創作自述

邊界指的是地理上分界線，可以是一個政權範圍內的行政分界線，也可以指國界。然而，邊界的產生，除了地理環境所造成，更多來自政治因素以及歷史背景。冷戰時期，柏林圍牆分隔了東德、西德，兩個不同政治實體；而北緯38度線則分隔了北韓及南韓。邊界分隔的不僅是物質上不同，更多是心靈的差異。邊界可以是人造的實體界線，以牆或運河做分隔，有時則是依附在地理環境的特徵，甚至某種風俗民情就界定了兩個不同區域。在自然界，不只人類擁有邊界這種概念，生物為了生存需求，自然而然的都找到某種方法，來劃定自己的疆域（例如哺乳動物的尿液氣味），也因此邊界的誕生更像是某種生存要素的不可侵犯，是生命價値的重要需求。

在〈邊界漫遊〉作品中，作者聚焦在這由各種原因形成的邊界路徑，一種對不同理念產生的輪廓。視覺上，藝術家透過演算法在衛星地圖上進行點對點的移動，跨越山巒、海洋，跳躍在洲及島。邊界在作品裡，提供了另一個方法觀看核心（國家政治中心），相同的地點，在政治上卻映射出全然不同的關係。也因此作品探討的不僅是你決定從哪個方向觀看遠方，更多的是處於怎樣的地點決定了你凝視的方向。

Artist Statement

Borders are geographic dividing lines, and they are also political boundaries created to separate areas governed by different groups and national boundaries between countries. Except for geographical factors, most borders are the results of political and historical causes. During the Cold War, the Berlin Wall stood between the two different political entities, East Germany and West Germany. The 38th parallel, or 38 degrees north latitude, marks the border between North and South Korea. Beyond physical divisions, borders also indicate psychological, spiritual differences.

Borders are artificial dividing lines that could tangibly exist, such as walls or canals, and sometimes they could be noted as specific geographical features. Different regions could even be defined by certain customs or folklore. Humans are not the only living beings that practice the concept of boundaries; other creatures have also naturally discovered ways to mark their territories in order to survive in nature (for example, territorial marking involving urination is a behavior practiced by some mammals). This shows that the emergence of borders is very much an unchallengeable survival tactic, an essential criterion for life.
In the artwork, Roaming in the Path, the artist focuses on borders that have resulted from various causes, presenting an outline that has resulted from different ideologies. Visually, the artist uses an algorithm to engage in point-to-point migrations on a satellite map, traveling through mountains, oceans, and leaping between continents and islands. The path presented in this artwork provides a different way to see what is considered a “nucleus” (a nation’s political center), showing different associations that are reflected for a particular location due to politics. The artwork, therefore, explores more than just which direction one chooses to see these distant places, but examines more deeply into how the direction of one’s gaze may be dictated by the location that he or she dwells in.

Aluan WANG

Wang Hsin-Jen (a.k.a. Aluan) is a vanguard of audiovisual art in Taiwan. He has received several awards in Taiwan and abroad, including first prize in the 2012 and 2015 “Digital Art Festival Taipei”. Known for his psychedelic and cyberpunk style, Wang specializes in combining geometric shapes and forms with breakbeat, a genre of electronic music, while also incorporating elements of local culture and humanity in his work. His recent creations are strongly connected to social issues, including student movements and controversial territorial disputes. He brings powerful visual experiences to his audience with artworks that are highly personal and aesthetically unique.

簡歷

王新仁（a.k.a. Aluan），為臺灣音像藝術創作先鋒，作品屢獲國內外肯定，為2012年及2015年臺北數位藝術節首獎得主。擅長幾何圖像造型對應電子碎拍音樂，輔以對土地人文溫度的關懷和重視，以迷幻、賽博龐克風格嶄露頭角。近年作品強烈關注社會議題，從學運到領土疆域爭議，寫入演算法重塑歷史過往，利用點雲顚覆既有認知，不論是在藝術或是議題上，都俱有強烈的個人觀點與美學風格，帶給觀眾衝擊式的視覺饗宴。