artworks :

① 萊普斯團隊 影格－電玩情節

當光明和黑暗不再分開，混亂中有了秩序，光與影交織出影子的舞者。遊戲畫面總是在一片混沌中展開，破關解謎需要玩家的智慧與反應，在遊戲中玩家以造物者之姿俯視一切，讓虛擬世界得以運行，然而面對混亂的真實世界，我們該如何突破重圍呢？萊普斯團隊將以電腦程式控制110個燈管人在玻璃帷幕上的光影變幻，如同逐格動畫一般，演繹出1980年代復古遊戲畫面。

Groupe LAPS | Keyframes - Game Stories

When light and darkness are no longer separated, there is order within chaos, light and shadow intertwine to form a dancer from the shadow. The game screen always unfolds from a scene of chaos. Solving the puzzles requires wisdom and reactions of the players. In the game, the player looks down on everything from the creator’s vantage point, allowing the virtual world to operate. However, in the face of the chaotic real world, what could we do to break through? With a computer program, Groupe LAPS controls the light and darkness changes of 110 LED stick-man on the glass curtain, like a frame-by-frame animation, presenting retro game scenes of the 1980s.

② 有用主張 | 龍捲風

作品是以光構成的龍捲風，一件將毀滅性的自然現象結合瑰麗奇想的燈光藝術。作品試圖探討異常氣候現象所帶來的災變，與假設未來人類能夠壓制甚至控制自然現象時，人們會善用或將之當成收藏品般展示宣揚。當城市裡出現一座光龍捲時，帶來的究竟是恐懼還是驚奇？更希冀引發觀者反思：「在人類世的未來，我們是否可以更睿智地去運用人類的力量，造福世界與地球。」

UxU Studio Tornado

A tornado made of light, a light art where devastating natural phenomena meets magnificent fantasy. This piece attempts to approach to the catastrophe caused by abnormal climate phenomena, and assume that when human beings can suppress or even control natural phenomena in the future, people will make good use of it or display it as a collection. When a tornado of light appears in a city, whether it brings fear or surprise, viewer are expected to reflect: "In the future Anthropocene, would the humans be wise enough to use their own power benefiting the world and the earth?"

③蔡宜婷 | 對稱加速度

不平衡的車輛懸起一顆巨大的石頭，呈現一股緊張的力量。突破這凝滯畫面的是由車輛透射出來的光，與映射在地面上的糢糊風景，經由民眾互動下收集來的影像數據，一段段流淌的吉光片羽揉和而成的時間集合體，是每個依循個體而成立的微型時空，投射的是自我真實的感官經驗，呈現眾人一路的過程。

車輛作為一個移動載體，是工業文明的發展與個人自由價值的彰顯，但拖著巨大的石頭與凝滯與此地的衝擊，像是文明與自然之間的抗衡，這一方面呈現了失衡的張力，一方面又是恆常的當代現象。

TSAI Yi-Ting | Symmetrical Imbalance

The imbalanced vehicle suspends a huge stone, creating a sense of tension. Breaking through this stagnant scene is the light emitted through the vehicle, and the blurred landscape projected on the ground. The image data collected through the interaction with people is weaved into sections of time collections. Each one a miniature space-time established according to the individual, and it projects the true sensory experience of oneself, showing the process of everyone along the way.

As a mobile vessel, the car is a manifestation of the development of industrial civilization and the value of personal freedom, howerver, the visual impact of dragging a huge stone and stagnating in this place is like a counterbalance between civilization and nature. This aspect presents an imbalanced tension. On the one hand, it is also a constant contemporary phenomenon.

④日行跡 | 千田泰廣

白色尼龍線隨機編織在整個空間，一片黑暗中，投影出一道白色光線並連續往上移動，此刻觀眾將被成千上萬個向上移動的微小光點包圍。由於線網是以任意角度交織而成，每個光點似乎以不同的速度移動。在作品中，觀者在黑暗裡宛如被移動的流星包圍，卻又同時感覺像在水裡一樣，緩緩沉入水中。希望與絕望彷彿在一線之間被同時呈現。光線是最純淨的材料，可以改變有形的空間，當一項材料達到極致幽微像是人類可感知到的極限邊緣時，材料就會失去其實質性，僅保留為一種品質和空間

Analemma | Yasuhiro CHIDA

Polyester threads are randomly woven through the entire space, in the darkness, linear light is projected and moves continuously upwards, at that moment the viewers are surrounded by thousands of tiny light spots moving upward. Since the threads are interwoven at various angles, the speed that each of the light spots moves seems to vary. In this work, the viewers are surrounded by meteor showers in the dark, while at the same time it feels like slowly submerging into the water. Hope and despair seem to be presented at the same time and only separated by a fine line. Light is the purest material with the ability to alter the tangible space. When a material reaches the quintessence of existence, similar to reaching the limits of humans perception, the material loses its substance and becomes only a type of quality and space.

⑤ 光廊 | 黑川互動媒體藝術

在黑暗中期待光，如同期待著希望，作品中的光是來自於人們手機的傳遞，以光在空間中的移動來表現訊號，作品接收到訊號，再以光的移動來呈現，移動過程若沒有接觸到人，那麼光的信號是沉靜而沒有反應，如果移動過程接觸到人，那麼光就會產生振盪與回響，象徵被接收或有所回應。

Signal | Peppercorns Interactive Media Art

Awaiting for light in the darkness is similar to searching for hope. The light in the work was drawn from signals from viewers' mobile phones. The signals are represented by the movement of light in space. The work intercepts the mobile signals and then presents it as a movement of light. During the movement process, if the light doesn't come into contact with people, then the light signal is considered calm and unresponsive. However, if during the movement process it comes into contact with people, then the light will oscillate and reverberate, which symbolizes signals being received or responded to.

⑥ 謝佑承 X 王中原 | 高壓電

電作為 21 世紀生活的基礎能源，往往是隱形而不可見的。我們想像著在 20世紀以前，人類的眼睛如何目擊這個大自然的龐大能量——雷電，而一百年後，在電力設備成為一座城市文明最基本的基礎建設時，我們又如何看待人造光與夜晚所帶來的改變？〈高壓電〉隱匿於巨大的黑暗之中，以突如其來的閃現，在文明進步或災難將至的預兆之間，重新思考自然與光的關聯。

HSIEH Yu-Cheng X WANG Chung-Yuan | High Voltage

As the fundamental energy source for life in the 21st century, electricity is often invisible to people. We could imagine before the 20th century how human eyes perceived the powerful energy of lightning in nature, and a hundred years later, when electrical equipment became part of the basic infrastructure of a civilized city, how do we feel about the change that artificial light brings to the nights? High Voltage hides behind the expansive darkness and lights up in a sudden unexpected flash. Reflection on the connection between nature and light, between the signs that signaled progress of civilization and signs that signaled imminent disaster.

⑦ 安可工作室 | 環形邊境

黑暗中，光影使得水池與周圍環境相映反射，首先是嚴謹的幾何形狀，鏡像的表面傳遞出有序的訊息；一旦鏡像的水面開始出現震盪與波浪，燈光線條也旋即扭曲變化，工整的環境開始變得凌亂，在秩序與失序間交雜，現實與詮釋開始對話。

社會在人類自訂的秩序中運行著，但突如其來的自然環境變化可以使平靜的狀態出現波瀾，瞬間打亂所有規律。作品的聲光變化演繹了沉穩到不安失控，又再度回歸寧靜，彷彿浩劫歸來。人類總自認為掌控土地疆域，但之於大地的改變卻更顯渺小。

Encor | Circular Frontier

In the darkness, light allowed the pool to reflect its surrounding environment, initially, they are of rigorous geometric shape and the mirrored surface conveys an orderly message. However, once the wave and ripples appear on the mirrored water surface, the lines and shapes also oscillate and distort, and the pristine environment becomes chaotic. Between order and disorder, reality and interpretation begin a dialogue.

Society functions under rules that are defined by humans, but sudden changes in the natural environment can create ripples in the original calm state and interrupt all rules in an instant. Audio and light elements in the work mark the transition from a serene to a chaotic state and then returning to tranquility again as if returning after a catastrophe. Humans often believe that they control the land, but once compared to the changes of the land it seems to be even more insignificant.

⑧ 高德亮 | 座標系列 - 樹林

作品透過置入多道線性的雷射光，緩慢掃描著眼前的自然植栽。光線描繪著樹林多重的切面與輪廓，並勾勒出像是虛擬的數位渲染視覺狀態，讓人聯想到長久以來，人類不斷的透過觀測與掃瞄自然生態環境，進而累積出多種面向的知識與啟發。眼前的雷射光與自然植物之間的交界，彷彿像是科技與自然之間互相糾纏不清卻又詩意迷人的共生關係，也許生命中黑暗與光明的轉換，就在於我們如何重新觀察自身與整體環境的關聯，並在破曉時分迎接新的未知到來。

KOU Tak-Leong | Coordinate Series－Grove

The work slowly scans the plants in nature through multiple linear laser lights. The light depicts the outline and contours of the grove, creating a visual perception similar to digital rendering, reminiscent of the times where humans constantly observe and analyze the natural ecological environment and acquire a variety of knowledge and inspiration. The intersection of the laser light and natural plants in front of our eyes forms an entangled but poetic relationship between technology and nature. Perhaps the transformation of darkness and light in life lies in how we re-examine ourselves and the connection with the environment, where we welcome the arrival of new unknowns at every daybreak.

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