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1、位音像位音像 Digital Audio-visual 評審感言評審感言 From Jurors 王俊傑王俊傑 Jun-Jieh Wang 國彰化師範大學美術系專任助教授國彰化師範大學美術系專任助教授 / 2006 台雙展策展人台雙展策展人 Assistant Professor of Department of Fine Arts, National Changhua University of Education / Curator of 2006 Taipei Biennial 本屆台位藝術獎的位音像 （Digital Audio-Visual）賽件踴躍，但最後的 評審結果卻呈現極難產的
2、態，僅首獎從缺，入圍件亦寥寥可，此一現象並非 顯示這個型的創作人口足 ， 而是突顯賽者對運用位媒介創造高藝術性與原創 作品的認知足。賽作品涵蓋大的 3D 動畫，除技術普遍成熟外，敘事語言 及創作的實驗精神足 ， 再再顯示輕一代學生或創作者並沒有體認到原創藝術性的 重要，而只是對位技術潮所產生的模糊崇拜，它正像是當前口號響的文化創意 產業所遭遇的瓶頸一般，只是汲汲於對未美景的幻象，卻能從實驗與創造精神的 基礎中建應有厚。當代藝術與超媒體的複雜混合，早已沒有媒介與型的分野，我 們希望看到的是，由位時代的角出發，以影音媒介創作的方式，傳達自身與環境的 當代性特質。再一次：沒有創意哪產業？！ 鄭慧華鄭
3、慧華 Amy Huei-hua Cheng 2004 台雙展策展人台雙展策展人 Curator of 2004 Taipei Biennial 新媒體創作中的位媒體創作，代表的僅是新技術與工具的開發，也是以此項新興媒 體之特質，對吾人所生活之當代社會進多的探究與反思，試圖從中解人與工業社 會的依存關係。 台位藝術獎位音像組評審開始時，評審們即有審視作品的共即只以作 品的技術運用作為單一評審標準，同時期待具有藝術觀上的推進與突破。這也意味 我們認為對於位媒體的思考，應只受制或順從於它們原先的功能或樣態上， 應透過創造提出多對於位媒體（生活）的想像、思，或甚至批判性，而這個面向 是台灣位媒體創作中
4、逐漸被重視的一環，也是持續推進的方向。 然我們也發現大部份投遞選的作品多為一般動畫製作，其中雖乏成熟的作品，但 也反應出在台灣對於位音像的想像空間仍十分局限。另一方面，選作品仍是以個人式的技術實驗與經驗為主，尚未出現如本屆藝術節所邀請之塗鴉研究實驗室 （Graffiti Research Lab）具社會與特質的創作型。 由於以上的期望與共，在獎項的宗旨鼓位藝術創作之外，評審們一致認為觀與創造的多元提升在此階段應被關注和討，在此盼望之下，最後決定今的首 獎從缺。整體而言，這並是件遺憾的事情，反而是具體投射未成長和進步的空間 與目標。 入選作品皆是藝術觀性和技術性者完整較高者 ： 沐芢的作品 你我
5、們分手吧 以影像合成和環場效果呈現都會發展腳步下建設及被犧牲的一面。都市化議題 中的進步與排除效應以具張的影像並置呈現，在緩緩移動中，觀者猶如也進 入時代的場景與時間程之中，回視自身生存空間的發展與結果。牛俊強的作品栩 栩散發著似乎是靜止動、卻又隱隱具有時間移動過程的氛圍，其畫面產生足以讓人 步入幽閉記憶深處之時空的抽象能。湯雅如的遊生活從觀探討著手，以擬仿 遊節目的製作手法揭無時無刻被媒體製造的訊息與影像所包圍的生活 。 厚成的 作品Around Circle是由速所產生的續動作所引發之視覺上動態/靜止之間的感 知態為探主題。在結合視覺、聲音元素本身的處上，較其他創作者都具實驗性 想法與完成
6、。 The creation of digital new media art represents not only the development of new technology and tools, but also a further exploration of and reflection on our contemporary society (because of the very nature of the emerging media), through which we may attempt to understand the mutual dependence o
7、f Man and his industrial surroundings. When preparing to judge the Digital Audio-visual category of Digital Art Awards Taipei, the panels consensus was that, instead of making the use that had been made of technology the sole criterion for appraising the works, we should expect some kind of advancem
8、ent and breakthrough in artistic concepts. In other words, we believed that thinking on “digital media“ should not be restricted by or forced to submit to existing functions or forms, but should propose more imaginative, reflective or even critical ideas on digital media (life), an aspect that is gr
9、adually gaining deserved attention in Taiwans digital media art as a direction in which to continue moving forward. Nevertheless, we found that most of the works entered this year were ordinary animation productions, and, though not lacking in maturity, overall, they reflect the rather limited imagi
10、nation in Taiwan with regard to digital audio-visual art. Moreover, the works still present mainly personal technical experiments and experiences, and we have yet to see an example of work by a local artist that demonstrates the kind of social participation that is engaged with by the creations of t
11、he festivals invitation artist, Graffiti Research Lab. Based on the above reasoning, the judges all felt that, besides serving the awards purpose of encouraging digital art making, it was even more important at present to focus on and discuss the diversification and elevation of artistic concepts an
12、d creativity. With this goal in mind, a decision was made not to award the first prize this year. Rather than being something to be regretted, this decision should actually provide a stimulus for future growth and improvement. This years finalists all demonstrated a level of completeness in terms of
13、 both artistic concept and technique that made them stand out from the other entries. In “You Say Were Finished,“ Mu-jen Lu used composite images and panoramic effects to represent the “constructions“ and those “sacrificed“ during the process of urban development. The issues of “progress“ and the “e
14、xclusion effect“ in urbanization are presented in powerful, juxtaposed images that slowly shift to draw the viewer into scenes from a past interval of time to look back on the development and conclusion of the place of their existence. “Lively“ by Chun-chiang Niu emits an ambience of stillness that
15、faintly evokes the movement of time, its images capable of leading the viewer into the space-time of deep, closed memories in an abstract way. Starting from a strong concept, “Living & Travel“ by Ya-ju Tang imitates a travel program to expose how our life is constantly surrounded by media-produced messages and images. “Around Circle“ by Hou-cheng Lin explores the visual perception of movement/stillness triggered by continuous, high-speed motion, and is perhaps the most conceptually experimental and complete in its treatment of the combination of audio and visual elements. 宏璋宏璋 Hongjohn Lin 台
