Amid flickeringbeams and resonant sonic fields, new media art unfolds a sensory experience thattranscends materiality—an entryway into the flux of information, the deferralof perception, and the indeterminate thresholds between technologicalinterfaces and the world. Upon the island, colonial landscapes, hybridcultures, and folded memories continually refract multiple layers ofconsciousness, shaping the frequencies and landscapes of algorithmic media.

With Formosaas a generative background, the artists summon the island’s environment—itsnature, mysticism, folklore, and culture—as variables within a layered datafield, computed, translated, and reconfigured through their works. Artists2ENTER, Chen Kuang-Jui, Chiang Tso-Yu, Hi - Quality, Hsu Chiao-Ai / uan Tzu-Ni,Huang Kuan-Hsun, Lee Yung-Chih, Lin Yen-Ju, Tian Zi-Ping, Walking Grass Agricultureemploy diverse media vocabularies—sound, electronic circuits, moving image,NFTs, games, and ecological machines—to construct a language that transcendsphysical boundaries. This language connects deep cultural strata with cosmic dimensions,allowing us to reimagine the entanglements of nature and technology, the body andthe system, the self and its environment.

Here,“place” is neither a gesture of nostalgia nor a cultural ornament. Rather, itbecomes a point of departure for proposing new perceptual systems and ways of understandingthe world within a global techno-cultural condition. The exhibition reveals howartists navigate between cosmological scales and insular geographies, craftingmodes of resonance that dissolve boundaries—and within these entangled systems,we too are participants.

在閃爍的光束與共振的聲場間，新媒體藝術開啟一種超越物質性的感知經驗，使得以進入資訊的流變、觀察的感知遞延，以及技術介面與世界之間那不定的接縫之中。在島嶼之上，殖民地景、混種文化、摺曲記憶中不斷折射出多重的意識，也形構出新媒體演算的頻率與景觀。

以福爾摩沙為生成背景，藝術家召喚包括島嶼環境的自然、神秘性、民俗與文化，皆作為資料層中的變數，被演算、轉譯，重新於作品之中。藝術家田子平、江卓豫、李勇志、林晏竹、海闊拉帝、許巧嬡、阮姿霓、陳漢聲、陳寬睿、貳進、黃冠勛作品，透過聲響、電子迴路、影像、 NFT、遊戲、生態機械等媒體語彙，構築出一種跨越物理疆界的語言，連接深層文化與宇宙維度，使我們得以重新思考自然與科技、肉身與系統、自我與環境之間的關係。

「地方」在此既不是懷舊，也非文化裝飾，為一種能在全球技術語境中仍能提出新型感知系統與世界理解模式的起點，展現藝術家如何在宇宙尺度與島嶼地誌之間，形成一種共感的方式，超越邊界的禁錮：而在其中，我們也是系統本身。

Media Coverage ｜ 媒體報導 

Tatler、理財週刊、非池中、富豪人生、Beautimode 、青年日報、Prestige、Enya Fashion Queen、台灣好新聞、TaiwanNews、大媒體 | LINE TODAY、大媒體新聞網、太平洋電子報[世界新聞]、[休閒娛樂]、[生活消費] 等版面 、dfun 

Artwork Introduction ｜ 作品介紹 

DATA-VERSE U＃日曆

2ENTER 貳進

The focal point of project Data-Verse is the 'visualization of real-time internet information,' whereas 'U' stands for 'You.'

The traditional Chinese calendar, used in daily life, compiles the complex information of a whole year into a stack of 365 thick pages, eachmarking the year, month, day, and season details for each day. Data-Verse digitizes this traditional tear-off calendar, allowing it to exist permanently on the Internet without the need for annual replacements. This digital calendar will be updated daily, and the fruit illustrations on top will change with the seasons.

傳統中華日曆作為一種日常使用的出版物,將一整年的繁雜資訊整合為一疊365頁厚的紙張，一頁頁地標示著每一天的年月日、季節等資訊。貳進將傳統的手撕日曆數位化,使之得以永存於網際網路,且毋需年年更換。本數位日曆將按日更新,上頭的水果圖案亦會隨著季節更替。 

Part From Murmuring  離潺

CHEN KUANG-JUI 陳寬睿

This series is inspired by the unique phenomena observed in various streams and the Beitou region—such as the leaves by the ponds, distinct smells, bodily sensations, and the particular qualities of the water. These observations are combined with my personal research and areas of expertise to create this body of work.

While exhibitions or artworks are often perceived by audiences as final results, I believe an exhibition is not the end of a process but rather a continually evolving one. In my work, it marks the beginning of further transformation. I aim to challenge the conventional boundaries of materials and explore their organic potential. For me, the evolving nature of the artistic process is crucial. I hope my works encourage viewers not only to reflect on but also to engage with this process of change. The experimental materials I use serve as a medium for translating these lived experiences.

系列啟發於各地溪流及北投區域的特殊現像，包括池邊樹葉、氣味、身體感受、水質特殊性等等之研究，再結合個人的研究及專長所創作的系列作品。

通常觀眾們會把展覽或作品當作是一個結果，然而我認為展覽並不是一個過程的終點，而是一個不斷變化的過程，在我的作品中，它是通往其他變化的起點。打破媒材的可能性並找尋其中的有機性，我認為藝術的過程變化極為重要，而在我的作品中，更希望促進觀眾思考及參與作品變化的過程。並以實驗出來的特殊材質進行經驗的轉譯。 

Metabolism  代謝

CHIANG TSO-YU 江卓豫

“Metabolism” is a behavioral record archive spanning two months. In this archive, the author meticulously documented in writing every piece of garbage produced at home from June 6, 2023, to August 5, 2023. Before discarding each bag of trash, it was 3D scanned and archived. Together with the textual records, these were minted as non-fungible tokens (NFTs). This record holds no production, trading, or utilitarian value; its sole purpose is to document the metabolism of objects that once belonged to the author, preserved as metadata frozen in a timestamp within a public digital space.

By anchoring and publicly displaying traces that once belonged to the author—such as shed layers of skin accumulated over certain days—on a digital timeline, this project serves as a form of self-information backup. Simultaneously, it unfolds the author’s life and time within a digital domain, inviting viewers to peer through this archive, resembling a skin-like sheath, to glimpse the creator’s everyday existence.

〈代謝〉是一份為期兩個月的行為紀錄檔案，在這份檔案中，作者首先以文字詳細地紀錄了他從2023/06/06至2023/08/05於家中所生產的每一片垃圾，並在以一包為單位丟棄之前將其3D掃描建檔，連同文字紀錄鑄造成非同值化代幣（NFT）。這份記錄不具有生產、交易或使用價值，其目的只存在於將曾經隸屬於作者地，「物」的代謝，記錄在一個公開的數位場域上，形成一份中繼資料凍結的時間戳記（timestamp)。

藉由將曾屬於作者自己地痕跡、一些日子所剝落的角質層，錨定並公開在數位世界的時間軸上，在做為一種自我的資訊化備份的同時，也如同將生活與時間攤開於數位場域，勾引觀者藉由這份如同皮蛻般的檔案，窺視創作者的生活。 

Fortune Stick From Hell  地獄籤詩

HI - QUALITY 海闊拉帝

“Fortune stick from hell” is a kinetic mechanical installation that parodies the traditional goddess-operated fortune slip machines found in temples. It incorporates custom 3D-printed models of hellish monsters, dioramas of the underworld, and synchronized light and sound effects. Upon inserting a 10 NT coin, the lights activate, and the ox-headed and horse-faced guardians ( 牛頭馬面 ) enter the demon’s head to retrieve a divination slip. There are ten different slips, each stamped with a unique design representing one of the Ten Courts of Hell. The messages are delivered in the tone of the underworld kings, warning people to avoid evil and practice virtue. At the same time, the piece humorously plays on the old saying, “Money makes the ghosts turn the mill,” suggesting a satirical view of morality and materialism.

〈地獄籤詩〉動力機械裝置乃戲仿傳統廟宇裡擺設的仙女籤紙機，加上自製的 3D 列印地獄怪獸模型、地獄造景和聲光效果，投入十元硬幣後燈光會作動及牛頭馬面會進入鬼頭中搬出籤詩；籤詩共有十款，分別由十款不同內容的印章蓋章於白錢上，內容以地獄十殿各殿閻王口吻告誠世人諸惡莫作、眾善奉行，並暗示如俗諺般所說：有錢能使鬼推磨之詼諧揶揄情境。 

Pia !

HSU CHIAO-AI / JUAN TZU-NI  許巧嬡 / 阮姿霓

”pia !“ reconstructs a delicate everyday gesture through mechanical means, translating the interaction between human and bubble wrap into a continuous performance. The audience is confined to the role of spectator, while the act of engagement is delegated to a machine that slowly and steadily performs the stress-relieving action on their behalf.“pia !” attempts to explore the paradox of passive stress relief—when such an act is quantified and replaced by a machine, does it still retain its original function?

〈pia !〉透過機械重構日常中的細膩行為，將人與泡泡布之間的互動轉譯為持續性的表演。觀者被迫停留在觀看的位置，取而代之的操作者則是機械，其以極慢的速度持續且穩定地，爲觀者「代勞」著紓壓行為。

〈pia !〉試圖探索被動紓壓的矛盾狀態──當紓壓行為被機械量化、取代時，它是否還保有其功能？ 

The Weightlessness Editions 失重系列

TIAN ZI-PING  田子平

“ The Weightlessness Editions ” is an ongoing video series that explores the body's dialogue with invisible systems̶gravity, data, and discipline. Originally conceived as a live performance project, the series distills its kinetic essence into visual studies that float between tension and surrender.

Each piece offers a poetic compression of time and weight. Using slow motion, minimal gesture, and digitally augmented environments, the body becomes both a sensor and a signal.In a time where the digital body is constantly tracked, measured, and optimized, Weightlessness proposes a counter-gesture̶a moment of softness, refusal, and vulnerability.

〈失重系列〉（The Weightlessness Editions）是一組持續發展的錄像作品，聚焦於身體與無形系統之間的對話──包括重力、數據與紀律。該系列最初以現場演出為起點，並在之後將運動的本質濃縮為一連串介於張力與屈服之間的視覺研究。每一件作品都像是一種對時間與重量的詩意壓縮。透過慢動作、極簡的身體動作以及數位增幅的環境，身體既成為感測器，也成為訊號本身。

當數位身體在當代被不斷追蹤、量測與優化之際，〈失重〉系列則試圖提出一種反向姿態──一個柔軟、拒絕與脆弱的片刻。 

Eternal Circuit 永恆迴路

LIN YEN-JU  林晏竹

” Eternal Circuit “  draws its inspiration from the ancient mystical text Emerald Tablet, often regarded as one of the foundational documents in the development of alchemy. This legendary emerald-green tablet articulates the laws of material transformation within the cosmos, the principles of continuity and unity, and the profound connection between matter and spirit.

Eternal Circuit establishes intricate links between the virtual and the real, matter and energy, ancient mysticism and contemporary technology. It reflects the cosmology of the digital age, moving from transformation to integration and ultimately contemplating the eternal cycle between materiality and consciousness.

This dissonance between temporal layers invites reflection on the illusion of time itself, the shifts and constants of the world, and the fragile intersection between memory, history, and media.

〈 永 恆 迴 路 〉作 品 靈 感 源 自 古 代 神 秘 石 板《 翠 玉 錄 》( E m e r a l d Tablet)，相傳是煉金術發展的核心文本之一。那是一塊翠綠色的錄版，內容涵蓋宇宙中物質的變化法則，連續與統一，以及與精神的連接。

作品以電路板為裝置載體，嵌入NFT（Non-Fungible Token，非同質化代幣），探討物質與經濟轉換中的流動性；結合AI生成的創世文本，詮釋層級宇宙中訊息的生成與傳遞，並展現維度穿越中的連結。

〈永恆迴路〉在虛擬與現實、物質與能量，以及古代神秘學與當代技術之間構築多重連結，呈現數位時代宇宙觀中的轉化到統合，而終至物質和意識之間的永恆循環。 

Industrial Neon 工業霓虹

LEE YUNG-CHIH  李勇志

Exploring the logos and slogans of Taiwan’s vanished or historically significant Industries, reimagined as fictional neon signboard. This project continues the Neo N Old series by investigating historical trademarks, slogans from old photographs, and industrial symbols of Taiwan’s past. These elements are then reinterpreted as imagined neon visuals, transforming early analog, hand-painted or carved imagery into vivid, high-brightness digital animations.

By reviving and simulating the aesthetics of outdated yet polished visual styles, the work reflects on how Taiwan’s industries once stood at the crossroads of global economic development̶now preserved only in fragmented personal and collective memory. The static industrial images are rendered with an illusory animation effect, producing a sense of futuristic nostalgia̶a dislocated timeline of an “future in the past”. 

考察過往台灣逝去或具有歷史性意義產業的商標Logo或舊照片上標語並虛構霓虹燈化。延續〈過期霓虹〉對於過往時代感殘餘利用嶄新的高亮度LED螢幕的逼真感，並以早期手工繪/刻製的類比圖像轉換成數位霓虹。

復刻擬真的「翻新形式」，呈現台灣過往產業居於全球經濟發展背景在個人的時代記憶中，將靜態圖像賦予虛假動畫看似的未來感，像是一種「過期未來」的時空錯置，同時思考世界之中變與不變的時間幻覺。

Unwilt  

HUANG KUAN-HSUN  黃冠勛

This work presents a flower constructed from metal̶one that never withers. It repeatedly unfolds, retracts, and rebuilds itself. Each bloom is both a struggle and a rebirth. Though mechanically stable, the flower reveals an underlying sense of unease and exhaustion through its perpetual motion.It symbolizes the pressure of striving for perfection̶when growth becomes a ceaseless demand and blooming is never allowed to rest, the path inevitably leads toward collapse. Excessive effort becomes not a solution, but the beginning of another form of depletion.unwilt uses an enduring material to mimic a life-limited organism, exposing a contradiction: we long to be seen, yet are compelled to bloom endlessly. We yearn to grow, but in that endless pursuit, we begin to deform.

本作以金屬構築一朵永不凋萎的花。它不斷展開、收攏、重組，每一次綻放既是掙扎，也是重生。這朵仿生花看似堅硬穩定，卻在持續運作中暴露出內在的不安與疲憊。

它象徵在壓力下追求完美的過程⸺當成長成為無止盡的任務，當綻放不被允許停歇，最終只會逼近崩解的邊緣。過度的努力不是解答，而是另一場枯竭的開始。〈unwilt〉透過以不會凋萎的材質模擬有生命期限的植物，揭示一種矛盾：我們渴望被看見，也被迫永遠綻放；我們想要生長，卻也在那份不斷追求中慢慢變形。 

Super Water Chestnut 超級菱角

WALKING GRASS AGRICULTURE  走路草農/藝團

“ Super Water Chestnut ” is a new work that evolves from the conceptual trajectories of Cosmic Produce Project and Two Suns. Fusing pixelated aesthetics with an array of mixed materials, the piece unfolds between virtual and physical realms, where every file becomes part of an image-based installation.Carrying the earthy scent of soil and the visual language of digital gaming, this water chestnut embodies both the primal tenacity of organic life and the shape-shifting potential of synthetic environments. In this newly imagined landscape, Super Water Chestnut may serve as a mascot of productivity̶a symbolic figure of abundance. Simultaneously, it emerges as a survivor from a speculative future: a being learning to adapt, mutate, and upgrade within fractured, chaotic surroundings.

〈超級菱角〉是在「宇宙物產計畫」和「兩個太陽」創作之後，延續並發展出的新作品。結合像素風格的各種異材質，在虛擬與現實之間，所有檔案都成為影像裝置的一部分。這顆菱角，帶著泥土的氣味，也帶著數位遊戲的輪廓；它既保有原初的生命韌性，也在虛擬環境中不斷重塑自己，《超級菱角》在這個新的地景之中，可以是象徵生產的吉祥物，更可以是一位身處未來世界的生存者，在破碎、混沌環境中，學習變形與升級的角色。