在，也不在－曾鈺涓個展
Here, not here- Yu-Chuan Tseng Solo exhibition

時間：2020年3月7日-4月5日
開幕：2020年3月7日，3:00-5:00 pm
地點：水谷藝術
地址:108台北市萬華區萬大路322巷6號
開放時間:一~日, 12:00-19:30, 4月4日休館
技術團隊：吳冠穎、金啟平、沈聖博、黃怡靜、張小鈞、鄭國真
特別感謝：林豪鏘教授、馬永波教授、香料香水實驗室

『在，也不在-曾鈺涓個展』，以英文名字「Jane」為創作主題，以網路的眾多「Jane」的資料(Data)為創作材料，透過以「Jane」為名的書寫、影像、肖像、味道等，作為「Jane」在也不在的存在證實。「Jane」 是藝術家小時候去英文補習班上課的第一天，英文老師給的英文名字，長大後，「My name is Jane」成為與外國友人初次見面時，自我介紹的字詞。然而，網路上搜尋出的「Jane」，是「Jane」也非「Jane」，是以「Jane」為標籤(tag)的個體，是一種與眾人共享的網路分身。

此系列創作源於2009年〈你在那裡？〉(註1)的眾生數位肖像。此作品邀請觀者輸入欲搜尋之姓名，啟動相片搜尋系統，並將搜尋到的相片，以臉部辨識系統自動辨識抓取相片中的眼睛、鼻子與嘴巴的區塊並重組肖像。肖像原來是存在的證實，卻在變成數位編碼與眾生重組的過程中，失去了存在的唯一性，成為他者。2013年開始「數位肖像」系列，每日程式會自動產生台灣最受歡迎的前10個男女英文名字的肖像，開啟以「Jane」為主題的系列創作。

2016年Jane申請了臉書帳號刊登虛構的旅遊照片與詩〈偽旅行記事〉；2017年以Twitter的文本為內容，Jane開始自動產生〈珍的日記〉；文本與影像都是網路眾人的生活紀錄與情感生活，同時也蘊含著Jane所關切的事務、情緒與個性。2018〈你今天的味道是？〉以情感運算挖掘文字資料中的情緒特質，分析集合眾人的情感情緒，創造出2018年8月31瓶「Jane」的情緒香味；〈流動的珍 2018〉與〈珍的肖像2019〉呈現出每一天的肖像的不同樣貌，2020〈肖像花園〉以肖像形成不斷螺旋狀旋卷花瓣的花朵，顯示不斷流動與消逝的數位肖像特質。2020〈我是珍〉以肖像與聲音創造出「Jane」無所不在的空間，2020〈絮語〉觀者更可透過三個智慧助理們(聊天機器人)的對話中，認識「Jane」的個性、喜好與行蹤，在空間與語音的情境中，感受「Jane」的存在，對話內容來自於機器學習與人工智慧透過分析臺灣電子布告欄-批踢踢而產製。

數位時代的我們，生活於被視為可自我定義存在狀態的網路虛擬空間中，透過文本、圖像定義自己的身份與生活日常，以數位形式延伸個人存在的模式，同時構築塑造自我的身份與定義。世界成為一個訊息空間(infosphere)，實體和虛擬經驗混在一起，我們的世界正在進入第四個轉變，我們在線與離線的所作所為已經併為線上生活(onlife)，並創出線上生活性格(onlife personality) (弗洛里迪, 2016)。個體在數位編碼與雲端平台中，透過訊號編譯與重組的過程中，集合成為一個存在的整體，然而，此存在，卻是在觀者想像的過程中，呈現的存在，也在與他人共同生產與疊加的資料庫中，在多重堆疊訊號的共時性中，成為「在，也不在」的他者。

參考書目
弗洛里迪(2016)。第四次革命：人工智能如何重塑人類現實。浙江：浙江人民出版社。Luciano Floridi(2016), The Fourth Revolution : How the Infosphere is Reshaping Human Reality (Chinese version)

註1. 2009年〈你在那裡？〉由沈聖博撰寫的肖像程式，為紀念聖博，2013年由黃怡靜繼續維護並持續使用至今。

曾鈺涓

數位藝術家，策展人。國立交通大學應用藝術研究所博士，研究方向為數位互動藝術與新媒體理論，網路藝術與後網路藝術。目前任教於世新大學公共關係暨廣告學系副教授，擔任台灣科技藝術教育協會理事長，台灣女性藝術協會榮譽理事長、台灣科技藝術學會理事、數位藝術基金會董事。1998年開始從事數位藝術創作，思考數位時代中「人」的存在狀態。多次策畫展覽，舉辦個展，受邀參展於國內外重要美術館、藝術中心與畫廊。2003年台北市立美術館《Let’s Make ART》個展，是台灣第一個於美術館所進行網路及時互動創作。最近重要聯展有：2018 台北數位藝術節「超機體」、《女潮：女性主體與藝術創作展》、2019「蘊育、連結、擴張」桃園女性藝術特展、紐約「都會部落Urban Tribes」、 TAxT桃園科技藝術節-奇觀藝想、〈奇米拉〉-台灣數位藝術聯展於捷克布拉格off-spaces of DOX, Center for Contemporary Art. 2020參展〈捉遊/戲場〉於國立台灣美術館。

文章發表於國內外期刊與國際性研討會，如Leonardo國際期刊、ACM Multimedia、國際電子藝術研討會(ISEA)等。2012參與Leonardo國際期刊之國際數位藝術白皮書撰寫計畫。2015年擔任JAGUAR科技藝術獎複賽與決選審查委員。2018年受邀北京航空航天大學人文與社會科學高等研究院訪問學者。其策展主題以女性藝術與科技藝術為主。最近策展項目為2018年〈遺落在網夢裡〉於國立台灣美術館；〈Should We Play?〉大內藝術節於內湖藝術特區；〈Cyberhug〉桃園科技藝術節於桃園展演中心。2019年〈螢幕不滅〉於國立台灣美術館、〈以【我】存有-台灣新媒體女性藝術家聯展〉於美國華府美利堅大學美術館、〈It’s SHOW Time〉大內藝術節於內湖藝術特區；〈奇米拉〉-台灣數位藝術聯展於捷克布拉格off-spaces of DOX, Center for Contemporary Art。


在，也不在-曾鈺涓個展
Here, not Here- Yu-Chuan Tseng Solo exhibition

Date: March 7- April 5, 2020
Opening: 3:00-5:00 pm, March 7, 2020
Venue: Waley art
Adress: No. 6, Ln. 322, Wanda Rd., Wanhua Dist., Taipei City 108, Taiwan
Opening hours: Mon.-Sun., 12:00-19:30 , closed on April 4
Technical team: Kuan-Ying Wu, Chi-Ping Chin, Sheng-Po Shen , Yi-Ching Huang, Chia-Chun Chang, Achi Cheng
Special thanks to: Prof. Hao-Chiang Lin, Prof. Yong-bo Ma, Laboratory of Fragrance & Perfume

“Here, not here” is constructed upon the idea of the name “Jane” and its digital presence. The exhibition presents publically available data of "Jane" materialised in the form of text, still images, moving images, perfume, sound showing an existence of "Jane" as an entity. "Jane" is the English name given to me by a teacher in the first day of English class when I was a child. "My name is Jane" is how I introduce myself in international settings. However, an online search of "Jane" brings up information with the tag #Jane that is symbol shared with everyone who has that name.

This series originated in 2009 with “where are you?” (1), a digital portrait of beings. The work invited viewers to key in the name they wanted to search. It reconstructed the portrait by activating photo search, and face recognition system to automatically recognize and capture the eye, nose, and mouth in the photographs. Originally the portrait was a confirmation of existence, but in the process it became a digital code and the reorganization of beings. The individual portrait lost its uniqueness and became a constructed whole of others. In 2013, I started the "Digital Portraits" series. Using the same process, the program automatically generated portraits of the top 10 most popular English names of men and women in Taiwan every day. Thus "Jane" became a key subject.

In 2016 “Jane” had a Facebook account and published fictional travel photos and poems titled “Traveling to”. In 2017 “Jane’s Diary” was launched as an automated program, which creates sentences by fetching the posts of accounts with ID #Jane on Twitter. The program collects, edits and recreates the texts into an English diary. The texts and images are record of life and emotion of “Jane”. They also contain the personalities of “Jane” and the issues that “Jane” is concerned about. In 2018 I launched “What is your scent today?” project. There are 31 bottles of perfume produced. Each is based on the emotional/aroma ratio determined by the emotional computing classifier of “Jane’s Diary”. “Flowing Jane 2018”and “Digital Portraits–Jane 2019” present the portraits of Jane each day in these two year. “Garden of Portraits” is a flower forming continuously spiraling petals by using the portraits. They show the constant features of digital portraits in flowing and disappearing forms. “My name is Jane” constructs an environment with portraits and voices of Jane. Viewers can also learn about the personality and preferences of "Jane" through the conversation of three intelligent assistants (chat robots) in “Chitchat” 2020. The conversations are produced thought the process of machine learning and artificial intelligence from the PTT, a BBS of Taiwan.

In the digital age, we live in a cyber space that can be regarded as a self-definable state of existence. We define our identity and daily life through texts and images. We extend the mode of personal existence in digital form to build our own identity. The world is becoming an “infosphere”. Physical and virtual experiences intertwine. Our world is entering the fourth industrial transformation. What we do online and offline is already “onlife” and has created an onlife personality. (Floridi, 2016) In the digital coding and cloud platforms, through the process of signal compilation and recombination, individuals gather into a whole new set of existence. However, this existence is a process of the viewer's imagination. In the superimposed database, in the synchronicity of multi-stack signals, it becomes the other of being—“here and not here”.
參考書目
弗洛里迪(2016)。第四次革命：人工智能如何重塑人類現實。浙江：浙江人民出版社。Luciano Floridi(2016), The Fourth Revolution : How the Infosphere is Reshaping Human Reality (Chinese version)
1. The program of portrait was written by Sheng-Po Shen in “where are you? “2009, In memory of Sheng-bo, , Huang Yijing continued to maintain and continue to use it to this day since 2013.

Yu-Chuan Tseng

As an Artist and Curator, Yu-Chuan Tseng obtained her PhD from the Graduate Institute of Applied Art, National Chiao Tung University. She specializes in research on Interactive and Digital Art, Net Art and post internet art. She is currently the Associate Professor of Department of Public Relations and Advertising, Shih Hsin University, Chairperson of Taiwan Information Design, Art, Technology, Education Association, honorary chairperson and board member of Taiwan Women's Art Association, board member of the Taiwan Art & Technology Association, director of the board of Digital Art Foundation. Yu-Chuan TSENG has a vast experience in her career as an artist, scholar and curator. She began creating digital artworks in 1998 and started Net Art project in 2002. In 2003, she held a solo exhibition ("Let's Make Art") at the Taipei Museum of Fine Arts. This was the first ever art exhibition in Taiwan to employ instantaneous Web-based interaction. The recent group exhibition are Trans Robotics-2018 Digital Art Festival. 2019 Femi-Flow: Creating Female subjectivity in Art, Germinate, Connect, Extend-Taoyuan Female Art Exhibition, Urban Tribes exhibition in New York, Wonder of Art and Technology, Taoyuan Art & Technology Festival, Chimera-group exhibition of Taiwanese new and digital media art, off-spaces of DOX, Center for Contemporary Art in Prague, Czech Republic, 2020 attraper JE champs de JEU(Catch I, Play fields), National Taiwan Museum of Fine Arts.

In 2012, Tseng participated the Leonardo Digital Art Initiative. In 2018, she was invited as a visiting scholar at the Beihang University, School of Humanities and Social Sciences. Her curation themes focus on the gender studying and digital culture. In 2018, the recent curatorial projects are “Lost in the Net Dream” in National Taiwan Museum of Fine Arts, “Cyber-hug, Taoyuan Art & Technology Festival” in Taiyuan Arts Center, “Should We Play? Taipei Art District Festival”. In 2019,“Immortal on Screen” in National Taiwan Museum of Fine Arts, “New Media Art Exhibition of Women Artists From Taiwan- Being here as ME” in American University Museum at the Katzen Arts Center Washington, DC, “It is SHOW Time” Taipei Art District Festival, and Chimera-group exhibition of Taiwanese new and digital media art, off-spaces of DOX, Center for Contemporary Art in Prague, Czech Republic.