《數位印記》廖克楠個展

ꕥ 展期 Duration：2010/08/14 (五) – 2010/09/12 (日)

ꕥ 開幕 Opening：2010/08/14 (六) 15:00 

ꕥ 地點 Venue：台北數位藝術中心

ꕥ 地址 Address：111台北市士林區福華路180號；近捷運淡水線芝山捷運站二號出口

ꕥ 展覽介紹

執行長序

「數位」是現代生活中無法切割的部分，且顯然成為當下的代名詞，藝術發展離不開時代背景，「數位藝術」儼然成為二十一世紀的顯學。數位藝術富親和力的特質，實踐在創新的表現形式上，減少了與觀眾的距離，更改變了藝術的特質，打破既定的觀念。聲音藝術在數位藝術的領域內的定義上有了更深層的探討，機械與電子技術也重新定位了創作的本質。我們樂見台灣數位藝術的蓬勃發展，台北數位藝術中心也一直致力於整合各界資源，展現共同參與的積極意義，並提供交流平台，開創出創意激盪與觀念碰撞之台灣數位藝術新視野。
延續雙個展相互映照的展出模式，台北數位藝術中心再度邀請到兩位傑出數位藝術家以及其作品，分別為台灣聲音藝術先鋒王福瑞的「雲端下的聲林」，以及專精於機械設計且熱愛電子技術的廖克楠的「數位印記」。王福瑞「雲端下的聲林」以無數聲點創造出虛擬的森林，傳達出這個時代當下的聲音；廖克楠的裝置作品則企圖喚起數位演進過程中，對於早期數位化已逝去的記憶。兩者在創作形式、理念探討甚至呈現的時空場域大不相同，但皆探討了數位在當下的意義，呈現出讓人著迷的空間，提供觀眾新穎的感官體驗。
展覽一次涵蓋聽覺與視覺層面，場域穿越時間軸橫跨過去到現在，倘若觀眾深入「雲端下的聲林」探尋聲音的更多面貌，跟隨「數位印記」緬懷與體驗箇中滋味，相信此趟美學之旅將讓您感受良多！

The “Digital” has become part and parcel of contemporary life. The development of Art is the production of long historical process in which “Digital Art” has become a popular subject in the 21st century. Digital art has a unique quality of attraction which reflects in its innovative form of expression. This can engage more audience, further change the quality of art, and can break the ideas that have been established for a long time. People have further discussed the definition of ‘sound art’ in the field of digital art. Similarly, mechanical and electronic technologies have also redefined the quality of creation. We love to see the speedy development of digital art in Taiwan. In this regards the Digital Arts Center, Taipei has been endeavouring to integrate the resources from all walks of life to give them one platform. The Center also provides a common platform for different ideas to inspire creative thinking and to produces a new perspective of Taiwanese digital art.
Extending the exhibiting style in which both artwork match with each other, Digital Art Center, Taipei once again invites two outstanding digital artists. These include the Taiwanese sound art pioneer Fujui Wang’s “Sound Forest Under The Cloud”, and Kehnan Liao’s “Digital Impression”. Mr. Liao is expert at mechanical design and loves for electronic technology. Mr. Wang’s “Sound Forest Under The Cloud” uses many acoustic points to create virtual forests that convey sound at once in this contemporary era. Mr. Liao’s installation artwork intends to remind people about the revolution of digital, especially the lost memories of early digitalization. Between these two artists, their creative style, the way they discussed about their ideas, showed time and space field are totally different from each other. However, they both discussed the meaning of digital art in the contemporary times. Their artwork shows a fascinating space, and provides audience a novel sensory experience.
This exhibition includes both audio and visual form at the same time. The space field shows the timeline from the past to present time. Audience further explore the different phases of sound in Mr. Wang’s “Sound Forest Under The Cloud”, and thinking about and experience its taste about “Digital Impression”. I believe this trip will become a great aesthetic experience for you.

黃文浩 Huang,Wen-Hao

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創作理念

數位科技發展迄今已有將近30年的歷史。「數位化」從生活中的各個角度，帶給我們有別於傳統的類比感受。
數位化，是將連續的類比資訊，以高速取樣的方式切割成細微的瞬間數值，再以電子科技加以重現。數位化的目的，使得我們可以使用電磁的方式記錄、傳輸，而不致因為時間久遠而喪失資料的訊號強度，得以精確的保持取樣時的精準。
然而這些數值因為取樣當時的速度與解析能力而過於粗略時，就會產生可被察覺的顆粒、鋸齒狀的階梯數值。這種現象即是數位科技所帶來的–「不連續性」。例如，數位影像從過去單色無灰階，到現在動輒數百萬像素、全彩的超高解析度畫面，使得我們幾乎感受不到數位化的特色–「不連續性」的存在。
「數位」一詞，一直都是我們所認為的「高科技」與「先進」，但曾幾何時數位生活在短短數十年間的演進，已讓我們忘記了數位產品初發，這些低解析度的過渡產品，反而是相當的令人莞爾與懷念。
「數位印記–廖克楠個展」，主要透過低傳真度的表現，來喚起並討論這一連串數位化演進過程中，所造成我們對這些數位生活中的「印象與記憶」。

Concept of Work
Digital technology has been developed over 30 years. From each view in life, “Digitalization” gives us the difference from traditional analog feeling.
Digitalization will slice continuous analog information as instantaneous values by high-speed sampling to reconstruct with electronic technology. The purpose of digitalization allows us to record and transmit by electromagnetic manner without signal loss in long term to obtain accuracy during sampling.
However, the observed grain and zigzag ladder values will be produced when these values are excessively rough due to sampling speed and resolution in that time. This phenomenon is “discontinuity” produced by digital technology. For example, digital images transfer from monochrome and no gray level in the past to million pixels and full-color resolution screen nowadays, so that we almost don’t feel digitalization features – the existence of “discontinuity”.
We always considered the term “Digitalization” as “High-tech” and “Advance”, but with the evolution of digital life in several decades, we already forgot the early development of digital products. These low-resolution transition products are interesting and nostalgic.
Digital Impression – Kehnan Liao Solo Exhibition arouses and discusses “Impression and Memory” of digital life in a series of digitalization evolutions via “Low Fidelity”.

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藝術家簡介

廖克楠
1971 生於台灣台北
2004 台北藝術大學科技藝術研究所
聯展
2010「藝術與科技中心作品展」，台北藝術大學，台北
2009「機心 -互動裝置展」，台北科技大學藝文中心，台北
2007「台北藝術大學科技藝術研究所畢業展」，台北藝術大學科技藝術研究所展覽空間，台北
2006「台北二三」，台北美術館，台北
演出
2009「光構」，第四屆台北數位藝術節開幕特別表演，台北當代藝術館，台北
2006「電梯W小姐」，台北藝術大學圖書館地下一樓展覽空間，台北

About artist
Kehnan Liao
1971 Born in Taipei, Taiwan
2004 Graduate School of Arts & Technology, Taipei National University of the Arts.
Group Exhibition
2010 Exhibition of Center for Art and Technology, TNUA, Taipei
2009 Machine Core–Interactive Installation Art, Art and Culture Center of National Taipei University of Technology, Taipei.
2007 Graduate Exhibition of Graduate School of Arts & Technology, Graduate School of Arts & Technology Art Space, Taipei
2006 台北二三, Taipei Fine Arts Museum, Taipei
Performance
2009 Light Construction, 4th Digital Art Festival Taipei Special Performance, MOCA, Taipei
2006 Miss W, TNUA Library B1 Exhibition Space, Taipei

ꕥ 作品介紹 1

In Van Gogh’s Eyes 梵谷眼中

複合媒材：數位照片、電腦程式、攝影機、畫布、投影機 mixed media: Digital photo、computer program、video camera、canvas、video projector (2008)

作品說明 About Work：

學習油畫過程當中，對於梵谷（Vincent van Gogh）獨樹一格的窩流狀的畫風，感到好奇且讚嘆。在一次登高近距拍攝台北101高樓的夜色時，偶然從照片中發現該構圖近似於梵谷的作品The Starry Night。

作品以台北101大樓照片為背景，投射在畫布上。觀眾以手在畫布上揮動，透過攝影機及電腦程式計算，使畫面產生塗抹如Starry Night的窩流效果。

During the learning of oil painting, I particularly curious about the unique vortex painting skill appears in Vincent’s（Vincent van Gogh） works. In one time, I climbed to a mountain nearby The Taipei 101 Tower to take its night scene. Coincidentally found that the composition is close to Vincent’s work – the Starry Night.

This work uses a video projector to project the night scene of The 101 Tower on a canvas , being as its background. While the audience waves their hands in front of the canvas, the computer program detects hand movements via video camera, then generates the vortex oil painting effect seems like the one in “The Starry Night”.

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ꕥ 作品介紹 2

Lo-fi 低傳真

複合媒材：伺服馬達、電腦程式、鋁箔紙

mixed media: Servo Motor、Computer program、Aluminum Foil

2010

作品說明 About Work：
Lo-Fi，與高傳真相對應，即表示「相當低的傳真度」。數位時代剛起步時的數位產品，由於電子處理的速度及能力有限，不如今日幾乎無法察覺數位與類比差別的數位產品，所呈現的是一種低解析度的抽象與失真感。
相信不少人對過去幾個pixel組成的遊戲角色，充滿了幻想與思考。這些資訊雖然不盡真實，但卻因為其相當低度資訊量的傳達，以及其單純化，反而凸顯了要傳達的資訊強度。這種狀況所設計的圖形、聲響，也因此被特別考慮過。
「Lo – Fi」以伺服馬達矩陣，控制高數量的反光鋁箔片角度，加上投射燈光的渲染…形成一具類比的LED螢幕。觀眾的視野角度直接可以影響到觀看的內容，形成在數位與類比之間的交換感覺。

Lo-Fi, relative to high definition, has “relatively low definition.” At the beginning of the digital age, unlike today, products launched initially due to limited speed and capacity of electronic process showed no difference between digital and analogue types presenting the abstract and distorted low definition.
Roles in the game composed of few pixels always fascinate and inspire many people. Although information may not be truly converted, yet the simplification conveyed by low information flow accentuates the strength of information. Under that circumstance, photo images and sound have been carefully designed.
“Lo – Fi” uses server motor matrix to control the angle of reflective aluminum at high volume and with the effect of projected light, an analogue LED monitor has been formed. Viewing angle of the audience can directly have the impact on viewing contents showing the exchange feeling between digital and analogue devices.

ꕥ 活動紀錄

廖克楠創作論壇
2010/08/21(六) 16:00-18:00

創作論壇中，藝術家廖克楠分享了創作的心路歷程。新作品「Lo-Fi」採用複雜的機械裝置製作取代了LED的簡易呈現，除了滿足藝術家的自我成就外，更獲得了觀眾驚嘆的表情。創作分享之餘，廖克楠更現場示範操作「梵谷眼中」主要使用的軟體VVVV，在輕鬆拉移物件之間，可創造出如梵谷筆觸般的神奇效果，令人驚艷！

圖一：藝術家廖克楠分享其創作過程

圖二：作品「Lo-Fi」3D模擬圖

圖三：藝術家廖克楠示範操作「梵谷眼中」

主要使用的軟體VVVV

圖四：現場民眾與藝術家問答