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Digital Art

數位藝術

CHEN Kuan-Chun

Digital technology has already become a part of our daily lives, and AI has triggered the Fourth Industrial Revolution. The most
significant impact is the emergence of a coopetive relationship between humans and machines. This is no longer just a scenario in
sci-fi films. Today, the widespread adoption of digital learning and production models has changed human thinking and values. At
the same time, the nature of art itself is beginning to transform. The contraversies regarding creators and original works, whether
the paths of creation and conceptualization can still be evident, will also make future judgement process more challenging.
As AI begins to permeate the traditional art domain, its integration into digital art is inevitably a natural trend. This year’s
submissions revealed some messages: from simple video narratives, and production of digital illusions, the creative types have
gradually liberated the framework of digital art, as artists begin to conduct personal AI Experiments to co-create with machine
programs, giving rise to the possibilities of self-generation and transformation. However, digital creation is not entirely driven by
digitalization, and people will adopt a critical perspective when viewing own works. Authors pursue subjectivity and conscious
action, and regarding contemporary cultural production, they still reserve ideals and resist manipulation, which is also the
perspective adopted when critiquing the following works:
First Prize-winning “LOST” by TSAI Bing-Hua uses fingerprints as symbols of personal identity, generating digitalized landscape
through computation. This landscape twists like a creature, symbolizing the process of human body becoming “the other;” under
the mechanism of automated computing, the entire process from birth to destruction proves the existence of the virtual world.
Second Prize-winning “Conventional Unconventional” by JHONG Jia-Yu extracts the voices of the audience onsite and converts
these real-time voices into multiple sound effects. Through the interactive lights of the installation, the audience blend into the
improvised theatre where their original voices, human-like artificial sounds, and AI echoes interweave in the space.
Third Prize-winning “Education Parallax” by CHUANG Che-Kuang simulates the the left and right eye perspectives of VR. The
two viewers simultaneously existing in the classroom are assigned the roles of teacher and student. They are forced into a space
where vision and consciousness intermingle. The artist has determined on his own a three-layered narrative logic that reflects the
collaborative and opposing dynamics present in educational environments.
Award of Merit-winning “Stay Out” by JHENG Yu observes insignificant behaviors and habits in daily life, the unconscious actions
of littering and throwing a cigarette butt into a gutter. By creating viewing positions both inside and outside through the lens,
different interpretations and judgments are formed. Will this lead to unsaid social rules, or be simply ignored?
Another Award of Merit-winning work is “Paradox” by TSAI Yu-Ting, which presents a storyline that simulates time loop, and uses
video language as the medium of looped and repeated narrative, expressing a mode of self-affection.
The Digital Art category of this year’s Da Dun Fine Arts Exhibition received 47 submissions, among which three were from
overseas. After the final review, eight works were selected as prize-winners (top three prize winners, two Award of Merit winners, and
three Short Lists). The mode of exhibition of digital art remains key at this year’s exhibition: how can the work bring back the artist’s
original ideas in the space and how can visual images evolve into spatial objects? These are all results of the cooperation between
aesthetics and technology. We hope that the exhibition space can be expanded in the future to go along with coordinated lighting
and sound effects, which offers both artists and viewers greater imaginations.

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