台灣數位藝術中心

《沈聖博紀念展》

Round 3- Commemorative Exhibition of Shen Sheng-Po

𒈞 展期 Duration：2016/01/09 (六)～2016/01/31 (日)

𒈞 開幕 Opening：2016/03/05 (六) 14:00

𒈞 地點 Venue：台北數位藝術中心台北市士林區福華路180號　Digital Art Center, Taipei ( No.180, Fuhua Rd., Shihlin Dist., Taipei City, Taiwan )

𒈞 展覽介紹

我的人生目前至此，我很滿足，因為我遇見了很多很好的人和很多很好的事。因此，我希望我也能成為別人眼中很好的人，以及我也想做對別人而言，很多很好的事。這是我的自傳，我生命中的感動。謝謝！

沈聖博寫於2009年

《第三回合 ─ 沈聖博紀念展》是沈聖博的好朋友們一起籌畫的展覽。其離世，不僅帶給家人與好朋友們無限的哀痛，對於台灣數位藝術圈，亦是一大損失，年輕的生命如彗星般，迸發出絢麗的光芒。他留給我們的，不僅是優秀的作品，更是對於台灣推動開源軟體(Open Source)、Floss Art (make art with Free/Libre Open Source Software)的貢獻與精神。

以2008年《曾經有一顆樹》為起點至2014年離世，沈聖博短暫的10年創作生涯，創造了多件代表性作品。2012年《pin shadow》入圍第七屆台北數位藝術獎，並受邀參展「奇幻視界 – 2014國際科技藝術展」於國立臺灣美術館，是台灣數位藝術對其成就的肯定。

沈聖博的作品中流露出一種科技人的人文氣質，以數理邏輯重新詮釋數位藝術創作的美學思維，是台灣當代數位藝術創作者，甚少觸及的美學態度。Bense(1971)認為衍生美學是透過數學構成與數學描述所處理的美學狀態之整體過程，聖博的作品涵蓋了程式語法、數學描述、程序結構與隨機偶發，創造了衍生過程，並在此過程中，呈現了清晰的、具條理指示的編碼程序，並透過有組織與邏輯的指示，將虛實物件的組合變化產生結果與程序。此概念將軟體視為數位藝術創作中的主體，其核心價值是來自於「數學」所構成的科技美學，此亦是Bense衍生美學(generative aesthetics)的精神。然而，另一方面，在程式編碼中，作品中所使用的元素、造型、裝置呈現，卻是攜帶觀念意義、具隱喻的象徵物。他使用構成世界的點、線、面的基本元素，玩弄虛實元素的相互關係，並以程式符號將點、線、面重新組構為具邏輯的程式運算，進而產生具結構性的視覺介面。

沈聖博以冷冽的，無色彩的影像構成，討論作品中的軟體與程序意義，同時也重新賦予軟體美學詮釋面貌，在冷硬的程式邏輯中，以科技人+藝術人的感性思維，建構出屬於聖博風格的數位溫度，「第二回合」雖然已經結束，但是沈聖博的「第三回合」即將展開。

𒈞 Exhibition Introduction

Round 3 – Commemorative Exhibition of Sheng-Po Shen

“I think I am really satisfied with what happened in my life! I met a lot of kind people and had good things and stories with them. So I do really hope that I am a nice person in their minds too. I really enjoy doing nice things to people I met… many .many nice things..This is my autobiography and I want to share this feeling! Thank you!”

Quoted from Sheng-Po Shen (2009).

Round 3- Commemorative Exhibition of Sheng-Po Shen, an exhibition organized by a bunch of close friends of Sheng-Po Shen in memory of him. His death brought the friends great sorrow, and undoubtedly, a tremendous loss of the digital art field. Sheng-Po Shen, was seen as a rising star in the field. What he left behind to us, are not only the great works, but the diligence spirit and the dedication to the Open Source and Floss Art (make art with Free/Libre Open Source Software).

Sheng-Po Shen, was seen as a rising star in the field with the work- “There was a tree” (2008). He is a diligent artist and created many outstanding works in his last decade of his life. “Pin Shadow” was one of the finalists of the 7th Taipei Digital Art Award, and was an invited work in the exhibition of “Wonder of Fantasy”. It’s truly an honor and huge recognition to his achievement.

Sheng-Po Shen’s works are featured with human temperament, which hardly appears with engineering background. In an unique logical and rational style, he interprets a new idea of athletics of programming. Bense (1971) claims that “… Generative aesthetics is analogous to generative grammar, in so far as it helps to formulate the principles of a grammatical schema–realizations of an aesthetic structure.” Generative aesthetics is a reconstruction process of mathematics configurations and mathematical distribution of status of aesthetics. In this process, Sheng-Po’s work includes programming, mathematical distribution, ordering construction, and random incidents. These items all share the feature of generative process. Sheng-Po successfully represents a clear and well-organized coding program by logical and methodized reconstructing the orders and results of arbitrary and real objects. This concept occurs majorly in his works, and he adapts generative aesthetics as the essence of his works. But, the elements in his works including shape, form and installation always carry symbolic meanings as a metaphor of life. Point, line, surface that he used, the correlation between abstract and concrete elements that he reinterpreted, he incorporated these features and generated a whole new style of visual interface of highly organized structure.

Shen-Po Shen’s works are featured with the hard edge, colorless images, focusing on the software and programming reading while interpreting new idea of athletics of programming. Sheng-Po constructed unique style by combining extreme logical thought from engineering background and sentimental personality as an artist. Although it seems the “Round 2” (2011) ended with his passing away, his “Round 3” is about to start.

𒈞 關於藝術家

沈聖博(1980-2014)。數位藝術家。主修電腦科學，研究領域是分散式系統，後至英國修習科技藝術相關學程(2006~2007年)，現從事數位藝術創作，陸續發表多件作品、參與聯展及舉辦個展，作品主軸為討論數位領域的規則特性，及其與生活的關係。為Openlab.Taipei創始成員，推廣使用自由軟體從事藝術創作(FLOSS+ART)，擁有多次工作作坊、學校課程教學經驗，於台中成立有為空間，提供藝術家展演及實驗空間。

沈聖博認為生活本身即是藝術，而人與人之間的許多活動是生活的成份，這是最原型的互動形態，你我之間一定存在著至少一種互動媒介將你我連結起來。因此，擅於觀察並找出你我之間的隱性連結，並透過作品加以呈現。

𒈞 About the Artist

Sheng-Po Shen (1980-2014). Majored in the Computer Science, especially focused on the Distributed System. Also went to the University of Salford in Manchester, UK to study the Tech-Art related program (Creative Technology, 2006~2007), now keep on creating digital art works, attending union exhibitions and holding solo exhibitions (2008~), The main idea of art works deals with the characteristics of the rules in digital domain and its’ relationship with life. As a member of Openlab.Taipei, he promoted to use Free/Libre Open Source Software to make art (a.k.a. FLOSS+ART). He had a lot of experience of teaching in workshops and school programs. He had a Act!on studio space in Taichung which providing artists an experimental exhibition space.

Sheng-Po Shen thinks the life itself is a kind of art, and many activities between people are the elements of life, that is the basic prototype of interaction, there must be at least one interactive media between us to connect you and me. Hence, I like to observe and find out the invisible connection between us, and present it through my art pieces.

𒈞 策展論述

第三回合-沈聖博的隨機運行之無機世界

認識聖博是個偶然的契機，2009年7月在協助婦女救援基金會籌劃慰「月光-慰安婦生命故事影像展」時，聖博知道此策展計劃時，主動表示願意協助製作影像展中的互動裝置。他完成的《聽，阿嬤的收音機》透過手控旋鈕，調控聆聽阿嬤們敘說的悲傷往事，以老式收音機作為裝置主體，呈現出舊時代的情調氛圍，情緒在手的轉動尋找與聆聽中，漸漸被阿嬤們的故事引導並累積成傷。

此後，因合作漸漸地成為創作夥伴，合作中，才知道其藝術學習經驗，是因為因緣際會修習了交大應用藝術研究所張恬君老師的人文通識課程而開啟，之後又因為英國數位藝術家Paul Sermon的創作影響，於2006年退伍後，改變思維堅持理想，從交大資訊科學所轉向到數位藝術創作，至英國Creative technology, School of Art and Design, University of Salford留學並完成第二個碩士學位。2008年回國後，應聘到「微型樂園」上班。其創作歷程，如以2008年《曾經有一顆樹》為起點至2014年，雖僅短暫的6年，卻如彗星般，迸發出絢麗的光芒，在台灣的數位藝術史上有其重要地位。

2008年剛回國的聖博，爆發般地不斷地進行各種展演創作，此時期的他，一面上班進行公司專案創作如：Floating (Mona Lisa)，又同時與李駿一起成為展演夥伴，進行影像聲響(audiovisual)演出，如國美館「聲呼吸 – 實驗聲響2009」(2009)、西門町紅樓「吵年獸二零一零 – 立春音樂藝術季」(2010)、沉浸之境－加拿大SAT中心360度環景數位影像展。參與江振維、蔡敦仁舉辦的「共自然工作坊」，其後與李駿、鄭鴻旗主導推動自由軟體從事藝術創作(FLOSS+ART)，成立了OpenLab.Taipei，並受邀至各地教學講授數位藝術創作課程。此時期聖博發表《曾經有一顆樹》(2008)，此作品記錄與搜尋腦中一段逝去的記憶深處片斷，觀者透過作品裝置所形構的窗與空間，穿透了藝術家的腦，觀看其自2003年9月至2004年5月所記錄的，記憶裡的一棵櫻花樹，此狀態像是一個人的喃喃自語。

工作期間，聖博陸續與藝術家合作創作，2009年底，與曾鈺涓、黃怡鏡、陳威廷合作《你在哪裡？》，2010年發表於新樂園藝術空間，同年入圍台北數位藝術節。2010年一起與曾鈺涓與陳威廷挑戰了大型的戶外網路即時互動公共藝術作品《快樂噗》，2012年則協助郭慧禪完成《光點》互動程式，2013年參與李佩玲跨領域表演《義肢-外部連結》現場即時影像創作等。此時期，聖博挑戰以即時搜尋、影像即時處理、人臉辨識系統、體感即時互動，跨領域表演，戶外感應回饋裝置，網路社群平台的推播與訊息等複雜的系統程式整合創作。2009-2010年期間，他開始於台灣科技大學任駐校藝術家，並開始癌症治療，然而，即便忙碌奔波於學校與治療，他仍思考著創作，並且懷抱理想與熱情。2011年在台中成立了「有為空間」，邀請年輕藝術家辦理個展展演，受邀於工作坊授課，也於大學兼課，同時整理部落格，無私的分享課程檔案與原始碼，書寫對於自由軟體與數位藝術創作的心得、教學與體會。

2010年加入新樂園藝術空間後，聖博真正開啟獨立創作，有別於《曾經有一顆樹》(2008)的喃喃自語，「啾啾神功–評藝生華-新樂園第九期成員團．練．展」發表的《Should We Play? 》、《4分04秒》，開始流露出敏銳觀察的特質，並以帶有挑釁的幽默感，挑戰觀者的忍耐度與極限。《4分04秒》是一件放置於黑色長椅上的黑色長方盒，盒中崁入一條細縫，光在細縫中緩慢的移動，整個移動過程為4分04秒。《Should We Play? 》則是反諷了互動作品中，觀眾面對即時回饋反應的無意義矛盾。面對著一台架設有網路攝影機的螢幕，前面放置著一個魔術方塊的作品，觀眾在觀看與納悶的過程中提問「可以玩嗎？」並在拿起魔術方塊，搖換擺動卻得不到任何回饋反應的過程中，質疑「作品壞了？」、「不能玩嗎？」、「這是什麼東西?」的情緒中棄置放棄。然而觀者卻不知道，自己的行為被錄製記錄，並成為下週螢幕中的主角，成為不在場的他者，再現並成為下一個觀者的觀察與參照對象。《4分04秒》以光的移動速度再現時間的刻度，《Should We Play? 》則是以戲謔的態度，思考互動藝術中，何以「互動」的行為荒謬性。此兩件作品跳脫了《曾經有一顆樹》(2008)的詩意文本，將作品帶入省思與觀察科技的批判思維中

2010年聖博於有為空間與新樂園藝術空間舉辦個展「第二回合」，2012年則於田中間豬室繪社發表「規則rules」，同時也受邀參展於國美館數位方舟、數位藝術中心等，此時期發表的作品計有《frames》(2011) 、《life graffiti》(2012) 、《meta-》(2012) 、《texture》(2012) ，2012年以《pin shadow》(2012)入選台北數位藝術節。

「第二回合」的命名，是聖博面對病痛過程中，對生命的體驗與期待，其展覽創作自述，陳述與病魔的共存態度，並且認為每天的生活都必須活得精采，也對自己的夢想有著堅定的目標與期許：

人生如此美好，應該再來一遍。

人生進入第二回合，面對的東西變得不同。
學著面對死亡，每天都是嶄新的一天，每過一天，生命就向前伸展一些。很多事情變得容易放下與灑脫，想做的事情變得更加清晰與堅定，夢想不再遙不可及，只管去實踐就好。同時，周遭的一切都被放大，觀察細節變得有趣。讓休息變得比工作重要，讓熱情作為動力。第二回合何時結束？我不知道。我只管每天往前延伸一些，做想作的事情多一些。(沈聖博 2011個展「第二回合」創作自述，新樂園藝術空間)

資訊科技與藝術觀念的融合，造就聖博作品的美學思維，他將數位編碼帶入感知，透過邏輯思維重新觀看世界，以程式編碼重新描述了影像，生活與空間。

我將生活的體驗融入對數位藝術的觀察：數位媒材是生活的實踐，也是生活的仿效品。它們之間有很多相通處，例如：排隊、抽號碼牌、旅遊路線規劃、決策制定等日常事件，都可以用數位的語言與邏輯完整地重新描述一遍。也具有可複製性，例如：每台iPad裡面相同的電子書、粉絲手中同樣的專輯CD、每戶家庭在同一時間收看相同的電視新聞。以及生活中早已習慣的事，例如：捷運規律地發車、資訊透過網路恣意地流通、穩定地生產⋯等。生活已經跟數位媒材分不開，漸漸分不清彼此。(沈聖博 2011個展「第二回合」創作自述，新樂園藝術空間)

《frames》(2011)呈現的「作品的起點(程式碼)、簡單繪製規則(程式中的規則判斷)及輸出成果(影格相疊的立體呈現)三者間的緊密關係，他將輸出成品與程式碼並置展出，輸出成品是將影像自動衍生的延續影格，重疊裱框展示。此並置展出的策略，形成影像視覺與思維邏輯的參照，透過閱讀程式碼，觀者或者在心中重新描述影像，或者解譯並賦予程式碼意義，又或者將程式碼視為描寫的詩句。《life graffiti》(2012)則讓即時演算的數位衍生影像，任其自由衍生蔓延，如有生命的數位生命體，在空間中爬行流竄，此作品台中20號倉庫（「零山水與幻視野」展覽）的老舊倉庫空間，因數位生命體的介入而產生溫度。新樂園藝術空間（沈聖博 2011個展「第二回合」）則穿透正面玻璃窗，將數位生命體投射到對面屋舍牆面，如異型生命般的侵入掠奪佔領，《life graffiti》透過不同空間的呈現，展現出不同的生命強度，也將數位運算的自動衍生與隨機系統，帶入另種高度。《texts》(2012)則反之，以程式語言的文字語法，重新定義生活中的瑣碎行為，嘲弄的文字描述，將生活拆解成為一段一段語法，呈現出如詩般的生活無奈態度。如:

如果說《frames》、《life graffiti》、《texts》是以數位詮釋生命，《meta-》、《texture》，《pin shadow》則是賦與科技溫度，產生生命，此三件作品的形式特徵均是以多螢幕與投影呈現形式簡約，實則複雜運算的虛實界面。meta-的意義，在英文字首是個前綴詞，具有過度(over)、介於中間(between)、伴隨而來(with, after)、關於(about)、互為因果(reversely)、藏身於後(behind)…等意義，當「meta-」使用於程式語法中時，是一種標籤，做為搜尋引擎溝通的橋樑，「meta-」使用於資料庫時，Metadata(後設資料)，代表電子式目錄，為了達到收藏資料編製目錄與索引，所進行的資料描述。因此，meta-是描述資料的資料，《meta-》則是以資料描述環境資料的作品。以光敏感測器與麥克風，感測反映環境中的細微變化，並將其轉換成為數理運算的視覺影像，以幾何圖像構成詮釋空間，並成為一種空間標籤，也成為空間資料(data)的後設資料。

《texture》與《pin shadow》則是以程式演算，產生有機的隨機地衍生型態，並透過裝置形式，與實體物件產生共生的虛實風景。《texture》在螢幕上方安裝實體「實線」，交織於螢幕上方，螢幕中則有程式演算的虛擬影子「虛線」交織構成，「實線」與「虛線」透過介面交相呼應，「虛線」成為「實線」的影，進行緩慢移動的生命動態。同樣的邏輯，發生於《pin shadow》，「實立柱」與「虛擬影子」，以程式演算產生的虛擬影子，以實立柱為圓心，如日晷般，環繞「實立柱」進行緩慢移動的軌跡變化。在作品的世界中，存在著一個看不見的、消失的、消逝的【光源】，影響驅動影子的象。在此二件作品中，聖博呈現的似乎是科技空間的有機風景，然而卻又散發出一種對於生活的體悟與惆悵，【光源】存在與否不再重要，世界仍是自為的運行，創造隨機的無機風景。

聖博的作品中流露出一種科技人的人文氣質，以數理邏輯重新詮釋數位藝術創作的美學思維，是台灣當代數位藝術創作者，甚少觸及的美學態度。Bense(1971)認為衍生美學是透過數學構成與數學描述所處理的美學狀態之整體過程，聖博的作品涵蓋了程式語法、數學描述、程序結構與隨機偶發，創造了衍生過程，並在此過程中，呈現了清晰的、具條理指示的編碼程序，並透過有組織與邏輯的指示，將虛實物件的組合變化產生結果與程序。此概念將軟體視為數位藝術創作中的主體，其核心價值是來自於「數學」所構成的科技美學，此亦是Bense衍生美學(generative aesthetics)的精神。然而，另一方面，在程式編碼中，作品中所使用的元素、造型、裝置呈現，卻是攜帶觀念意義、具隱喻的象徵物。他使用構成世界的點、線、面的基本元素，玩弄虛實元素的相互關係，並以程式符號將點、線、面重新組構為具邏輯的程式運算，進而產生具結構性的視覺介面。

其作品也實踐了軟體藝術中的觀念思維。Cramer(2003)以La Monte Young《Composition 1961 1-29》利用一張紙書寫了指令「畫一條直線，並且跟隨這條線」(Draw a straight line and follow it)，提出編碼可以是一種觀念的、非以電腦操作的軟體藝術，這樣的指令具有電腦程式語法的概念，然而卻因身體與地域的限制，無法被真實實踐，僅能透過心靈執行。Cramer也認為軟體藝術是根源於觀念藝術，並具有兩個共同特點： 1. 記號與觀念的執行合而為一、2. 以語言為材料。軟體藝術需以「文字」撰寫指令編碼，觀念藝術以觀念為材料，並與「語言」緊密結合。此觀念創造的程序，在聖博的作品中，不斷的被提出，《meta-》以空間的變化元素，建構程序反饋的詮釋結構；《texts》則是以文字表現程序，將思維或行為分析成為程序指令；《frames》則直接將程式編碼視為一種可展示的文句表達，對著觀者下達指令，並要求觀者在閱讀中運算。

短暫的六年創作生涯，聖博創造了多件代表性作品，奠定他在台灣數位藝術創作的定位，即便他具有足以創造出絢麗影像的程式技術能力，但是他卻捨棄討好的作品，改以冷冽的，無色彩的影像構成，討論作品中的軟體與程序意義，同時也重新賦予軟體美學詮釋面貌，在冷硬的程式邏輯中，以科技人+藝術人的感性思維，建構出屬於聖博風格的數位溫度，「第二回合」雖然已經結束，但是沈聖博的「第三回合」即將展開。

後記

深夜書寫此文，在網路搜尋資料，從硬碟中挖出歷史照片，觀看臉書的[一人一信給聖博]社團中，眾人的思念短文，令人感傷。僅以此文獻給在天上的聖博，感謝你的無私分享，與你一起創作的美好經驗與成就，都是我一輩子的美好回憶。

參考資料

Bense, M. (1971). The projects of generative aesthetics. In J. Reichardt (Ed.), Cybernetics, art and ideas (pp. 207p.). London: Studio Vista.

Cramer, F. (2003a). Composition 1961 1-29 by LaMonte Young. Retrieved Jan. 9, 2008, from http://runme.org/feature/read/+monteyoung1/+30/

𒈞 Curatorial Statement

Round 3: Sheng-Po Shen’s random organic world.

Yu-Chuan Tseng

Curator, Associate Professor, Department of Public Relations and Advertising, Shih Hsin University

It’s a total coincidence to know Sheng-Po Shen in 2009. Back to the time, it was the project of “Listen, Ah Ma’s radio (Moonlight – film exhibition of Comfort Women’s life story)”, and Sheng-Po was volunteering to help the interactive installation. He created the atmosphere with switching hand control knobs of the old-fashioned radio to listen to that these aged comfort women tried to narrate their sad histories.

After the exhibition, we both have several cooperations and become exhibition partners. During working with him, then I knew that he was inspired by our mutual acquaintance – Ms. Tian-Chun Chang for his first humanities general education courses. Sheng-Po is with engineering background, so this course started his explore of the sentimental side and humanities thought. Later, he was inspired by Paul Sermon, a worldwide famous British digital artist. So Sheng-Po decided to change his career path, and went abroad to study Creative technology, School of Art and Design in University of Salford for his second master degrees. (He gained the first one in NCTU.) After graduation in 2008, he accepted the offer from the company-Micro-playground. From 2008, his first art work- “There was a tree” until 2014, there was only 6 years of his art career; although it’s short, his art contribution is like a meteor shining at the sky, leaving great influence and impact to this field.

After graduation, Sheng-Po showed unlimited and unexhausted talent and energy and creativity on his works. At daytime, he had a full time job, such as the project- “Floating (Mona Lisa)” ; meanwhile, he had Chun Lee as partner and explored many different living coding perfomance, such as “Phasing” (Breathing Sounds – Experimental Sound Performance 2009) (National Taiwan Museum of Fine Arts, Taichung, Taiwan) (November, 2009), and “untitled” (audio-visual performance，with Chun Lee) (Chinese Year Music & Art Festival Project 2010) (Ximen Red House, Taipei, Taiwan) (February, 2010), and “Phasing No.2” (360° cyclorama projection，audio-visual performance，with Chun lee) (Dream|Mersion－Cyclorama Digital Art Creation Series from the Society of Art and Technology [SAT]) (National Taiwan Museum of Fine Arts, Taichung, Taiwan) (April, 2010). Sheng-Po founded OpenLab.Taipei after joining “Resonating with Nature workshop” with Chun Lee and Honki Cheng, who were alos engaging FLOSS+ART project. In 2008, Sheng-Po launched his work- “There was a tree” (2008), which recorded his memory, more close to a self-narration from Sep., 2003- May, 2004.

In the end of 2009, Sheng-Po had more cooperation with other artists. He joined the project – “Where are you? “(Yu-Chuan Tseng＋Sheng-Po Shen、Yi-Ching Huang、Wei-Ting Chen) (SLY Art Space, Taipei, Taiwan) (May, 2010), and immediately another project- “Happy Plurk” (Yu-Chuan Tseng、Sheng-Po Shen、Wei-Ting Chen) (An Encounter is the Starting Point to Care – Chunghwa Telecom Public Art Installation)(December, 2010). In 2012, he assisted Hui-Chang Kuo’s programming of the project – “Light Spot” In 2013, he assisted Pei-ling Lee to perform a live coding during the performance of project “Prosthetic Limbs-External Links”.

In this period, Sheng-Po tries to use instant search, immediate process of videos, face recognition, real-time interactive somatosensory, cross-cutting performances, outdoor sensor feedback device, broadcast of internet community platform, and integration of message delivering system. In 2009-2010, while cancer treatment, he still starts to be village artist of NTUST. He never stops his art career. In 2011, he founded Action Space in Taichung, and started a blog for his tutorial of open source and experience on coding.

After joining the team of Shin Leh Yuan Art Space, Sheng-Po started to work independently. Different of self-narration in the work – “There was a tree” (2008), the works in this period show his keen observation with provocative sense of humor, and set up challenges to the audience’s patience, such as :Should we play?” and “4’04” (both were exhibited in「Chirp! Chirp!」) “4’04” is a black box located in a bench, and there is slim of light moving slowl for 4 minutes and 4 seconds. “Should we play?” is a work with sarcastic implication for the non-response of audience. It’s a monitor with webcam, with a magic box ahead. When the audience looked at the magic box, they will wonder if this can be played. In this period of time, they will try to move/knock/or shake the magic box and don’t know that their reaction was recorded and would be played on the screen when the next one played the magic box again. In these two works, there was a playful, prank attitude to represent the absurdity of the interaction art. These two works also revealed another level of critical thinking after the work-“There was a tree” (2008)

In 2010, Sheng-Po held another personal exhibition- “Round 2” in Action Space and Shin Leh Yuan Art Space. In 2012, he announced “Rules” at Art Piglet House. Meanwhile, he also was invited to exhibit in Digital ArK of NTMOFA and DAC. In this period, the works include “frames” (2011), “life graffiti”(2012)

The name of “Round 2” comes from the retrospection and expectation of life during the ill. In this period of time, Sheng-Po chose to live optimistically and move toward to his dream every day.

When life gets into Round 2, things faced are different to before.

Learning to face the death, everyday is a new day and when day passed, the life is stretched a little bit. A lot of things are become free and easy to put down. The things that I want to do are more clear and robust. The dream is no longer out of reach, just do it anyway. At the meantime, the environment seems to be enlarged, to explore the details becomes more interesting. Let the rest is more important than the work and let enthusiasm as energy. When will the round 2 be time up? I don’t know. I just only stretch the life and do more things I want to do. (Quoted from exhibition statement “Round 2,” Sheng-Po Shen, 2011)

Integration of information technology and art, Sheng-Po had a new interpretation of digital art. He input sentiment into program coding, and re the image

In this exhibition, I take my life experience into the perspective of digital art: the digital material is the practice of life, and also is the mimic of life. There are many commons between digital material and life, for example, queuing、taking ticket、travel planning and decision making etc. All of them can be totally described with digital language and logic. The digital material also owns duplicability, for example, the same e-book is in every iPad、the same album CD in every fans’ hands、the same news program can be played in every home. And some things used to be in life, for instance, the MRT runs on its schedule、the information is transferred arbitrarily through the network and the stable manufacturing etc. Hence, the life and the digital material are integrated tightly and are difficult to be separated. (Quoted from exhibition statement “Round 2,” Sheng-Po Shen, 2011)

“Frames” (2011) displays that the all of images produced by computer are the result of series of frames. These series of works do paintings on every frames by using simple drawing rules, and then overlap all of frames to display the result image which is like the one shown on computer screen.

(These series of works are coded by Processing and the source codes are pasted beside works. According to these source codes and works, try to find out the digital derivatives with analog feeling.) “life graffiti” (2012) makes instant calculation and derives digital images, making it spread to its own derivative , just like an endless and unconscious flowing animation which seems to be an alive digital landscape. This work exhibited at Artstock20, Taichung. (The Digital Mapping of Inner landscape). “life graffiti ” presented through different spaces , showing different life intensity; it will automatically derived and random digital computing system , and bring into another kind of height.

“Texts” (2012) on the contrary tries to use the text of the programming language to redefine life trivial behaviors , with mocking texts which have life dismantling to programming grammar , showing a poetically helpless attitude toward the reality.

[High resolution]

With a paper of resolution of 1920*1080 grids

each grid is of 1cm*1cm range

I take the pencil

to paint the grid, one grid, in a minute

To extend the length of the life

“frams”, “life graffiti” and “texts” all describe life in a digital way. “meta-”, “texture” and “pin shadow”give technology creation lives. These three pieces of works all interpret complicated calculation with some screens and projectors simply.

For the work- “meta-”, the prefix, meta-, owns following meanings: over, between, with, after, about, reversely, behind …, etc. which all locate at medium state. In short, the characteristic of “meta-”is intermediate and owns the meaning of inheriting the past and ushering in the future. It can be used to describe about something and another thing also can be derived from it. It is not the original and also not the last one. “meta-” in programming, is a tag and bridge for search engine. “meta-” in database, means a categorization way, and metadata means “data about the data”. Metadata was traditionally in the card catalogs of libraries. As information has become increasingly digital, metadata is also used to describe digital data using metadata standards specific to a particular discipline.

In this work, it represents that as long as this artwork is started, it is under the meta state by collecting data of the surrounding. It reacts to the slight changes of environment in real-time and transform them into the forms of light and sound. And then, we can re-observe the surroundings through the derivatives, such as light and sound.

“texture” and “pin shadow” used programming algorithm to generate organical and random creation. The virtual and the reality interact with each other. “Texture” work install a real thread (the solid line) above the screen and in the screen, it displays the virtual shadow (the dotted line) of program calculus. These two sides correspond each other. The dotted line is the shadow of the solid line which created a slow movement of life process. The same idea also applies in the work of “pin shadow.” Many physical cylinders will be on the projecting surface and each projection will create virtual shadows under the cylinders. According to the rules of code programming, these shadows will change randomly, organically and dynamically, similarly to a kind of life form that stretches backward and forward between illusion and reality. It seem to be natural scenery or an invisible light source which will change with the time. In these two pieces, Sheng-Po represented a so-called “organic”scenery with life and drive by itself, but still input the sentiment and melancholy toward life. For him, the existence of light source doesn’t matter, life will move on, and creates more random organic sceneries.

Cramer (2003)’s favorite example from La Monte Young “….draw a straight line and follow it”《Composition 1961 1-29》indicates coding could be conceptual, not just limited by computer programming. “…The instruction is unambiguous enough to be executed by a machine. At the same time, a thorough execution is physically impossible. So the reality of piece is mental, conceptual.”Cramer(2003). In addition, Carmer (2003) indicates… “software art as an art whose material is formal instruction code seem to have at least two things in common: the collapsing of concept notation and execution into one piece;

the use of language; instructions in software art, concepts in concept art. Flynt observes: “Since `concepts’ are closely bound up with language, concept art is a kind of art of which the material is language”.” In Sheng-Po’s work, “meta-” use space as the factor to reinterpret the feedback structure of the program; “texts” adopts word order to reanalyze thoughts and behaviors as programming orders; “frames” considers programming codes as sentences syntax, and gives commands to the audience and require their immediate feedback.

Sheng-Po is a diligent artist and created many outstanding works in his last 6 years of his life. He was seen as a rising star in the field with the work- nt artist and created many outstanding works in his last 6 years of his life. He chose to do the works which intrigue people to ponder the meaning of life with cold, colorless images, while he had sufficient capabilities to do fancy works to follow the pop culture. Although it seems the “Round 2” (2011) ended with his passing away, his “Round 3” is about to start.

Afterthought

I finished this article in the midnight. While trying to dig more data from my hard drive and surfing in the internet on FB where there are lots of article about Sheng-Po, it reminded me of all the wonderful memories to work with him, and I felt deeply sorrow for his death. This article is in memory of Sheng-Po, thanks for his altruistic action and great works, which inspire many colleagues, partners, and family and his friends. He set up a wonderful model for us.

Reference

Bense, M. (1971). The projects of generative aesthetics. In J. Reichardt (Ed.), Cybernetics, art and ideas (pp. 207p.). London: Studio Vista.

Cramer, F. (2003a). Composition 1961 1-29 by LaMonte Young. Retrieved Jan. 9, 2008, from http://runme.org/feature/read/+monteyoung1/+30/

𒈞 藝術家自述

沈聖博自述

沈聖博寫於2009-2010年

大家好，我是沈聖博，1980年生。生長在一個小康的家庭，有一個弟弟，父母從事傳統零件製造業，但非常開明，他們願意讓我們兄弟去做任何我們想做的事，即使我們兄弟從事的領域跟他們有著極大的不同，他們仍然全力地支持我們，當我們最堅固可靠的後盾！舉例來說，我弟弟現在職業是樂團吉他手、街頭藝人、唱片製作助理，而我努力地想成為專職藝術家，並從事數位藝術創作。雖然我從交通大學資訊科學研究所畢業，到新竹科學園區當科技新貴似乎是理所當然的事，但我選擇了數位藝術創作，我的父母沒問我為何放棄穩定高薪的收入，他們只說：你就做你想做的事吧～因此，我非常感謝我父母，感謝他們給我非常大的發展空間，若我的人生有什麼成就，那都是因為我父母的寬容、信任、支持與愛。感謝我的父母以及我弟弟，他們給了我愛、夢想與勇氣！

在我29年的人生中，我覺得我很幸運，總是遇到很好的人、很好的老師、很好的同學，當然，還有很好的朋友！感謝他們對我的固執個性的包容，感謝他們願意給我時間好好地讓他們認識我，感謝他們給我的幫忙與協助，感謝他們願意跟我分享生活大小事物，更感謝他們願意跟我說我的缺點並給與建議。若我的人生有什麼精彩的火花，那都是因為這群很好的人、很好的老師、很好的同學，當然，還有很好的朋友！他們給了我堅固的友誼，並讓我知道什麼是分享。

人生真的很奇妙，現在想起來真的覺得不可思議，如果當時沒有去某個地方？如果當時沒遇到某個人？如果當時做了不一樣的決定？如果當時沒有那樣的話，現在也許就不會這樣了吧。想想真的是很奧妙喔，感謝老天如此地安排！謝謝老天讓我修到張恬君老師的課，謝謝老師覺得我很有潛力、謝謝老師陪我聊天並給我鼓勵。謝謝老天讓我遇到我的論文指導教授，沒有教授的幫忙，我不會提早兩個月通過論文口試畢業。謝謝老天讓我選修到黃心健老師及張耘之老師的課程，因為這個課程，我開始了我第一個數位藝術作品，並參加了期末聯展。謝謝老天讓我知道Telematics藝術家Paul Sermon在台北藝術村駐村的消息，跟Paul Sermon相談甚歡後就到他的學校念書，進而學習更多科技藝術的概念。謝謝老天讓我在微型樂園工作，工作期間學習了很多，更感謝微型樂園在「透明的時間感」展覽中，讓我展出我回台後的第一件作品「曾經有一棵樹」。謝謝老天讓我參加玩趣工作坊，因而認識了很多數位藝術愛好者，並且我們成為了朋友，直到現在仍然密切地聯繫與合作！要謝的人太多，要謝的事也太多，就讓我謝謝天吧～若我的人生能走到現在這樣的方向的話，都是老天微妙的安排，給予我人生路途上的許多機會。

𒈞 Artist Statement

Self-narrative

Ｗritten by Sheng-Po Shen (2009, 2010)

Hello everyone, I am Sheng-Po Shen, born in 1980, and raised in a middle class family with very supportive parents and a younger brother. My family is engaged in manufacture of tools and metal components. Despise of the society encouraging any of engineering background students pursuing high salary careers, my parents gave us lots of liberty to choose what really interest me and my brother. So now I am a Digital Artist and my brother turned to be a band guitar and street artist, and assistant of a record producer. My parents never forced me to choose other job of high salaries, which usually require me to sacrifice my passion and let just encourage me to pursue what my heart really goes for. So I really appreciate my parents’ support. If I ever made a tiny contribution, that will owe to my parents’ wisdom and generous love. My family renders me love and support so that I can be brave and dare to dream.

I always consider myself a lucky person. I met nice people, teachers, classmates, and friends. They are very nice to me and willing to bear my stubborn personality. I do thank God that arranges me to know these people. They unselfishly share their knowledge, their helps, and spent their time to know me, and sometime willing to share their point of views and help me to improve myself. If I ever make anything exciting and touching, these owe to my friends because they inspire me and let me know the kindness of sharing.
Life is mysterious; you never know how the decision you made in sometime influence another incident. Thanks God make arrangement that I have took the course of Professor Tien-Chun Chang, and she encouraged me to pursue the career in Digital Art, and my advisor professor helped me graduation earlier, and have me meet Professor Hsin-Chien Huang and Professor Monbaza Chang, and I have the chance to start my first art work of digital art.

It was really wonderful that I met Paul Sermon who at that time was engaged in
Residency Art Program of Taipei City. I had an exciting talk with him and decided to study abroad to his school for digital art. After graduation, I got a job offer from Microplayground Company. In this job, I had more practice experience, and developed my first work – There was a tree (Digital Archive Program Festival: Transience Is Permanent － The Most Cherished Memories) (@Xinyi Public Assembly Hall, Taipei, Taiwan), (June, 2008). Then I joined Playground Summer camp, and made friends with many digital art workers, and until now, we still keep close interaction and cooperation. These are all opportunities that God arranged. I really thank God.

I think I am really satisfied with what happened in my life! I met a lot of kind people and had good things and stories with them. So I do really hope that I am a nice person in their minds too. I really enjoy doing nice things to people I met…many, many nice things…This is my autobiography and I want to share this feeling! Thank you!

𒈞 藝術家年表

1980年 4月4日
出生於台中，父親沈信厚，母親鍾芳美，弟弟沈聖哲
1986年 9月
進入台中太平國小就讀
1992年 6月
國小畢業，9月進入台中明道中學就讀
1995年 6月
以優異成績自明道中學畢業，9月進入台中一中就讀
1998年 6月
台中一中畢業，考上新竹國立交通大學資訊科學系，大二那年，修習了應用藝術研究所張恬君的人文通識課程〈課名〉。大四時旁聽陳一平老師的〈視知覺〉課程，因修課感受了藝術的力量。
2002年 6月
交通大學資訊科學系畢業，並於9月進入交通大學資訊科學所碩士班就讀。
2003年
就讀碩士班期間，於交大藝文中心任工讀生，並積極參與由學生參與的八校聯展。2003年4月”稻草人”八校聯展於新竹沙湖壢藝術村；2004年4月”衣鳴驚人”八校聯展於新竹鐵道藝術村。
2004年
修習由應用藝術研究所張恬君、黃心建與張耘之共同授課「數位媒體展出規畫研究」課程，完成作品《文武》，6月參展「科技藝術接力展-神兵器」於新竹智邦藝術基金會。
2004年 6月
交通大學資訊科學所碩士畢業，7月軍中服役。
2005年 12月
退伍
2006年
退伍後，經由時任國美館潘台芳引薦，認識來台駐村曾獲得 Prix ArsElectronicaGolden Nica獎的國際知名數位藝術家Paul Sermon啟發與影響， 9月申請進入Paul Sermon所任教的英國索爾福大學藝術與設計學院(School of Art and Design, University of Salford)
2007年 8月
協助王俊琪完成《Urban Journal》，並於法國@CAMAC畫廊、@Cite des arts Paris展出。
2007年
2007年碩士畢業獲創意科技碩士學位(MA of Creative technology)，發表作品《Voice Lost》於Centenary Building, University of Salford, UK，Digital Dimensions – MA Creative Technology and MSc Creative Games: End of Year Show。
2007年 11月
畢業返台，並進入微型樂園工作。協同規劃製作「奇美愛樂映像影音藝術展」於高雄夢時代廣場
2007年 11月
協助王俊琪完成《Urban Journal》獲第二屆台北數位藝術節互動裝置組首獎，於台北西門町紅樓劇場展出。
2008年 6月
發表作品《曾經有一顆樹》於台北市信義公民會館-四四南村「數位典藏藝術節:透明的時間感—生命記憶之典藏」
2008年 6月
於新竹交通大學「playaround玩趣工作坊 (U19工作坊)」擔任助教。
2008年 11月
協助黃文浩完成《關於家的一百種可能》參展於台中國立台灣美術館「2008台灣美術雙年展-家」
2008年 11月
協助英國藝術家團隊UVA完成《LIGHT.SCAPE – 新版.超感光》參與「倫敦UVA數位藝術大展」
2008年 12月
發表作品《曾經有一顆樹》於台北華山創意文化園區「新媒體文化展, 2008文化與科技國際博覽會」
2009年 1月
協同規劃製作「數位。蒙娜麗莎」數位聲光展
2009年 4月
發表作品《曾經有一顆樹》於台中國立台灣美術館數位藝術方舟「衡溫－冷介面中的創作溫感」。
2009年 5月
發表作品《MISS project》於台北牯嶺街小劇場「2009國際小劇場藝術節【形影相析/(晰)】」
2009年 5月
於國立台灣美術館數位藝術方舟「互動實作工作坊」擔任講師。
2009年 7月
於台北數位藝術中心「數位藝術開門 FLOSS+ART工作坊」擔任助教。
2009年 8月
發表作品《聽，阿嬤的收音機》於台灣新文化運動館籌備處(大同分局3F「月光-慰安婦生命故事影像展」。
2009年 8月
於台北藝術大學「共自然互動設計工作坊」擔任助教。
2009年 10月
任台灣科技大學駐校藝術家，至2010年9月
2009年 10月
於台中靜宜大學「互動設計工作坊」擔任講師。
2009年 10月
於台北台灣科技大學「來福狗狗互動生活工坊」擔任講師。
2009年 11月
與李駿於台中國立台灣美術館「聲呼吸 – 實驗聲響2009」演出，發表作品《相位差電音表演No.1》。
2009年 11月
於國立台灣美術館數位藝術方舟「十大創意十大妙方-數位藝術工作坊」擔任講師
2009年 12月
發表作品《來看你，卻碰不到你》於景美人權文化園區「景美人權文化園區歷史暨文物史料展示」。
2009年 12月
發表作品《聽，阿嬤的收音機》與《塵封的回憶》，參展「時光。記憶 – 台灣慰安婦女性人權影像展」於景美人權文化園區。
2010年 2月
與李駿於台北西門町紅樓「吵年獸二零一零 – 立春音樂藝術季」演出，發表作品《untitled》。
2010年 4月
與李駿於台中國立台灣美術館「沉浸之境－加拿大SAT中心360度環景數位影像展」演出，發表作品《相位差電音表演No.2》。
2010年 5月
與李駿於台北Legacy Taipei「Sound Bits 那是一個小小的聲音」演出，發表作品《相位差電音表演No.3》。
2010年 5月
與李駿於高雄AURA藝文空間「自由無價！數位音像LIVE表演＋工作坊」演出，演出作品《相位差電音表演No.2》。
2010年 5月
首次與曾鈺涓合作於新樂園藝術空間發表《你在哪裡？》，其他合作創作者有黃怡靜與陳威廷。
2010年 6月
加入新樂園藝術空間，參與第九期成員聯展「啾啾神功-評藝生華-新樂園第九期成員團．練．展」於台北新樂園藝術空間，展出《Should We Play?》《4分04秒》
2010年 9月
於花蓮國立東華大學「第四屆東華互動藝術工作坊」擔任講師
2010年 9月
參與王俊傑、王嘉明藝術與科技跨界展演《萬有引力的下午》於廣藝基金會廣藝廳與台北藝術大學舞蹈廳演出。
2010年 10月
任台灣科技大學駐校藝術家，至2011年9月
2010年 11月
與曾鈺涓、黃怡靜、陳威廷，以作品《你在哪裡？》入選台北數位藝術節，並於台北剝皮寮歷史街區展出。
2010年 12月
參展台灣數位藝術脈流計畫－脈波壹「身體‧性別‧科技」數位藝術展。
2010年 12 月
與曾鈺涓、陳威廷參與「相遇是關懷生命的起點-中華電信公共藝術」，完成戶外網路即時互動公共藝術《快樂噗》，設置於台北市信義路四段74巷4號。
2011年 11月20日
於台中成立「有為空間」
2011年 11月
於台中有為空間舉辦個展「第二回合」
2011年 11月
於台中科技大學「實體投影創作工作坊」擔任講師
2011年 12月
於台北新樂園藝術空間舉辦個展「第二回合」，展出《Life Graffiti》《Frames》《texts》。
2012年 5月
《Life Graffiti》《曾經有一棵樹》參展「零山水與幻視野」於台中20號倉庫。
2012年 8月
《你在哪裡？》(曾鈺涓＋沈聖博、黃怡靜、陳威廷)參展「與時空的一場對話」於國立台灣美術館數位藝術方舟。
2012年 10月
「規則 rules」個展於台中神岡「田中間豬室繪社。
2012年 11月
作品《pin shadow》入圍台北數位藝術節
2012年 11月
作品《meta-》參與「潛意識共感視聽觸覺當代藝術展」於台北MEME覓空間
2012年 12月
連續六週於台北科技大教授Processing，並將所有課程資料公開上網分享
2013年 1月
「有為先生 X 有為小姐」於有為空間展出，發表作品《texture》《frames》《meta-》
2013年 3月
《texture》參與「恆常 Sustained- 張雅萍、沈聖博、江珮菁、劉長儒聯展」於台中Baci 87，開幕時與安德海一起演出《untitle》
2013年 7月
於台北睡不著咖啡「好抖 Good Vibration」發表《playaround》
2013年 10月
於台北噪咖「失聲祭 #76」發表《摧毀的詩歌》
2013年 4月
參與李佩玲藝術與科技跨領域表演「義肢-外部連結」進行現場即時影像創作。
2013年 6月
獲選加拿大SAT科技藝術中心駐村，因病無法前行
2013年 10月
受邀於台南大學【Generative Arts工作坊】授課
2013年 12月29日
與江珮菁於台中完婚
2014年 1月
受邀參與台北國際藝術村幽竹廳所舉辦之「阿提斯‧托克第一號」(AIR Taipei Artist Talk No.1)藝術家面對面活動
2014年 4月13日
病逝於台中榮民總醫院
2014年 5月
作品《Pin Shadow》受邀參展「奇幻視界 – 2014國際科技藝術展」

1980.04
Born in Taichung on April 4th.
1986.09
Study in Taiping Elementary School in Taichung.
1992.06
Graduation from elementary school and study atMingdao Junior High School Taichung.
1995.06
Graduation from Mingdao Junior High SchoolTaiChung, and study at National Taichung First Senior High School.
1998.06
Graduation from National Taichung First Senior High School, and study at National Chiao Tung University (majoring in Computer Science). In the period, he took courses of Professor Tien-Chun Chang and Professor Yi-Ping Chen, and was inspired to be determined into art field.
2002.06
Graduation from college and continue to study master program of Computer Science of National Chiao Tung University, NCTU.
2003.04
Part time working at NCTU Art Center. Participation of the united art exhibition of eight schools: “Scarecrow” in Shahu, Hsinchu, April 2003 and “Amazing Clothes” in Hsinchu main station art village, April 2004.
2004.06
Took course- “Digital Media Planning Studies” co-hosted by Professor Tien-Chun Chang, Hsin-Chien Huang and Monbaza Chang, and created work- “Text-Weapon”. The work was shown in the group exhibition- “The God’s Instruments” at AcctonArttime Art Foundation.
2004.06
Graduation from NCTU master program of Computer Science. He started military service from July.
2005.12
Military service finished
2006.09
Through pulling string from Ms. Dapan (National Taiwan Museum of Fine Arts), Shen-Po Shen met Mr. Paul Sermon, a famous digital artist with Electronica Golden Nica Award, and gotdeeply influenced by Paul and decided to study abroad to School of Art and Design, University of Salford where Paul Sermon teaches.
2007.08
Technology Support- “Urban Journal” in the CAMAC, France. August 2007 and Cite des arts Paris, Paris, France. September 2007. A art project by Chun-Chi Wang, supported by CCA, Taiwan.
2007.09
Graduation from master program of Creative technology.The work-“Voice Lost” was shown in the Centenary Building, University of Salford, UK, the exhibition of “Digital Dimensions-MA Creative Technology and MSc Creative Games: End of Year Show”.
2007.11
Backed to Taiwanand joined of MicroPlayGround Company. Collaboration of the project- “Video Art Exhibition by Chimei” in Dream Mall of Kaohsiung.
2007.11
Technology Support-“Urban Journal”: a art project of Chun-Chi Wang. The work won the first prize in Interactive Installation category of the 2nd Digital Art Festival Taipei and was shown in the Red House, Ximen, Taipei, Taiwan
2008.06
Work-“There was a tree” was shown in the “Digital Archive Program Festival: Transience Is Permanent-The Most Cherished Memories” in the Xinyi Public Assembly Hall, Taipei, Taiwan
2008.06
As a tutor in the workshop-“playaround workshop (for U19)” In National Chiao-Tung University, Hsinchu, Taiwan.
2008.11
On Nov., Technology Support – “100 possibilities about Home”: art project by Wen-Hao Huang in the exhibition of “Home series of Taiwan Biennale”, National Taiwan Museum of Fine Arts.
2008.11
Technology Support – “UVA in Taipei, LIGHT.SCAPE” on November inTaipei County Plaza, Taiwan.
2008.12
2008.12
2009.01
Cooperative Work- “Digital-Mona Lisa” was shown in “Digital Art Exhibition”.
2009.04
Work- “There was a tree” was shown in the exhibition “The Balancing Tone -What type of temperature do we need?” in Digiark, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2009.05
Work- “MISS project” was presented in the 2009 Guling Little Theatre Arts Festival – with(out) cinema, Guling Little Theatre, Taipei, Taiwan.
2009.05
As a tutor in the workshop- “Physical Computing Workshop” in Digiark, National Taiwan Museum of Fine Arts, Taichung, Taiwan.
2009.07
As a tutor in the workshop “Floss+ART”inDigital Art Center, Taipei, Taiwan.
2009.08
Work- “Listen, Ah Ma’s radio” was shown in the “Moonlight – exhibition of Comfort Women’s life story”, provisional office Taiwan New Culture Movement Memorial Hall, Taipei, Taiwan.
2009.08
As a tutor of the workshop- “Resonating with the nature” in Taipei National University of the Arts, Taiwan
2009.10
As a tutor in the workshop- “Interactive Design” in Providence University.
2009
On Oct., as a tutor of the workshop “Life Go! Go! workshop” of National Taiwan University of Science and Technology.
2009.11
Live performance- “Phasing”with Chun Lee in the “Breathing Sounds – Experimental Sound Performance 2009” hosted by National Taiwan Museum of Fine Arts, Taichung, Taiwan
2009.11
As a tutor in the workshop- “Top Ten Creative Recipes – Digital Art Workshop” in the Digiark, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2009.12
Commissioned work- “To See You, but can’t Touch You” was shown in the “Exhibition of the history and data of Human Rights Memorial & Cultural Park” in the Jing-Mei Human Rights Memorial & Cultural Park. Taipei, Taiwan.
2009.12
Commissioned Works- “Listen, Ah Ma’s radio” and “Dusty memories” in the “Time-Memory, Exhibition of Taiwan Comfort Women in the Jing-Mei Human Rights Memorial & Cultural Park, Taipei, Taiwan
2010.02
Audio-visual performance- “untitled” with Chun Lee in the Chinese Year Music & Art Festival Project 2010, Ximen Red House, Taipei, Taiwan
2010.04
Audio-visual performance- “Phasing No.2” with Chun lee in the 360° cyclorama projection. As part of the exhibition of DreamMersion－Cyclorama Digital Art Creation Series from the Society of Art and Technology(SAT) in the National Taiwan Museum of Fine Arts, Taichung, Taiwan
2010.05
Audio-visual performance – “Phasing No.3” with Chun Lee in the “Sound Bits” performance series, Legacy Taipei.
2010.05
Audio-visualperformance- “Phasing No.2” with Chun Leein the “VivalaFreedom!Digital audio-visual LIVE performance+workshop”., Aura Gallery, Kaohsiung, Taiwan.
2010.05
Work- “Where are you?” with Yu-Chuan Tseng, Sheng-Po Shen, Yi-Ching Huang, and Wei-Ting Chen was shown in SLY Art Space, Taipei
2010.06
As the Member of SLY Art space, Works- “4’04”, “Should we play?” “Memory, the fastest way to back to the past.”wereshown in the “Chirp! Chirp!-The 9th Group Exhibition of SLY’s Artists”, SLY Art Space, Taipei, Taiwan.
2010.09
As a tutor in the workshop –“the 4th Interactive Art workshop” in the National Dong Hwa University, Taiwan
2010.09
2010. Technology Support – “L’Apres-midi de la Gravite” in the Quanta Hall、TNUA Dance Theater, Taiwan. work of Wang, Jun-Jieh and Wang, Chia-ming
2010.10
Artist-in-Residence of National Taiwan University of Science and Technology (NTUST) in the period of Oct. 2010 to Sep., 2011.
2010.11
Work- “Where are you?” with Yu-Chuan Tseng, Yi-Ching Huang, Wei-Ting Chen was shown in the 5th Digital Art Festival Taipei 2010, Bopiliao Historic Block, Taipei, Taiwan.
2010.12
Work-“Where are you?” was shown in the “Taiwan Digital Art Pulse Stream Plan: The First Phase, Body、Gender、TechnologyDigital Art Exhibition”, Digital Art Center Taipei, Taipei, Taiwan
2010.12
Public Art -“Happy Plurk.”With Yu-Chuan Tseng, Wei-Ting Chen in the “An Encounter is the Starting Point to Care – Chunghwa Telecom Public Art Installation”. The work are installed in No.4, Ln. 74, Sec. 4, Xinyi Rd., Taipei, Taiwan.
2011.11
Act!on Space was founded in Taichung on Nov. 20th
2011.11
Solo Exhibition-“Round 2” was held in the act!on space, Taichung, Taiwan.
2011.11
As a tutor in the workshop – “Projection Mapping workshop” in National Taichung University of Science and Technology, Taiwan..
2011.12
Solo Exhibition- “Round 2.”was held in SLY Art Space, Taipei, Taiwan.
2012.05
Work-“There was a tree”was shown in the exhibition of Digital Mapping of Inner landscape, Artstock20, Taichung.
2012.08
Work-“Where are you?” corporatedwith Yu-Chuan Tseng, Yi-Ching Huang, Wei-Ting Chen) was shown in the exhibition: “A Dialogue with the Space and Time” in the Digiark, National Taiwan Museum of Fine Arts, Taichung, Taiwan.
2010.10
Solo Exhibition “Rules” was held in the PigPaintingHouse, Shengang, Taichung, Taiwan.
2012.11
Work-“pin shadow” was nominated and shown in” the 7th Digital Art Festival Taipei 2012”, Songshan Cultural and Creative Park, Taipei, Taiwan.)
2012.11
Work-“meta-”.was shown in the “Audio-Visual-Tactile Contemporary Art Exhibition”, MEME space, Taipei, Taiwan.
2012.12
Sheng-Po made public his all tutorials for Processing coding course (six weeks) of National Taiwan University of Science and Technology.
2013.01
Exhibition “Mr.action X Mrs.action” was held in action space, Taichung, Taiwan.
2013.03
Work-“texture”was shown in the group Exhibition -“Sustained- Co-exhibited with Ya-Ping Chang, Sheng-Po Shen, Pei-Ching Chiang, Chang-Ru Liu in the Gallery of Baci 87, Taichung. Opening performance- “Untitled” with Andrea Valvini.
2013.07
Work-“playaround” was presented in the Live performance of “Good Vibration” in Insomnia Cafe, Taipei.
2013.10
Work-“Destroyed Poem” was presented in the Live performance of “Lacking sound Festival #76”in EBCbuzz Cafe, Taipei.
2013.04
A live coding performance was presented in the “Prosthetic Limbs – External Links”, aInterdisciplinary performance art and technology performance project of Pei-Ling Lee.
2013.6
Invitation of Art Residence from Canada SAT Technology Art Center. Due to cancer treatment, he was not able to make the trip.
2013.10
As a tutor in the workshop- “Generative Arts” of Tainan University.
2013.12
Married with Pei-Ching Chiang in Taichung on Dec. 29th.
2014.01
Invitation from the activity – “AIR Taipei Artist Talk No.1” by Artist Village Taipei.
2014.04
April 13th, Sheng-Po passed away in Taichung Veterans General Hospital.
2014.05
Work“Pin Shadow” was invited to exhibit at “Wonder of Fantasy: 2014 International Techno Art Exhibition” in National Taiwan Museum of Fine Arts, Taichung, Taiwan.

𒈞 關於策展人

曾鈺涓

世新大學公共關係暨廣告學系副教授

台灣女性藝術協會常務理事，第八屆理事長

數位藝術基金會監事

台灣科技藝術教育協會理事

數位藝術家，策展人。國立交通大學應用藝術研究所博士，世新大學公共關係暨廣告學系副教授，研究方向為數位互動藝術創作與新媒體理論。1998年開始從事數位藝術創作，思考數位時代中「人」的存在狀態，多次舉辦個展與受邀參展於國內外重要美術館、藝術中心與畫廊。2002年台北市立美術館《Let’s Make ART》個展，是台灣第一個於美術館所進行網路及時互動創作。文章發表於國內外期刊與國際性研討會，如Leonardo國際期刊、ACM Multimedia、國際電子藝術研討會(ISEA)等。2012參與Leonardo國際期刊之國際數位藝術白皮書撰寫計畫。2013年受邀至北京航空航天大學北航藝術館舉辦個展，是該校2013 年度聘請短期境外專家重點專案。

http://tyuchuan.com/

𒈞 About the Curator

Yu-Chuan Tseng

Associate Professor, Department of Public Relations and Advertising, Shih Hsin University

Supervisor, Taipei Digital Art Foundation

Board member of Taiwan Women’s Art Association

Board member of Taiwan Information Design, Art, Technology, Education Association

Tseng Yu-chuan obtained her PhD from the Graduate Institute of Applied Art, National Chiao Tung University. She specializes in research on innovation and theory in interactive digital art.

Tseng began creating digital artwork in 1998. Starting from 2002, she adopted an interactive online format to produce interactive art. In 2003, Tseng began to ponder the status of the existence of humans in the digital age. Through a series of works, she explored this digital system – built of technology – which brings together the lifestyle, lives, and existence of the masses. In 2002, Tseng’s work was presented in a solo exhibition (“Let’s Make Art”) at the Taipei Museum of Fine Arts. This was the first ever art gallery exhibition in Taiwan to employ instantaneous Web-based interaction. Tseng’s respective works and articles were selected for presentation at the ACM Multimedia International Symposium, ISEA, . Leonardo. In 2012, Tseng participated in the Leonardo Digital Art Initiative. In2013, Tseng held a solo exhibition as a short-term project for foreign experts hosted by the Institute of Culture and Art Communications, Beihang University

http://tyuchuan.com/

𒈞 作品介紹 1

《曾經有一棵樹》

2008

錄像

作品尺寸依場地而定

狹長、有門、有窗的空間最容易讓我想起記憶深處的片斷。那樣的空間，會讓我強烈地聯想到自己的腦，然後我打開門走進自己的腦中，搜尋記憶的片斷。
在2003 年9 月至2004 年5 月的記憶裡活著一顆櫻花樹。我為了一句不經意的話，開始記錄這顆樹每一天的變化，從綠意盎然到櫻花盛開，再到繁華落盡，最後我展開了一段戀情。
後來戀情結束了。
希望透過我的腦，透過空間，藉由空間中的窗，讓這個情感記憶找到一個抒發
的出口。靜靜看著就好，千萬別靠近，留我一個人自言自語。

𒈞 Work 1

There was a tree

2008

video variable

Dimension variable

“The narrow space with windows and doors reminds me of some fragmental memories. Entering such space is like entering my brain, where I could search my memories.
There was a cherry blossom tree living in my memory from September 2003 to May 2004, and I recorded every transformation of the tree till the blossoms had fallen from the tree. That was also the time when I began a relationship.
The relationship has come to an end.
I want to find a way to express my feelings and emotion, via my brain, via a space and the windows inside. Please watch the screen quietly. Don’t come near, and just leave me there.”

﹉﹉﹉﹉﹉﹉﹉﹉

𒈞 作品介紹 2

《聽，阿嬤的收音機》

2009

收音機、聲音裝置

30(W)×25(D)×9(H)cm

我試著想像，
在那不安定的年代裡，在那潮濕狹小的房間中，
阿嬤們是否也一樣地不安？
阿嬤們思念故鄉的心情，是否也如雨天一樣濕悶？
透過這台老式收音機，
阿嬤們訴說、吟詩、歌唱的聲音可以被保留在收音機中，
然後有一天被人聽見，有一天有人能夠了解。
他們希望能告訴你一些些屬於那個年代的不安，
他們也希望能告訴你一些些他們在這個年代的勇氣與希望。

𒈞 Work 2

Listen, Ah Ma’s radio

2009

Radio, sound installaiton

30(W)×25(D)×9(H)cm

I tried to imgine…In that generation, in such a small and humid room, do these women feel unsettled? Do they miss their hometown? Do their teardrops ever make this room more humid? Through this old-fashioned radio, I can even hear the vocie, they are trying to tell some stories, or some poems, or songs..I am not sure… but what is certain is..their voices are forever preserved in this radio.

﹉﹉﹉﹉﹉﹉﹉﹉

𒈞 作品介紹 3

Life Graffiti

2012

電腦即時演算、衍生圖像、電腦投影

作品尺寸依場地而定

只要一個起始點，加上簡單的規則與條件，然後任其自由衍生發展，無意識無
止盡地爬行流竄的圖像，似乎是有生命的數位風景，非常地迷人。

𒈞 Work 3

Life Graffiti

2012

real-time computing, generative image, projection

Dimension variable

Give a start point and plus some simple rules and conditions, and then let it grow up freely. The endless and unconscious flowing animation seems to be an alive digital landscape, it is very charming.

﹉﹉﹉﹉﹉﹉﹉﹉

𒈞 作品介紹 4

pin shadow

2012

壓克力板、塑膠螺絲、束線帶、電腦主機、喇叭、投影機

作品尺寸依場地而定

在實體的立柱上,透過投影的方式,賦予立柱虛擬的影子,影子會根據程式賦予的簡單規則,隨機地、有機地、動態地變化,似乎是有生命的個體在虛實之間來回伸展。又似一幅有機的風景,隨著時間消長移動,非常地迷人。

𒈞 Work 4

pin shadow

2012

acrylic planes, plastic cylinders, plastic binding bands, pc, speaker, projector

Dimension variable

Many physical cylinders will be on the projecting surface and each projection will create virtual shadows under the cylinders. According to the rules of code programming, these shadows will change randomly, organically and dynamically, similarly to a kind of life form that stretches backward and forward between illusion and reality. They also seem to be natural scenery which will change with the time, and it’s, very charming.

﹉﹉﹉﹉﹉﹉﹉﹉

𒈞 作品介紹 5

Texture

2012

LED 液晶螢幕、針線、程式運算

作品尺寸依場地而定

織線越過螢幕，這是數。
程式賦予影子簡單的規則，這是理。
影子隨機地、有機地、動態地變化，似乎是有生命的個體在虛實之間來回伸展，這是象。
似一幅有機的風景紋理，隨著時間消長移動，非常地迷人，這是世界。

𒈞 Work 5

Texture

2012

LED monitor, threads, programming

Dimension variable

Threads cross the monitor, that is the Numbers. Shadows follow the simple rules defined by the code, that is the Regulations. Shadows change randomly, organically and dynamically, seem to like a kind of life form which stretching backward and forward between illusion and reality, that is the Phenomenon.
It seems to be a natural scenery which will change with the time, and it is very very charming. That is the world.

﹉﹉﹉﹉﹉﹉﹉﹉

𒈞 作品介紹 6

meta-

2012

畫布、感應器、Arduino I/O 板、電子元件、喇叭、毛燈泡

作品尺寸依場地而定

於(about)、互為因果(reversely)、藏身於後(behind)…等處於中間狀態的意思。簡言之，meta-具有承先啟後的寓意，有中介性質。可用來描述某個東西，但也可以從它衍生出另個東西，它不是開頭最原始的，但也不是最後一個。

這個作品一旦啟動，便處於meta狀態，能即時反應環境細微的狀況，並同時將其轉換成光與聲音的形式，然後透過光與聲音這兩個衍生物來重新觀察所處的環境。

𒈞 Work 6

meta-

2012

canvas, sensors, arduino, electronic components, speaker, hair bulbs

Dimension variable

The prefix, meta-, owns following meanings: over, between, with, after, about, reversely, behind …, etc. which all locate at medium state. In short, the characteristic of “meta-”is intermediate and owns the meaning of inheriting the past and ushering in the future. It can be used to describe about something and another thing also can be derived from it. It is not the original and also not the last one.
As long as this piece is started, it is under the meta state. It can react to the slight changes of environment in real-time and transform them into the forms of light and sound. And then, we can re-observe the surroundings through the derivatives, such as light and sound.

﹉﹉﹉﹉﹉﹉﹉﹉

𒈞 作品介紹 7

Frames

2011

程式碼、紙張、投影片、畫框

60cm x 40cm/每幅

電腦所產生的影像均是多個連續影格(Frame)重疊而成的結果。
此系列作品同時將輸出成品跟程式碼並置, 試圖呈現作品起點(程式碼)、簡單繪製規則(程式中的規則判斷)及輸出成果(影格相疊的立體呈現)三者間的緊密關係。

𒈞 Work 7

Frames

2011

code, paper, transparency film, wood frame

60cm x 40cm/per piece

The computer image/animation is usually the result of overlapping many image frames. This series works put the printed image output and its source code together to try to present the tight relationship of the work’s original point(code), the simple drawing rules(rule condition in program) and the printed output(overlapped frames).

﹉﹉﹉﹉﹉﹉﹉﹉

𒈞 作品介紹 8

texts

2011

紙張, 紙箱

作品尺寸依場地而定

數位媒材是生活的實踐，也是生活的仿效品。它們之間有很多相通處。此系列觀念性作品將程式語言(programming language)及數位範疇(digital domain)中的特性以生活中相對應的形式表現出來。

𒈞 Work 8

texts

2011

paper, boxes

Dimension variable

The digital material is the practice of life, and also is the mimic of life. Both share lots of similarities. These series of conceptual works represent the characteristics of programming language and digital domain as corresponding forms in life.

﹉﹉﹉﹉﹉﹉﹉﹉

𒈞 作品介紹 9

Life Coding

2011

電腦即時演算、衍生圖像、電腦投影

作品尺寸依場地而定

依據當下展場環境，透過即時編寫程式(Live Coding)及現場投影的方式，賦予這個場域新的內容與生命，同時Live Coding過程將被紀錄並播放出來。
透過這樣的方式，賦予作品巨觀上的獨特性及微觀上的可複製性，讓每次的作品都有不同的性格。

𒈞 Work 9

Life Coding

2011

real-time computing, generative image, projection

Dimension variable

According to the environment of exhibition, I give the exhibition space a new content and spirit through the methods of Live Coding and projecting.
And the process of Live Coding will be recorded and played in this installation. In this way, I hope to give work uniqueness in general and duplicability in detail, and let every work own different characteristics.

𒈞 相關活動 1

展覽日期：2016年1月09日(六)-1月31日(日)

開幕茶會：2016年1月09日(六)14：00

開幕表演：王新仁+徐元彥、沈聖哲

展覽地點：台北數位藝術中心。台北市士林區福華路180號
開放時間：每週一至週日10:00~18:00

指導單位：臺北市政府文化局
贊助單位：國家文化藝術基金會
主辦單位：財團法人數位藝術基金會
承辦單位：台北數位藝術中心
特別感謝：有為空間、淇奧友善股份有限公司、木天寮互動設計有限公司、二三設計有限公司、Openlab Taipei

𒈞 相關活動 2

▴演算聲音藝術-演出+座談
時間：2016年1月16日(六)14:00
主持人：王新仁
藝術家：王連晟
作品名稱：在寧靜中失序#2

第二場「第三回合 ─ 沈聖博紀念展」的演出中，藝術家王連晟將表演全新作品《演算風景》。與聖博一樣，王連晟同為開源軟體processing的愛好者，對於推廣floss art，兩人攜手不遺餘力。
在音像的創作中，王連晟專注於建立一個巨大的粒子系統，演出過程中透過即時給予的各種引力參數，影響環境的物理運作狀態。其作品與數學運算緊密結合，在觀看過程中，彷彿欣賞一場巨大擬態粒子的舞蹈秀，以自創的演算法，將聲響與影像緊密結合，處處皆可感受到擬態生命體的動態張力，衝擊著觀眾們的各種感官，彷彿進入令一個奇幻的世界。
1/16恰逢今年總統大選，但好演出仍不可錯過，大家一早投完票後，下午就趕緊與朋友到DAC，一同觀看王連晟的年度大作《演算風景》。

第三回合 ─ 沈聖博紀念展
展覽日期：2016年1月09日(六)-1月31日(日)
活動地點：台北數位藝術中心。台北市士林區福華路180號
開放時間：每週二至週日（週一休館）10:00~18:00
指導單位：臺北市政府文化局
贊助單位：國家文化藝術基金會
主辦單位：財團法人數位藝術基金會
承辦單位：台北數位藝術中心
特別感謝：有為空間、淇奧友善股份有限公司、木天寮互動設計有限公司、二三設計有限公司、Openlab Taipei

𒈞 相關活動 3

▴ 專題演講- Openlab Taipei 與 Floss Art
2016年1月17日(日)14:00-15:00
演講者：鄭鴻旗

Openlab.Taipei 社群成立的目的是為了推廣 Floss+Art，從2009年開始走到現在。在當時鮮少人在討論arduino、processing、puredata，但時至今日，這些工具都已經變成顯學，成為數位藝術工作者最好的幫手，或是走入台灣的教育系統之中。漸漸地，這些工具變得熱門或是主流，但是我們不能忽略這些工具是來自全世界的社群，基於對於自由軟體的信仰與愛所發展出來的文化。在這次演講中，鄭鴻旗想跟大家分享 Openlab.Taipei 社群的故事，以及「Floss +Art」是什麼。

▴ 共同創作計畫：塊陶啊，OT Ball !

2016年1月17日(日)15:00-18:00
台北數位藝術中心。台北市士林區福華路180號
主持人：鄭鴻旗
聯絡電話：0939958808

塊逃啊！OT Ball！活動，是口丁在 2012 年發起的活動。邀請大家以「球」為主題，並依照遊戲規則與程式規定 (詳見下面遊戲規則說明)，天馬行空地創作一個程式動畫作品。然後在活動當天，讓自己的筆電與動畫程式到活動地點，透過 OSC 的訊號傳遞，依序播放每個人的球動畫，讓球永不止息的接力流動。

從01月05日開始每天晚上，塊逃啊！OT Ball！預備場，會於寶藏巖口丁，大家一起學習、複習與做筆記，對此活動有興趣的朋友可以加入晚上聚會（如臨時有事，會事先公告，請留意 https://www.facebook.com/events/1671312203151503/），大家一邊研究如何做，最後於01月17日台北數位藝術中心-沈聖博紀念展中，跟大家分享作品，一起將作品串聯起來！

請參考過去活動影片

活動筆記

https://openlabtaipei.hackpad.com/AveqWrz35bG

活動期間即時資訊

https://www.facebook.com/events/1671312203151503/

目前的複習進度是：
open sound control (osc)
arduino
processing
puredata

遊戲規則：
自備筆電乙台
使用自己擅長的自由軟體程式進行10~20秒內動畫創作
要有梗(必要)
軟體程式必須能接收 OSC (OpenSoundControll)

程式規定：
球為白色，背景為深色
可現場調整球的尺寸、起始位置、結束位置
OSC 訊號為 /ot 1

𒈞 相關活動 4

從《pin shadow》找尋演算靈魂

時間：2016年1月30日(六)13:00-17:00
講師：王連晟
地點：台北數位藝術中心二樓會議室

沈聖博《pin shadow》作品中，柱子的影子動態，是根據程式賦予的簡單規則,隨機地、有機地、動態地變化，似生命個體般的有機風景，在虛實之間來回伸展移動，隨著時間而消長。

演算規則是《pin shadow》的創作核心。如何讓影子移動的軌跡，形成各種有趣姿態，考驗的是演算藝術家對於數學以及圖案生成的天馬行空想法。也因此在本工作坊中，藝術家王連晟將透過自己的創作經驗，帶領大家重製並衍生《pin shadow》這件作品，與聖博的靈魂呼應，也期待透過差異的演算法，讓作品呈現不同以往的姿態。

就像是狐狸遙望B612號想念小王子，我們期待在重製與衍生作品的過程中，無意識的進入離開我們的藝術家心靈。

講師介紹:王連晟，1985年出生於台北，2011年畢業於台北藝術大學科技藝術研究所。作品跨足互動裝置和聲音表演。裝置常以多數量的方式以達到特異的身體感知，聲音表演常以程式即時生成的圖形搭配聲音演出。近年來作品多致力於程式演算影像與聲音的契合。

課程需求：自備筆電（Mac, PC 皆可）及了解基本 Processing 操作
工作坊時間：1/30下午一點到五點

【注意事項】本活動需事先報名，報名頁面將於1/12(二)12:00開放