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關於論壇
議程 Agenda..................................................................................................2
Content
專文 Monograph............................................................................................4 開幕致詞 Welcome and Opening Remarks..................................................6 專題主講介紹 Lecturers.................................................................................7 主持人介紹 Moderators................................................................................9 與談人介紹 Panelists....................................................................................11
About the Symposium
目錄
關於論壇 About the Symposium...................................................................1
臺中國家歌劇院為實現藝術創造育成與鼓勵跨域創作研發交流，自 2020 年起辦理「LAB X 藝術跨域實 驗平台」，以導師制的「青年創作工作室」前行，啟動青年藝術創作者的孵育計畫。 今年以「面向未來─共感聯覺」為主題，探討「虛擬實境」（VR）在創作的想像與實踐，於 NTT-TIFA 期間邀請國內外科技藝術達人與藝術家，藉國際論壇及工作坊，分享、探討新媒體與表演藝術的創作 實踐，以及虛擬實境技術的發展趨勢。更邀集國內外數位藝術作品策劃互動展覽，讓大眾透過親身體 驗，感受虛擬實境藝術創作的天馬行空與無限想像。 The National Taichung Theater, to support artistic creation through incubation and encourage interdisciplinary artistic R&D and exchange, launched the LAB X Platform for Interdisciplinary Arts Exchange & Development in 2020. The initiatives aim to nurture more young artists through its mentorship program The Young Artists’ Atelier.
The program this year takes up the theme “Unveil Future—Synesthesia Explorations in Virtual Reality,” and seeks to explore the artistic possibilities and practices of virtual reality (VR). During the NTT-TIFA, a panel of techno art experts and artists from home and abroad will be invited to
share their insights and exchange views on the creative practices of new media and performing
arts, and also discuss top VR technology trends during an international forum and a series of
workshops. The event also includes an interactive exhibition featuring local and global digital artworks, which is expected to deliver immersive experiences beyond imagination, allowing viewers to explore the limitless possibilities of VR art.
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2021 LAB X《面向未來—共感聯覺》國際論壇議程 地點／臺中國家歌劇院角落沙龍
10:00-10:30
報到
10:00-10:30
Registration
10:30-10:35
開幕致詞 邱瑗 臺中國家歌劇院藝術總監
10:30-10:35
Welcome and Opening Remarks Joyce CHIOU General and Artistic Director, National Taichung Theater
10:35-12:00
過去・現在・未來：虛擬實境藝術發展全視野概況 主講：邱誌勇 國立清華大學藝術學院科技藝術學士班教授
10:35-12:00
Past, Present, and Future: a Full View of the Overall VR Art Development Lecturer Chih-yung Aaron CHIU Professor, Interdisciplinary Program of Technology and Art,
12:00-13:00
午餐時間
12:00-13:00
Lunch Break
13:00-15:00
超越邊界：虛實融合互動創作的探索 主講：李丞茂 韓國藝術綜合大學藝術與科技實驗室創辦人（視訊） 主持：王柏偉 財團法人數位藝術基金會藝術總監
13:00-15:00
Imagining A Border Beyond the Virtual World-Immersive Theater XR Production 'Scarecrow' Moderator WANG Po-wei Artistic Director, Digital Art Foundation Lecturer LEE Sng-moo Founder, Art and Technology Lab, Korea National University of Arts
15:00-15:30
茶敘時間
15:00-15:30
Coffee Break
15:30-17:00
另一個時空：劇場藝術虛擬創作實驗初探 主持：李懷瑾 高雄電影節XR無限幻境策展人 與談：周東彥 狠主流多媒體總監、狠劇場導演 林經堯 臺灣聲響實驗室主持人
15:30-17:00
Another Space and Time: an Explorative Experiment on VR Theater Art Moderator Grace LEE Curator, Kaohsiung Film Festival XR Panelists CHOU Tung-yen Artistic Director, Very Theatre and Very Mainstream Studio Jinyao LIN Director, Taiwan Sound Lab
（現場逐步口譯）
College of Arts at National Tsing Hua University
April 25（Sun.）
4.25 (日) 國際論壇 ⅠI
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Venue／Conner Salon, National Taichung Theater (NTT)
April 24（Sat.）
4.24 (六) 國際論壇 Ⅰ
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2021 LAB X International Symposium: Unveil Future-Synesthesia Exploration in Virtual Reality
10:00-10:27
報到
10:00-10:27
Registration
10:27-10:30
開場致詞 黃本婷 臺中國家歌劇院藝術教育部經理
10:27-10:30
Opening Remarks HUANG Pen-ting Manager, Arts Education Department, National Taichung Theater
10:30-12:00
360°的景框：VR電影創製案例探析 主持：邱誌勇 國立清華大學藝術學院科技藝術學士班教授 與談：陳芯宜 電影導演 陳斯婷 綺影映畫創辦人
10:30-12:00
12:00-13:30
午餐時間
12:00-13:30
Lunch Break
13:30-15:00
後人類時代：原生數位空間作為藝術生產與文化探測的場域 主持：王柏偉 財團法人數位藝術基金會藝術總監 與談：郭知藝 NAXS Corp.涅所開發導演與共同創辦人 與談：蔡遵弘 實踐大學媒體傳達設計學系專任助理教授
13:30-15:00
The Post-human Age: Using Organic Digital Space for Artistic Production and Cultural Exploration Moderator WANG Po-wei Artistic Director, Digital Art Foundation Panelists KUO Chih-yi Director and Co-Founder, NAXS Corp. TSAI Tsun-hung Assistant Professor, Department of Communications Design, Shih Chien University
15:00-16:00
茶敘時間
15:00-16:00
Coffee Break
主辦單位保有議程更動 調整之權利，最終議程以實際發生內容為準 。
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360° Frame: a Case Study on VR Film-making Moderator Chih-yung Aaron CHIU Professor, Interdisciplinary Program of Technology and Art, Panelists
College of Arts at National Tsing Hua University
Singing CHEN Filmmaker Estela Valdivieso CHEN Producer, Founder and CEO, SERENDIPITY
The Agenda is subject to change.
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VR（虛擬實境）與 XR（延展實境）的熱潮這幾年在國際上方興未艾。5G 的網路基礎建設越來越普及， 消費端的頭盔顯示器與配件等相關設備在功能與多元性上快速提升，價格也越來越親民。在如此有利 的軟硬體環境支持之下，不僅藝文、影視與遊戲產業等文化消費娛樂端持續挹注大量資金開發內容與 軟硬體，醫療、社會福利甚至國防等應用端也積極開發。 為了擴大彼此的交流，國際上的重要影展與藝術節紛紛推出 VR 與 XR 相關專題，甚至設立專屬的獎項 鼓勵這類創作。臺灣導演與藝術家，像是陳芯宜、徐漢強、許智彥等人的作品為國際所熟知，致力於 推動 VR 及 XR 人才培育與國際交流的高雄電影節也成為國際上重要的相關影展。 從強調虛擬沉浸到虛實整合及現場互動，從製作端到消費使用端，VR 與 XR 帶給我們許多前所未有的 驚奇與挑戰。到底 VR 與 XR 所帶來的新的體驗是什麼？藝術家、導演與工程師們如何在創作上跨域合 作？ XR 如何達成現場同步整合這個不可能的任務？國際趨勢為何？這種新型態的藝術類型帶來什麼樣
Monograph
專文
文／王柏偉
WANG Po-wei Virtual reality (VR) and extended reality (XR) have been gaining traction worldwide in the past
couple of years. With accelerating development of 5G network infrastructure, head-mounted
displays and related accessories in the consumer market are advancing at a rapid pace, with enhanced features, more options, and greater affordability. Enabled by these supporting infrastructure and resources, the broader cultural and entertainment industry, such as the arts and
culture, TV and film, gaming sectors, have invested heavily on the development of new content, software and hardware solutions. Meanwhile, the healthcare, social welfare, and even the national defense sectors are also seeing a wide variety of applications.
To promote creative exchange, leading international film and art festivals have begun incorporating sessions featuring VR and XR, and even set up special awards to encourage art creation using these technologies. Works from Taiwanese directors and artists, such as Singing CHEN, John HSU
and HSU Chih-yen, have drawn global attention. At the same time, the Kaohsiung Film Festival has
become a major VR film festival on the international stage for its efforts in cultivating VR and XR
新的挑戰？我們將在這個國際論壇中全面性地觸及這些重要的問題。
talent, as well as fostering global exchange.
由於硬體與資訊應用環境的成熟，VR 與 XR 作為一門新興的藝術類型，相較於國際上的發展，臺灣藝
From connecting the real and virtual worlds to delivering immersive, interactive experiences, VR
術家在這個領域的嘗試相對地早，創作能量十分豐沛，而且型態也頗為多元。這種創作的多元性充分 地顯現在來自不同領域的藝術家的跨域整合，以及作品的不同形式上。本次除了論壇中的議題討論， 我們也安排作品展覽，希望具體而微地透過創作的多元性，呈現 VR 與 XR 跨越不同藝術類型與影視娛 樂產業的不同風貌。
and XR are full of amazing surprises and unexpected challenges from the production end to the user end. What kind of new experiences are VR and XR creating exactly? How do artists, directors
and tech-developers work in multidisciplinary teams for art creation? How does XR achieve the seemingly impossible mission of real-time, synchronized real-and-virtual integration? What are the
top trends globally, and what new challenges have this new form of art presented? We invite you to join us at this international forum for a series of in-depth discussions on these key topics.
Despite the fact that VR and XR remain an emerging art form, compared to the rest of the world, Taiwanese artists are able to make an early attempt at this type of techno art thanks to Taiwan’s
well-developed infrastructure and IT environment, with VR and XR-inspired artworks created in
abundance and across various forms. Such diverse range of artworks fully reflects the fruitful outcome of interdisciplinary collaboration among artists of different fields, and the seamless integration between multiple types of art. In addition to the forum, this year’s program also
includes an art exhibition, designed to tap into the creative diversity and showcase the multifaceted beauty and wonders of VR and XR at the intersection of various art forms as well as the TV, film and entertainment sectors.
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邱瑗 Joyce CHIOU
擁有豐厚的音樂與戲劇學經歷專業，在表演藝術的製作、策展與國際交流方面成績斐然。
Lecturers
Welcome and Opening Remarks
© 王永年
專題主講
開幕致詞
臺中國家歌劇院藝術總監 General and Artistic Director, National Taichung Theater
國立清華大學藝術學院科技藝術學士班教授 Professor, Interdisciplinary Program of Technology and Art, College of Arts at National Tsing Hua University
邱誌勇 Chih-yung Aaron CHIU
國立清華大學藝術中心主任，同時為策展人與藝評家，畢業於美國俄亥俄大學跨科際藝術系博士，學 術專長為數位美學、科技文化研究與當代藝術評論。曾獲多年臺灣科技部專題研究計畫、策劃《Fading
擔任國家交響樂團（National Symphony Orchestra, NSO）執行長的 12 年間（2006-2018），帶領樂
Digital Memories》，《後．技．藝：科技部專題研究計畫成果展》、《絕對．凝視：柯錫杰玖齡影像
團完成多次歐洲、美洲等國外巡演，讓 NSO 以「臺灣愛樂」（Taiwan Philharmonic）之名在國際間
藝術展》、《後數位人類紀—2019 國際科技藝術展》、《故事跨視界展》、《2015-2016 年臺灣科技
打響名號。2018 年起，邱瑗接任臺中國家歌劇院藝術總監。在她的帶領下，歌劇院以「一座藝術與生
藝術節—潮》、《2014 科技藝術展—奇幻視界》、《第八屆臺北數位藝術節—超神經》、《第七屆臺
活的劇場」之品牌定位，成為連結在地、接軌國際的重要文化基地，在亞洲表演藝術圈內，奠定了指
北數位藝術節—第二自然》、《顫．動．感：台灣新媒體藝術新銳展》等展。著有《關鍵論述與在地實踐：
標地位。
在地化脈絡化下的新媒體藝術》一書。
With a thorough background in both music and theater, Joyce CHIOU has impressive track record
Professor Chih-yung Aaron CHIU is now a full professor in the Interdisciplinary Program of
on arts production, curation, and international affairs.
Being the Executive Director (2006-2018) of Taiwan Philharmonic, the National Symphony
Orchestra, she had successfully established its acclaimed international reputation by taking the
orchestra on tour in Europe and the USA for a dozen times. Since June 2018, CHIOU commenced
her tenure at National Taichung Theater (NTT) as General and Artistic Director. Under her leadership, NTT becomes a culture hub of both local communities and international outreaches, building NTT an unneglectable artistic force in Asian performing arts circle.
Technology and Art in College of Arts, and the Director of Arts Center at National Tsing Hua
University, as well as a curator and art critic. Prof. CHIU is also in the board of trustee of Digital
Art Foundation Taipei. He received his PhD from School of Interdisciplinary Arts at Ohio University in USA, with double major in visual arts (painting, sculpture and architecture) and film studies (film aesthetics, theories and criticism), as well as a minor in aesthetics (phenomenology).
His specialties are in digital aesthetics, techno-culture studies and contemporary art criticism. In the past few years, Prof. CHIU has also participated in many curatorial works including
Fading Digital Memories, Pristine Poetics: Ko Si Chi’s 90th Year of Photographic Art, Post-Digital Anthropocene, IP EXPO Exhibition, 2015-16 Taiwan Digital Art Festival – Trend, the 7th and 8th
Taipei Digital Art Festivals, the 4th Digital Performing Art Festival, and also many international exhibitions and festivals worldwide including Hong Kong, Boston and Madrid. Prof. CHIU is also a prolific writer. His articles titled “On the Embodied Aesthetics of Digital Arts” (2007) and “Inter/ face: A Reconsideration of Myth of Transparency” (2008) have been nominated by Digital Art Criticism Awards Taipei. His publication titled “Significant Discourse and Local Practice: New
Media Art in Taiwan’s Context” (2012) has become one of the most important texts in New Media Art in Taiwan’s academia.
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主持人
專題主講 Lecturers
李丞茂 LEE Sng-moo 作家、導演，及電影與延展實境（XR）產業製作人。
他的虛擬實境短片《泣血哭聲》和《移工日記》獲得眾多影展肯定，包括：日舞影展、翠貝卡影展、
Moderators
韓國藝術綜合大學藝術與科技實驗室創辦人 Founder, Art and Technology Lab,Korea National University of Arts
財團法人數位藝術基金會藝術總監 Artistic Director, Digital Art Foundation
王柏偉 WANG Po-wei
數位藝術基金會藝術總監，曾任臺北市立美術館助理研究員。主要研究領域為媒介理論、當代藝術史、 文化與藝術社會學、藝術／科學／科技（AST）。與人合譯有尼克拉斯．魯曼所著《愛情作為激情： 論親密性的符碼化》（臺北：五南）。
坎城影展、柏林影展。虛擬實境沉浸式劇場《拯救稻草人》2020 年在日舞影展新先鋒單元首映，被媒 體譽為「最發自內心的數位體驗之一」。而社群虛擬實境平台版的《拯救稻草人 VRC》也受邀參加雨
WANG Po-wei is the artistic director of Digital Art Foundation, Taiwan. His research interests
舞影展，並獲得獨立精神獎。
include Media Theory, History of Contemporary Art, Sociology of Culture and Art, and Art/
作為一位以科技為導向的說故事者和新興媒體教授，他的經歷使他在韓國藝術綜合大學成立了「藝術
Intimität into Chinese together with CHANG Chin-hui.
Science/Technology (AST). Translated Niklas Luhmann’s Liebe als Passion: Zur Codierung von
與科技實驗室」。 LEE Sng-moo is a writer, director, and producer working in the traditional film and XR industry. His 360 cinema Eyes in The Red Wind and Rain Fruits got invited to numerous film festivals, including Sundance, Tribeca, Cannes, Berline, and received a few awards. His immersive VR
immersive theater project Scarecrow premiered at Sundance New Frontier 2020 and was described by the press as “one of the most visceral digital experiences.” Social VR spin-off version,
Scarecrow VRC got invited to Raindance Film Festival and received the “Spirit of the Raindance award.”
His experiences as a tech-oriented storyteller and a professor of emerging media led him to found the “Art and Technology Lab” at K’ARTS (Korea National University of Arts).
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與談人
主持人 李懷瑾 Grace LEE
畢業於國立臺北藝術大學電影研究所，具豐富業界經驗，製片作品《保全員之死》曾獲金馬獎最佳創
Panelists
Moderators
高雄電影節 XR 無限幻境策展人 Curator, Kaohsiung Film Festival XR
狠主流多媒體總監、狠劇場導演 Artistic Director, Very Theatre and Very Mainstream Studio © 林政億
周東彥 CHOU Tung-yen
劇場及新媒體影像導演，創作以影像與劇場為核心，亦跨足錄像藝術、紀錄片與 MV 等。2013 年以劇
作短片獎。2018 年起擔任高雄電影節「XR 無限幻境」選片人、高雄 VR FILM LAB 計畫統籌，推動多
場作品《空的記憶》獲世界劇場設計展「最佳互動與新媒體」大獎；多媒體劇場作品《我和我的午茶
項國內外合作交流計畫，催生 VR 作品曾入圍威尼斯、翠貝卡、日舞等國際級影展。
時光》入圍 2016 年法國安亙湖數位藝術獎；多媒體設計作品《關於島嶼》（雲門舞集作品）獲 2018 年英國光明騎士「劇場投影設計」大獎；影像作品曾多次入圍金馬獎、台北電影獎及參與國際影展，
Hosting VR FILM LAB project at Kaohsiung Film Archive, award-winning producer Grace has been
並受邀於國際指標性藝術節展演。
section for Kaohsiung Film Festival, she has maintained connections with international film festivals
近期重要作品包括：《光年紀事：臺北─哥本哈根》受邀至 2018 年奧地利林茲電子藝術節、2019 年
working in XR field since 2018. Including coproducing VR content internationally, programming XR including Venice, Tribeca, Newimages and many XR related institution.
丹麥點擊藝術節及哥本哈根劇場藝術節演出；與澳洲即行劇場共製作品《虛擬親密》於 2020 年澳洲亞 太表演藝術三年展首演；與荷蘭瓦克團隊共製作品《城市之臉》，於 2019 年赴荷蘭於北方太陽藝術節 創作呈現；另外受高雄電影館之邀，創作 VR 作品《霧中》。 CHOU Tung-yen holds a MA in Scenography with distinction from Central Saint Martins College of Art and Design in London and a BFA in Theatre Directing from Taipei National University of the
Arts (TNUA). Engaging in theatre and moving image, he works across performance, installation, and music video. He is the founder and artistic director of Very Theatre and Very Mainstream Studio (www.vmstudio.tw).
His latest productions includes Chronicle of Lightyear –Taipei, Copenhagen, a co-production with Culture Yard in Denmark, which was premiered at the Taipei Arts Festival and presented at
Ars Electronica Festival, Linz, in 2018; Co-production with ActNow theatre, Virtual Intimacy was
premiered at Asia TOPA in Australia in 2020, and VR film In the Mist was premiered at Kaohsiung Film Festival in 2020.
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與談人
與談人 林經堯 Jinyao LIN 作曲與新媒體藝術家。國立臺灣大學資訊網路與多媒體博士，國立臺北藝術大學音樂系與新媒體藝術
Panelists
Panelists
臺灣聲響實驗室主持人 Director, Taiwan Sound Lab
電影導演 Filmmaker
陳芯宜 Singing CHEN 影像創作者，作品橫跨多個領域，包含電影、紀錄片、實驗影像與 VR 電影。拍攝主題大多與人文、藝
碩士班畢業。就讀音樂系時主修作曲，師事游昌發教授。作品涵蓋多媒體、裝置藝術、劇場及音樂作
術相關，擅長利用魔幻寫實的手法，突顯現實的荒謬性，用以陳述更大的結構問題，並藉由人物角色、
品。2016 年設計影像作品《時空抽屜》獲得美國麥考倫劇院國際舞蹈節編舞大賽首獎。2018 年以作
生活處境的深刻刻劃，傳達對時下社會環境的長期觀察。其以影像作為一種媒介，探尋追問生命的本
品《AQUA AR》獲得臺北文創天空創意節百萬作品首獎。目前任教於國立臺南藝術大學應用音樂系，
質。過去曾為許多影片及劇場製作配樂，因此其影像作品總是充滿節奏感，具有豐富的音樂性。
並擔任 C-Lab 臺灣聲響實驗室主持人。 重要作品有《留給未來的殘影》、《恍惚與凝視的練習》、《大帳篷—想像力的避難所》、《行者》、 Jinyao LIN, born in Kaohsiung, is composer and digital artist of Taiwan with PH.D of computer science from National Taiwan University, and a Master of Fine Art and a Bachelor of Music from
Taipei National University of the Art. His works cover multimedia, installation arts, drama and music, which has won several important awards from Taiwan and Hong Kong. Now he is professor of National Tainan University of the Arts, and also the director of Taiwan Sound Lab.
《阿霞的掛鐘》、《流浪神狗人》、《我叫阿銘啦》等。曾入圍柏林影展、釜山影展、瑞士佛瑞堡影展、 法國克蕾泰依女性影展、加拿大溫哥華影展、南非德班影展、西班牙巴塞隆納亞洲電影節、美國西雅 圖國際影展、金馬獎、台北電影獎、高雄電影節、台灣國際紀錄片影展等 30 多個國內外影展。 2019 年邀請編舞家周書毅合作，拍攝 VR 舞蹈電影《留給未來的殘影》，作品探索記憶與媒體之間的 複雜關聯，充分運用此新媒材的各種可能性，獲得廣大的迴響與討論。 Singing CHEN is a film visual artist whose works cover multiple disciplines, such as feature films,
documentaries, experimental films and VR film, through which she expresses her long-term observation of contemporary society and portrays her profound depiction of people, characters and their living situations. She is also an expert in adopting the magic realism approach to highlight the absurdity of reality and society in order to highlight bigger societal issues.
Key works include Afterimage for Tomorrow, In Trance We Gaze, The Moving Tent, The Walkers,
The Clock, Bundled, and God, Man, Dog. Her films have been selected for over 30 local and international film festivals, including the Berlin International Film Festival, Busan International
Film Festival, Fribourg International Film Festival, Créteil International Women's Film Festival,
Vancouver International Film Festival, Durban International Film Festival, Barcelona Asian Film
Festival, Seattle International Film Festival, the Golden Horse Awards, Taipei Film Awards, Kaohsiung Film Festival and Taiwan International Documentary Festival.
In 2019, CHEN collaborated with choreographer CHOU Shu-yi in producing a dance film, Afterimage for Tomorrow, using VR technology. Leveraging the diverse potential of the new
medium, the film explores the complex relationship between memories and media, and has won widespread acclaim and inspired in-depth discussions. 12
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與談人
與談人 陳斯婷 Estela Valdivieso CHEN 生長於中英文雙語環境下的臺灣、玻利維亞混血兒。畢業於世新大學廣播電視電影學系電影組。近年
Panelists
Panelists
監製、綺影映畫創辦人 Producer, Founder and CEO, SERENDIPITY
NAXS Corp. 涅所開發導演與共同創辦人 Director and Co-Founder, NAXS Corp.
郭知藝 KUO Chih-yi
跨領域開發者、新媒體藝術家。創作形式包含劇場、虛擬實境、網頁媒介、音像演出、空間裝置等。
擔任電影、廣告、微電影、短片等製片嶄露頭角，並參與國際團隊合作。從蔡明亮導演電影《臉》臺
以儀式劇場概念為創作核心，在訊息與身體、歷史與信仰、科技與自然交雜的經驗之間，探問個人與
灣宣傳、李安導演《少年 Pi 的奇幻旅程》、蔡明亮導演《郊遊》及法國電影《解密風暴》等，已奠定
當代數位身體的生存處境。近年則將創作焦點聚集在網路多人連線虛擬展演、神經網路圖像實驗、後
與國際團隊溝通的專業，進而開始她的製片工作。
人類神話與儀式研究。
2015 年成立綺影映畫有限公司，陸續接應許多國際協製工作，並與年輕新銳導演徐漢強及莊絢維合作
2015 年成立新媒體藝術團隊 NAXS Corp.，擔任行政團長／導演／技術統籌／空間設計／聲音設計等
開發電影長片、影集，並致力於將臺灣電影產業與國際接軌。近期開始進行串媒體敘事、VR 及 AR 等
多元角色，作品《Render Ghost》虛擬沉浸劇場曾於 2015 獲數位藝術表演獎首獎，團隊作品曾於國
新媒材應用之開發。
立臺灣美術館、北京時代美術館、奧地利林茲電子藝術節、柏林 Transmediale 藝術節等場域展演。個 人曾獲於荷蘭 V2 進行駐村創作，2020 年獲文化部補助紐約 ISCP 駐村計畫。
CEO of SERENDIPITY, started her film career working on TSAI Ming-liang and Ang LEE’s Films. She founded the company to produce innovative productions with new technology and explore
the future of storytelling. She is also a managing partner of an arthouse film production company HOUSE ON FIRE, to produce quality international feature film co-productions.
KUO Chih-yi (b.1991, Taiwan) is an inter-discipline developer and media artist. His works often
combine different media include theater, virtual reality, web space, audio-visual performances, space installations.
Co-founding the newmedia group CBMI in 2010, he has then led the team and focused on experimental no-man immersive theater. In 2015, the group reorganized into NAXS Corp., and he has served as different roles such as director, technical coordinator, visual/space/sound designer. After that, he devoted himself on the development of the Render Ghost, a series of immersive virtual theater work, which was awarded the first prize in the 6th Digital Art Performance Award Taipei. Since 2017, the focus has been on network interface experiments, no-man audio-visual performances, post-human mythology and ritual research.
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與談人 Panelists
實踐大學媒體傳達設計學系專任助理教授 Assistant Professor, Department of Communications Design, Shih Chien University
蔡遵弘 TSAI Tsun-hung
實踐大學媒體傳達設計學系專任助理教授、財團法人數位藝術基金會暨在地實驗技術總監，曾任上海 舜和數碼科技有限公司互動設計師、台北當代藝術館 MIS。專業領域為電腦動畫、互動設計、擴增實境、 虛擬實境與遊戲設計。 TSAI Tsun-hung is an assistant professor of Department of Communications Design at Shih Chien University and technical director of Digital Art Foundation & ET@T now.
He also worked as an interaction designer of Shanghai Shunhe Digital Technology Company Limited and an MIS Engineer for Taipei MOCA. His specialization is computer animation, interaction design, augmented reality, virtual reality, and game design.
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