是一套穿戴式的互動裝置。演出者藉由雙手觀看周遭世界,此機器裝置會將其手套上四個鏡頭所見,連結成在頭套播出的三度空間立體影像,旁觀者則可以經由演出者眼部的套筒去窺視內存的3D 影像,在這一對一的互動遊戲中,觀者可以進而操控演出者的雙手去重新掃描環境和捕捉影像,啟動另類的視覺傳達與環境體驗。


eeyee is also a wearable device, which allows the performer use their hands(with camera) to see the world in a brand new angle. The device allows the performer to view the world through four cameras pre-set into a pair of gloves, which broadcast 3D images directly into the headset (screen). Audience can look into the other end of the goggles/ headset to check out the real-time images. The performance then becomes a kind of one-on-one interactive game, in which audience can control the performer’s hands to get a fresh view of their surroundings, which opens up a new realm of visual communication and an alternative experience of how we see the environment. 

eeyee disorientates the performer and removes a certain psychological sense of security and also separates people from their accustomed “viewing” behavior and dislocates their visual cognition. This is also a metaphor for how members of Generation X of the electronic age are presently engaged in a nding for cultural trends to suit an utterly new visual logic. This work and performances have been toured to New York, Shanghai, Belfast etc, and attracted a lot of people to perform and interact with him.




〈轉盤騎士〉Turntable Rider
聲音合成器、Platter Stick、手煞車聲音控制器|Fader Box, Platter Stick, Handbrake Sound Pad
30 x 21 x 8 cm | 2012


107展間〈轉盤騎士〉是一個跨領域合作的藝術專案,由TBWA公司結合推動腳踏車共享服務的COGOO公司與數位多媒體創作團隊SEMITRANSPARENT DESIGN共同合作;此作試圖透過新媒體藝術和社會性專案計畫組合,創造一個以「共享」概念出發的「新城市神話」,藉以挑戰社會定律以及凸顯全球環境問題。

此作的特色是,透過聲音合成器與腳踏車操控機制( 轉彎、煞車、旋轉等) 的緊密結合,將DJ 和極限腳踏車手合為一體,讓原來屬於青少年文化的街頭個人運動技能秀,轉化成一場與大眾分享的現場音樂即興演出。

The exhibited project in Room 107 is Turntable Rider, a cross-disciplinary creative project. Collaborators included “bicycle sharing service unit” COGOO, digital multimedia design collective SEMITRANSPARENT DESIGN and an international advertising agency TBWA \ HAKUHODO. This work attempts to combine New Media Art and social project to create a “new urban legend” that in-coped the concept of “sharing”. Through this project, they challenge the social norms and bring in the concern of global environmental issue. 

The feature of this project is to apply different gestures of a BMX player (ie. Turns, Braking, Spins etc,) to the controls of a music syntehizer/ turntable; DJ and the BMX player units as one, transformed the pop street culture – BMX extremesports into an improvised musical performance to be enjoyed by all.



桑久保亮太 Ryota Kuwakubo

〈點‧ 線‧ 面—十番目之感傷〉 The Tenth Sentiment
LED 燈、模型火車、日常用品
LED Light, Model Train, Daily Commodities



〈點‧ 線‧ 面—十番目之感傷〉在全黑的展間內,透過一台玩具小火車和簡單的頭燈,帶動了視覺史詩般的城市光影交響曲,細看展品元素,車軌旁實際佈滿了一般家用小物件,四周簡約的白牆就是幻景流動的舞台,素樸的材料和空間,呈現了多重觀看的可能:其一是針對牆面影像本身的專注閱讀、欣賞和感受,其二是針對地面諸多細微物件之個別內容和連動關係的審視,其三對現場實物與映像這兩者之間的動靜、明暗、大小、真假、虛實等的對照;要之,藝術家以四兩撥千金的手法,創製了一個讓藝術遊戲空間與現實生活世界不斷辯證與連結的場域。

Ryota Kuwakubo is a Japanese new media artist. He is renowned for his application of cross-disciplinary techniques to electronics and everyday objects, and also the integration between digital and analogue. The core concept of his works is about the dialogue between human and machines, and also the transmission of information and the perceptions toward our contemporary culture.

The Tenth Sentiment is an installation to be set in a total dark space; a small toy train equipped with a simple LED headlight, drew an epic urban symphony of light and shadows. To look into the details of the installation, a collection of household objects are found. The white walls are the canvas which casts the projection/ shadow. Through the adaptations of the simple materials and white space composes a visual feast with a shadow play: rstly, to read and appreciate the work by focusing on the images and shadows cast on the walls; secondly, to examine the pre-set individual object and the explore the relationship between them; and thirdly, to examine the contrast between the objects on and the shadows they cast - stillness/movement, light/dark, large/small, real/fake and true/false. In brief, through the adaptation of this simple technique, the artist has contrived a vision which forms a dialectical link between an artistic space and the real world.




〈彷彿最後一次〉 As if it were the last time


此作為本次展覽的平行藝術事件,實際發生於去年十二月十八號的台北西門町街頭,雖然當天陰雨綿綿,現場參與人數超過一千人,這是由英國的Duncan Speakman、
Sarah Anderson 及Emilie Grenier 所組成的circumstance 團隊,策劃的「藝術隱閃」活動。circumstance 三位成員來自不同背景,包括劇場、互動設計、音樂創作、穿戴式電子儀器研發等,他們擅長透過故事性的內容設計和民眾參與的隱閃活動,在都會空間創造有如電影般的在地情境和共同體驗。

〈彷彿最後一次〉也可視為一場實體化的微電影,藝術家體驗台北城市特色後,量身編寫了33 分鐘的聲音劇本,並透過網路募集活動參與者,於約定時間匯聚到特定地點,藉由MP3 或手機,隨著聲音劇本的指引遊走及行動,就地完成了「僅此一次」的即興隱閃集體演出。這裡展示的是藝術家在台北西門町及之前在其他城市所留下的紀錄、錄音、照片及訪談等文本與文獻,讓觀眾從不同角度認知新媒體藝術的另一種樣態。

It’s about an art event which has been held in Taipei on 18th December, 2012, and took place on the streets of Ximending, Taipei. It was a rainy day, and more than 1000 people took part in it. The subtlemob project is created by circumstance, an artist collective formed by Duncan Speakman, Sarah Anderson and Emilie Grenier. Three of them are all come from very different backgrounds, including theatre, interaction design, music and research of wearable devices. They created amazing collective cinematic experience in urban spaces through live interaction of audience. 

As if it were the last time could be perceived as a micro-lm brought to life. The artist group created a 33-minute script which adapted the urban city phenomena and the characteristics of Taipei. Then they open call for participants/ actors/ actresses through online promotions, which the registered parties shall receive a mp3 le and play together at a certain date, time and place informed by the artist. Groups of people shown up at the appointed area on the same date and time, “performed” an once a life time live cinema together. The exhibiting set is a group of information, included scripts, soundtracks and photo, which the artist prepared, and collected in previous performances in different cities, and also in Taipei. The exhibiting set illustrates a new perspective of media art nowadays.



 蒂芬妮‧ 霍姆斯 Tiffany Holmes

〈我們不可能永遠游泳〉 We can’t swim forever
Recycled Materials, Polar Bears, Electronic Cake Turntable
50 x 150 x 50 cm | 2011



Tiffany Holmes is the Associate Professor of the Department of Art and Technology Studies at the School of the Art Institute of Chicago. She explores the potential of art and technology to promote environmental stewardship. We can’t swim forever is a kinetic installation made from recycled materials and mechanical parts. The installation places a miniature population of polar bears into a kinetic display, which references a pastry shop window. Like a representation of the everlasting human desire and how it references to the environmental issues. Laser-cut acrylic rings that articulate messages which provide formally interesting shadow plays atop the white forms of the kinetic sculptures. Overall, the installation references the effects of climate change on a marine mammal population that has no hope of survival without immediate human intervention. And this triggers further the exploration of how human offences the Mother Nature, also the topics related to ecological equilibrium and environmental sustainability.