Plant.John Cage.EmptyWords.Mushroom.Biodata.Sonification.Workshop I,II.

「植物.約翰凱吉.空詞.菌絲體.生物數據.聲波.工作坊」將以生物媒體藝術家SašaSpačal與Mirjan Švagelj所開發釋出的真菌聲音裝置(Mini-Mycophone)開放製作程序、以及Manuel J. Domke.生物數據裝置(MIDI Biodata sonification device)作為創作基底、結合藝術家約翰凱吉解除語言規則的行動《空詞》(Empty Words ,1974)文本,連結真菌、植物、環境聲響等素材,完成多樣性的聲音裝置。

The “Plant・ John Cage・Empty words・ Mycelium.・Biological Data・Soundwave” workshop will use a Mini-Mycophone (fungal sound device) production process developed by bio-media artists SašaSpačal and Mirjan Švagelj,  a MIDI Biodata sonification device developed by Manuel J. Domke, and the artist John Cage’s “Empty Words” (1974), an action that eliminates the rules of language,  as the basis for the work, linking materials such as fungi, plants, and environmental sounds to create a diversified acoustic installation.

 


主辦|交大應用藝術研究所感官實驗室
講師|林欣怡 副教授
工作坊助教|柯祖皓、李庭儒、劉培安、蔡岱臻、吳柏瑤、賴威漢
日期|2020/12/29(場次一)、12/30(場次二) pm14:00-17:00
工作坊地點|交大人社一館三樓翻轉教室
名額|30名

Organizer| SENSORY LAB, Institute of Implied Art, Chiao Tung University
Lecturer| Assoc. Prof. LIN Hsin-I
Workshop assistants| KO Zu-Hao, LEE Ting-Ju LIU Pei-An, TSAI Tai-Chen, WU Po-Yao, LAI Wei-Han
Date| 29,12,2020(Section 1),30,12,2020(Section 2),pm2:00-5:00
Venue| Chiao Tung University Humanities & Social Sciences Building I, Third floor HA314
Quota| 30


二十世紀末,當乾性媒體訊息學與濕性細胞分子混生至人工機器中,佐以合成生物學、電腦演算、生物數據與機器控制論,後生物文化中關於「有生命/無生命」的越界共生似乎已自行衍生出異種媒體生物理論。無論是Roy Ascott所倡議的「濕媒體」(moist media)或者媒體研究學者詹斯.豪瑟(Jens Hauser)所提出的「濕軟件」(Wetware),皆是生物技術與藝術彼此基因轉錄(transcription)為生物媒介(Biomedia)的異體共現。「濕軟件—濕數據」觀測在生物數據、濕性機器的創造繁殖中,人類的重新自我配置究竟是一種自我假設與幻覺?抑或確實生成了異體共生的新美學?

At the end of the twentieth century, when dry media informatics and wet molecules were hybridized into artificial machines, along with synthetic biology, computer algorithms, biological data, and machine cybernetics, the erosion of the boundary between “animate/inanimate” in post-biological cultures seemed to have given rise to heterogeneous media biophysics of its own. Whether it is “moist media” advocated by Roy Ascott or “Wetware,” proposed by media researcher Jens Hauser, those are all heterogeneous co-presentations of biotechnology and art genetically transcribed into each other as biomedia, both have themselves genetically changed by mutual transcriptions of biotechnology and art, hence they present heterogeneously. The “Wet Software – Wet Data” observation in the creation and reproduction of biological data and wet machines, is the reconfiguration of human beings a self-assumption and an illusion? Or is it indeed generating a new aesthetic of hetero-symbiosis.



超皮層—後生物文化論壇 Hypercortex: Post-Biological Culture Forum

主辦|交大感官實驗室.協辦|白色設計計畫 White Design Project.國立交通大學應用藝術研究所 Institute of Applied Arts, NCTU

 


 

林欣怡 國立交通大學應用藝術研究所副教授、ICCS 文化研究國際中心研究員
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