EXHIBITION
《~ /！》林沛瑩個展
~ /！- Lin Pei-Ying Solo Exhibition
☛展期 Duration：「～」日程：2016/12/10(六) – 2016/12/31(六)
「！」日程：2017/01/01(日) – 2017/01/26(四)
☛開幕 Opening：12/10(六)14:00
☛地點 Venue：台北數位藝術中心 噪音咖啡廳 Changee Cafe, Digital Art Center, Taipei
➽展覽介紹
林沛瑩個展，展期分為兩檔，「～」與「！」。第一檔，符號「～」在中文中稱作波浪紋、英文叫做「tilde」，在數學中有「大約」的意思，而科學中則代表「bitwise not」。以此描述持續探索領域疆界、將藝術、科學、科技、語言、文化不斷揉合混雜又重新定義的過程。第二檔「！」是中文的驚嘆號，在數學中代表「階層乘法」，而資訊科學中則有邏輯運算子「not」（反）的意思。由於展覽使用大量的生物體如植物、細菌、原細胞，第二檔展覽嘗試討論這些被作為作品的生命與擬生命體在展場中的本質、進而流動的生命做為被展覽物的關係。
➽Exhibition Introduction
Solo exhibition of Pei-Ying Lin. The exhibition is divided into two sessions: ‘~’ and ‘!’. The first symbol ‘~’ is named ‘tilde’ in English, and has the meaning of “approximate” in mathematics, and ‘bitwise not’ in computer science. It signifies the ongoing process of blurring and redefining the boundaries of art, science, technology, languages, and culture. The second session falls under the name ‘!’, the exclamation mark. In mathematics ‘!’ is the factorial operation, and as logical negation in computer science. This second session tries to expose the underlying living and semi-living organisms and their essence to discuss their relationship to the exhibition as ‘exhibited objects’.
➽關於藝術家
藝術家林沛瑩，清華大學生命科學系學士、輔系資工與人文社會，英國皇家藝術學院（Royal College of Art）設計互動系（Design Interactions）碩士。
創作範圍主要專注在科學與藝術結合、人類情緒、語言、以及文化社會層面之間的交互影響、互動性自數位延伸至生物以及思考層面的新可能性，以及哲學在設計思維上的使用。
曾獲2015林茲電子藝術節Hybrid Arts類別榮譽提名、Core77設計大獎Speculative Concepts專業組第二，作品曾獲許多國際媒體如BBC、Fast Company、The Atlantic 報導，也是台灣第一組至歐洲核子研究中心（CERN）駐村的藝術家。
➽作品介紹 1
死灰復生 II Living Ashes II
創作年份：2016
〈死灰復生 II 〉探索合成生物學中最新領域的原細胞研究（protocell），從製造原細胞開始質問「生命」的邊界在哪裡。原細胞為研究地球最開始形成原初細胞的可能化學條件，探索在一個混亂的化學物質湯中如何產生具有複雜行為的小油滴狀原細胞。這個過程恰好與製造肥皂的過程相同，而肥皂又是以灰燼所製成的鹼水與生物脂肪所產生。灰燼與脂肪皆來自於曾經活著的生物，而原細胞的產生讓看似無機的元素又重新開始近乎有機的活動，那麼究竟生與死的界線在哪？
本錄像為2016在丹麥 Click Festival 的現場演出實況。
合作藝術家：
Carolina Ramirez-Figueroa
墨西哥人，現居於英國，研究者與設計師，有建築學位以及Digital Architecture碩士。她相信研究生命系統的過程具有改變當代設計思維的潛力。她的作品同時探索材料並從材料角度結合生命系統與建築。
http://www.syntheticmorphologies.com
Luis Hernan
墨西哥人，現居英國。具有創意工作者與研究者的分裂人格。最早是建築師，後來獲得Digital Architecture碩士，現在正在做博士研究。他的研究主要在探索數位、生命、空間、與日常生活的交集，並研究其中的詩意。
www.digitalethereal.com
➽Works 1
Living Ashes II is a presentation-performance that feeds from a previous iteration developed in the context of Making Life and explores concepts of life and animation in the context of Synthetic Biology. The design principles of Synthetic Biology are predicated on engineering principles of modularity and efficiency which allow creating and modifying life forms. In this, concepts of life and animation are aligned to current models of resourcing, production and commercialization.
Living ashes II aspires to interrogate the benchmark by which things are classified as alive. The performance will explore protocells, synthetic cells which are thought to provide the chemical basis of life and that, for a few seconds, show diverse degrees of animation.
This is the video recording of the live performance at Click Festival 2016.
Collaborators:
Carolina Ramirez-Figueroa
Carolina is a researcher and designer based in the UK. She is convinced that working with living systems amounts to a potential transfiguration of contemporary concepts of design. Her work combines material explorations to interrogate the possibilities at the intersection of living systems and architecture. Carolina holds an MSc in Digital Architecture, and trained originally in Architecture.
www.syntheticmorphologies.com
Luis Hernan
Luis’ personality is permanently split between that of a creative practitioner and a researcher. Initially trained as an architect, he pursued a master’s degree in Digital Architecture before embarking in his Doctoral research. His practice explores the intersection between the digital, living, space and the everyday—and continuously wonder how they all sublime to the poetic. Sometimes, he uses the third person when writing of himself.
www.digitalethereal.com
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➽作品介紹 2
植物性顧問公司 PSX Consultancy
創作年份：2014
PSX Consultancy全名為植物性顧問公司（Plant Sex Consultancy），主要任務在為植物解決生殖與性交上的問題。是一間由四位設計師所組成、強調以植物使用者角度出發的設計顧問公司。
有性生殖與性慾廣泛的發生在各種生命體中，是生命體在演化中所選汰出來的能力。儘管所有生命體都有這樣的能力，但是在不同生命體中的能力卻各異。
植物在有性生殖與無性生殖的發展上特別多樣化，更讓其他生物也參與它們的生殖過程，不介意自己為自己授粉，甚至時常大方的將自己的性器官（花）大幅度改造就為了吸引授粉者。
PSX Consultancy的任務便是接受植物的委託，為他們找出受自然與文化啟發的新設計來滿足在生殖與性慾上的需求。
在執行以植物為中心做設計，我們使用IDEO公佈的《Human-Centered Design Toolkit》作為我們設計上的指引，但是將對象從人類轉換成植物，以期待得到盡可能的植物為第一人稱視角。在《Human-Centered Design Toolkit》中強調要以訪問使用者為最重要的資訊與設計發想來源，並隨時回饋使用者的想法來修改設計。儘管我們無法直接訪問植物，但是我們使用《Science Fiction Prototyping》的方式將人類研究植物的論文轉化成植物為第一人稱的自述來反饋到我們的設計中。
我們經由這樣的過程提出對於人類將自己想法投射到自然現象上的質疑，並且質問設計師可以揣測另一個獨立的個體的思考到什麼程度，反而質疑在設計中使用者為中心的思考那個介於投射與真正深入理解的灰色地帶。這個作品也同時嘗試反映近年來哲學上對於其他生物也應具有人權、具有生存權、應該被視為具有法律保障的個體、從人類中心主義移轉的範式轉換（paradigm shift）。
這個設計作品本身不是為了提出設計解法，而是一個哲學質疑的過程。
合作藝術家：
Špela Petrič
斯洛維尼亞人，1980年生。生物化學博士、跨領域媒體藝術碩士（LUCA, Brussels）。職業生涯開始於生物化學研究、後來進入藝術領域成為藝術研究者，從2011年開始作品大量使用生物體創作。創作領域跨越自然科學、新媒體藝術與表演。
Dimitrios Stamatis
希臘人，1983年生。產品與視覺設計設計師。曾經在雅典、倫敦、杭州工作，目前自由接案（leavenlab.com），探索設計可以如何成為推進正向改變的觸媒。
Jasmina Weiss
斯洛維尼亞人，1963年生。室內設計師與建築師。工作領域橫跨設計、建築與藝術。
Credits:
此計畫在BIO50 – 2014年斯洛維尼亞設計雙年展的Designing Life組執行。由斯洛維尼亞建築與設計博物館、斯洛維尼亞文化部、中華民國文化部、國藝會贊助。
➽Works 2
The PSX Consultancy project conceives augmentations for vegetal species to enhance the given client’s natural reproductive processes. In other words, we make sex toys for plants.
Misleadingly quirky, the PSX Consultancy is a project investigating the changing paradigm of the human/non-human relationship. Incorporating cultural frameworks through which we as humans understand ourselves and our environment—science, design and art—we improvise design tools that challenge our anthropocentric vantage point to think on the plants’ behalf. The concepts produced by the interdisciplinary team of designers, artists and scientists are science-based, design-driven, irony-infused and playfully delivered.
As the plant clients are silent about their necessities, we have relied on scientific knowledge of plant biology as well as design methodologies in the pursuit of thought-provoking, intelligible augmentations. What happens when artistic motivation appropriates human-centered design for use on plant clients?
The result of the interdisciplinary approach is critically discursive objects posing as sex toys, inherently paradoxical and absurd, yet manifesting our “all means possible” attempt to truly understand the non-human. Through the hybrid exploration of the parallelism between plant and human reproductive strategies, we uncover the realm of bio-logic whilst provoking the ethical discourse connected to post-anthropocentrism. The motivation, client biology/requirements and bio-logic of the particular “sex toys” is explained in the attached booklet.
The installation of 3D-printed proposals alongside the plant clients is only one of the outcomes of this process-based project. Equally important is the hands-on engagement of the public in the form of workshops and discussions across different cultural traditions, leading to an ever-expanding collection of plants and their sex toys while inviting the audience to explore the non-human experiences in their mind.
Collaborators:
Špela Petrič
Špela Petrič (SI), born in 1980, BSc, MA started her professional career as a scientific researcher in the field of biochemistry. Her interest in the context of knowledge production and its cultural impact motivated her to obtain a degree in transmedia at LUCA, Brussels. She has been working with living systems as an artist-researcher since 2011. Her artistic practice combines natural sciences, new media and performance.
Dimitrios Stamatis
Dimitrios Stamatis (GR), born in 1983, is a designer with a formal background in product / graphic design. He has worked in Athens, London and Hangzhou designing products for a range of industries. Currently he works freelance (leavenlab.com), exploring how design can contribute as a catalyst for positive change.
Jasmina Weiss
Jasmina Weiss (SI), born in 1963, is an interior designer and designer with formal background in architecture / design. She has worked in different fields connected with design, architecture and art. She has long been interested in different fields of science, culture, psychology, biology, ecology and environment.
Credits:
A collaborative project developed within the Designing Life topic at BIO50, the Biennial of Industrial Design 2014, Ljubljana, Slovenia.
Supported by: MAO, the Museum of Architecture and Design, Ljubljana; the Ministry of Culture of the Republic of Slovenia; the Ministry of Culture, Taiwan, ROC; National Culture and Arts Foundation, Taiwan, ROC.
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➽作品介紹 3
生之曼陀羅 Kaleidoscope of the Universes
創作年份：2015 – 2016
佛教中的曼陀羅是僧侶冥想的工具，由僧侶細心地使用彩色的沙堆積出幾何對稱而複雜的天圓地方圖形，而在完成之後短時間內銷毀。曼陀羅圖像象徵了整個宇宙與芸芸眾生，是創作曼陀羅的人自身的映射、也是他周遭所有事物的映射。而傳統的曼陀羅用傳統的技術，反映著古老的世界觀。我總是思考著那麼在現在的世界觀下，在幾千年來對於生命的疑問與價值是否有所改變？
在古老的過去，人們相信世界有神，神靈是巨大的存在，同時當時的人們不知道在我們眼睛所不能見的尺度之下還有千千萬萬層世界。一直到了近代科技發展，我們才開始意識到在肉眼看不見的世界中，還有許許多多微小微生物在生活著。二十世紀我們討論電腦、數位、工業製造，而生物科技與量子物理是二十一世紀最重要的科技，其無外乎就是對於更微小的元件、更複雜的系統擁有更高度的操縱度，並且將世界萬物、包含生命體，作為我們建構工業的材料。而我們是否能重新檢視當今人類對與宇宙萬物的認識、人類與微生物之間的溝通，將這個古老儀式重塑？
計劃分成三部分：繪製工具、儀式、冥想。使用電子控制的微生物印表機、並且取得各種不同的微生物、製作畫布（養微生物的培養基）並且接上腦電波裝置到中央控制系統中。「儀式」是重新設計排練一套使用這個裝置冥想的過程，透過「繪製工具」重塑一個會自我消長的宇宙。「冥想」則是這個作品的表演部分，每一次曼陀羅的繪製都是一次內觀經驗，而每次繪製出的曼陀羅都將有不同的結果。這部分將被拍攝，並且每一次印出的曼陀羅將會被保存並讓其自然生長。冥想將不間段的在幾周內執行，而最後每一個生長的曼陀羅都將成為每個階段冥想的記錄。
Credits:
此計畫由國立美術館、台北市文化局、西班牙LABoral Centro de Arte y Creación Industrial、西班牙Industrias ROKO贊助。
3D印表機軟硬體設計：Luis Diaz、David Pello、Fablab Asturias、LABoral Centro de Arte y Creación Industrial
3D印表機軟硬體顧問：黃敏書 Xioneer Systems
微生物技術顧問：慈濟大學陳俊堯老師環境微生物研究室、交通大學潘承宗
➽Works 3
In Buddhism, mandala is the painting representing the universe/cosmos. The word originates from Sanskrit, which means “cosmogram” or “world in harmony.” For Tibetan tantric Buddhism, the mandala is drawn by monks using colourful sand during a ritual, and immediately destroyed when the image is finished as the closure of the ritual. The mandala symbolises all the living creatures and the gods, the origin of universe, and its immediate destruction signifies the impermanence of existence. The mandala mirrors how the creators of the mandala understand the world, an image of the universe that was apparent to the people living back in the time.
In ancient times, people believed the there were spirits in the world. Spirits were enormous beings. Back then, people didn’t know there are other ‘worlds’ at the scale our bare eyes cannot see. Even though Blake once wrote “To see the world in a grain of sand” in his poem, it was only the abstract understanding of the unseen world. Only until rather recently did we start to realise there are billions and billions of small microorganisms living in this unseen world.
On the other hand, the deeply western-rooted ‘Science’ makes people believe that technologies allow human beings to control everything. In the 20th century we talked about digital, computers, and industrial manufacturing. In the 21st century, biotechnology and quantum physics have become the new buzzwords. We start to talk about biocomputers, synthetic biology, quantum computers and the quantum phenomenons within the living things. It is the hyper-control of everything, all of which we see as the material of industrial manufacturing.
And I cannot help but wonder what a modern mandala will be like. How can the mandala reflect our relationship and our projection of the universe nowadays?
The project can be divided into three major parts: 1) the tool for drawing, 2) the ritual, and 3) the performance of meditation. The tool for drawing is a microorganism printer controlled by brainwave meditation, along with a ‘canvas’ (growth medium) for the microbes. The ritual is to redesign a process for using this ‘drawing machine’ for meditation. The spiritual purification of incense becomes the actual sterilisation of a microbiological protocol. The third part – Meditation – is the performative part. Each mandala that is drawn is one reflective experience, and each time the result is different. This part will be filmed, and the mandalas will be kept and grown. This performance will be continuously performed throughout a few weeks. In the end, the growing mandalas will be the record of the meditation.
Credits:
Sponsor by NTMOFA, Taipei City Government- Department of Cultural Affairs, LABoral Centro de Arte y Creación Industrial, Industrias ROKO
3D Printer Software & Hardware Design: Luis Díaz, David Pello, Fablab Asturias, LABoral Centro de Arte y Creación Industrial
3D Printer Software & Hardware Consultant: MinShu Huang, Xioneer Systems
Microbiology Consultants: 慈濟大學陳俊堯老師環境微生物研究室, 交通大學潘承宗
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➽作品介紹 4
病毒馴獸師計畫 Tame is to Tame
（與荷蘭 Erasmus Medical Center病毒學家Miranda de Graaf合作）
創作年份：2016
「『馴服』是個常被忽略的行為」狐狸說，「它的意義是建立關係。」 —— 小王子
我們是否能馴服病毒？而病毒是否能馴服我們？
病毒本身不具有生命，僅在進入人體的時候獲得行動能力而得以傳宗接代。病毒借用人體的複製機制作為自己生命的來源。人類是病毒的載體，也是它們演化的基石。而另一方面，在歷史上病毒也曾多次進入我們的遺傳基因中，成為「人類」的一部份。同時，因為病毒在人類身體裡演化，我們的科技也為了防堵它們而演化。
人類將病毒視為敵人。在醫療系統與病毒防治監視系統中對待病毒的語言與態度彷彿這樣的關係是戰爭。感染病毒的人們被視為敵人的載體，而必須被隔離、失去行動自由。人類對於病毒的目標就是讓他們絕跡（eradicate），但在醫療史上僅有天花與牛瘟兩種病毒成功絕跡。時常被忽略的是，絕跡不代表這兩種病毒不見了。在俄國與美國的軍事實驗室中仍保有天花病毒，而成為可能生化武器的隱憂，因為在這個世界上已經沒有人有這種病毒的抗體了。
這個計畫嘗試提議，除了讓病毒絕跡，是否有可能讓人類與病毒某種程度上的和平共存？讓所有人都有計畫性的與病毒維持「好像有點危險但其實不危險」的距離？
病毒馴服師計畫是一個思緒編舞計畫，經由藝術家與病毒學家共同建立一套完善的病毒馴服師訓練課程，帶領新手病毒馴服師們共同探索與病毒的距離拿捏，同時挑戰東方與西方思維的結合、探測專業病毒學家與一般人對於相同世界的不同觀點。
Credits:
此計畫由荷蘭Bioart and Design Award 贊助
合作單位：荷蘭NWO、荷蘭ZonMV、荷蘭Erasmus MC、荷蘭MU Artspace
其他贊助單位：荷蘭De Ontdekfabriek
舞蹈影片製作：陳彥安
編舞與演出：張心瑜
聲音：紀柏豪
3D建模：黃敏書
遊戲設計：黃敏書
協同設計：張芮琦
病毒娃娃製作：陳伶俐
燈光：陳立緯與法國炸影像工作室
模特兒：吳倚伶
特別感謝：
Paul Huber、陳思涵、Chris Cooper、何佳霖、William Myers、Jasper van Es、郭城、宮保睿、林俊吉、顧廣毅、Spela Petric, Mike Thompson, Susana Camara Leret、Waag Society、光點工坊、立祥彫刻工藝社
➽Works 4
Tame is to Tame
A collaboration with Miranda de Graaf, Viroscience Lab, Erasmus MC
‘Tame’ – “It is an act too often neglected,” said the fox. “It means to establish ties.”
— Le Petit Prince
Can we tame the viruses? Can viruses tame us?
Viruses, semi-living entities that not just affect human health, but also evolve via the medium of the human body. Throughout history viruses have integrated themselves into our genome and became a part of the ‘human’. They evolve, and we evolve with them. Our immune system as well as our technology evolves and they evolve with us. This deeply intertwined relationship between humans and viruses, and the blurred line of living and non-living is one of the deepest driving forces of evolution.
Meanwhile, mankind treats viruses as enemies. The language of virology and public health is the language of warfare. Individuals who carry the virus are considered the vehicle of the enemy and should be quarantined. Our sole goal is to eradicate the viruses. Smallpox and Rinderpest are the only viruses that were successfully eradicated, but not without risks. Viruses remain present in the storage of some labs and represent a potential threat because we no longer vaccinate ourselves and nobody in the world has immunity towards it.
Within this project the artist and the scientist try to find out if we can treat the viruses, that are not likely to be eradicated, as if they are wild animals and build a controllable bond with them. In other words – to tame them. Domestication of wild animals not only changed the animals, but also human culture. Is it possible to befriend/observe viruses that remain dangerous from a safe distance, like the virologists have been doing for decades? Can this relationship be extended to the general public?
‘Tame is to Tame’ is a conceptual dance between viruses and human beings manifested through the fictional training program that trains human beings to be rigorous virus-tamers. These tamers will learn to build a relationship with viruses, rather than combatting them.
The artist and scientist join force to become the very first two virus-tamers in the world to embark a thought experiment through this fictional program to explore an alternative human-to-virus, human-to-human relationship. This project borrows the framework of fiction to initiate a discussion between the east and the west, the ignorant and the professional, where the artist and scientist go through stages of speculative and imaginative thought experiments, each stage proposes a novel idea for exploration as a trigger to re-adjust our attitude towards viruses.
In Collaboration with
Miranda de Graaf
Viroscience Lab, Erasmus MC
Credits:
Dance Film Director: Yen-An Chen
Choreographer & Dancer: Hsin-Yu Chang
Sound: Po-Hao Chi
3D Modeling: Min-Shu Huang
Game Design: Min-Shu Huang
Associate Designer: Rachel Jui-Chi Chang
Virus Doll Production: Ling-Li Chen
Lighting: Li-Wei Chen
Photo Studio: FrenchFries.tw
Model: Yi-Ling Wu
Sponsor by
NWO
ZonMW
Viroscience Lab, Erasmus MC
De Ontdekfabriek
Facilitated by
MU Artspace
Special Thanks to
Paul Huber, Chia-Lin He, William Myers, Jasper van Es, Cheng Guo, Paul Gong, Chun-Chi Lin, Kaung-Yi Ku, Spela Petric, Mike Thompson, Susana Camara Leret, Waag Society, 光點工坊, 立祥彫刻工藝社
As part of the
Bio Art and Design Award