IV : Stage _____ 65 ⑧⑨⑩ Artist’s book | Movie time, Workbench, Dialogue ⑪⑫ Poet’s book | Loveletter, R.A.M. V : Event _____ 77 ⑬ Dance Performance | Under Water ⑭ Sound Installation Theater | Tiny Stability ⑮ New Media Stage | Light Stream of Consciousness ⑯ New Media Installation Exhibition | The Ancient Paysage Epilogue: About Yushan _____ 108
YuShan Portfolio
五種切入故事的方式 ／ 前言 _______ 01 身為說故事的人／ 其一 構架 _______ 03 ① 小說作品 | 故事考古 ② 經典文學設計企劃｜看不見的城市 ／ 其二 角色 _______ 39 ③ 歐文字型構圖 | 字型
III : Imagines _____ 59 ⑥ Culture Image Poster | Verse on door ⑦ Tourism Image Poster | Island with love＆Luck
編曲 ④ 中文字體設計 | 文學金句系列 ⑤ 動態字體設計 | 動態字體 ／其三 意象 _______ 59 ⑥ 概念海報 | 門上的詩句 ⑦ 概念海報 | 愛與祝福之島 ／其四 場景 _______ 65 ⑧⑨⑩ 藝術家的書 |
II : Character _____ 39 ③ Latin Character Composition｜Typosition ④ Chinese Character Design | Gem Lines in Literary ⑤ Motion Graphic of Characters | City
工作台、膠綣時光、對話 ⑪⑫ 詩人的書 | 情書、暫存記憶 ／其五 事件 _______ 77 ⑬ 舞蹈與特效動畫演出｜漩 ⑭ 聲音裝置劇場｜小小的穩定 ⑮ 跨領域舞蹈演出｜光的意識流 ⑯ 歷史新媒體裝
I Framework _____ 03 ① Novel Project | Archaeological Fiction ② Literature Re-design｜Invisible City
置作品 | 最古老的風景／結語 _______ 108 關於育姍
5 Perspectives for a Story
Overture: As a Storyteller _____ 01
Overture: As a Storyteller
我們身處一個故事氾濫卻又異常 渴望故事的時代。無論是文字、 圖像、書本到科技，每種創作媒 材都又各自的敘事方式、質地。 而如何說一個好故事？或是說，怎 樣能說好一個故事？淬煉我們的語 言？馳騁我們的想像？創造一種共 感？這是我們、與我們那在刻著岩 壁或躺在星空下的祖先們，共同 思索著的難題。而我也想找自己 的答案，為此我從文學領域跨入 設計藝術，在不同的意義載體中 尋找可能的形式。
This is an era crowded with stories, yet still eagerly seek for more. Whether it is text or images, books or technology, each creative medium has its own narrative style and texture. So how to tell a good story? Or how to tell them well? Will it be accomplished through precise language or splendid imagination? Or would we need to create sympathy? This is a question that we, together with our ancestors engraved with rock walls or lying under the stars, are pondering over. I want to seek for my own answer as well. That’s why I choose to across domains from the field of literature to art and design, to find a possibility form in different carriers.
Features Projects
I: Framework
其一：構架／故事專案。以系統性 的思維規劃敘事的次序與元素，是 創造迷人而有力的故事的關鍵。好 的框架能讓各種異質的細節聚合與 附著，開出茂密繁盛的結構之花。 我常被這樣的故事吸引。 Planning the order and elements of a narrative with a systematic mindset is the first key to creating a compelling and powerful story. A good framework allows various heterogeneous details to converge and adhere, and blooms a lush and flourishing structure. I am always attracted by such stories.
① ① Novel Novel Project Project || Archaeological Archaeological Fiction Fiction
① Novel Project | Archaeo
ological Fiction
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â‘ Novel Project | Archaeological Fiction
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â‘ Novel Project | Archaeological Fiction
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小說作品 | 故事考古 2019 Graduation Production # 小說文字創作 # 複合媒材視覺圖像 # 頁面排版設計 # 書籍裝幀 # 空間展演 # Novel # Mixed material imige # Layout design # Book binding # Exhibition performance
① Novel Project | Archaeological Fiction
我的碩論旨在討論小說形式的可能 性。故我的畢業製作寫了一本小說 ，約四萬字，故事背景是未來物種 用雲端資料碎片與實體文物對現代 人類的考古。 我在內容裡刻意混合虛構想像與真 實知識，例如被誤解的現成物、假 圖片以及真實的學術理論，並且穿 插以五個角色的生命為中心的純小 說。透過虛實故事穿插的方式，建 構出一種當下與近未來可能的當代 文明史，主題涵蓋語言、記憶、夢 境、身體與信仰。
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My master's thesis aims to discuss the possibilities of story form. So my graduation production is a novel. I wrote about 40,000 words. The story is about a future species doing archeological research of modern humans beings with the data fragments on Cloud and physical artifacts. In my story, I deliberately mix fictional imagination and real knowledge, such as misunderstood ready-made items, fake picture, and real academic theory. And I interspersed pure novels story centered on the lives of the five characters. Through interspersing fiction and non-fiction, I built a possible civilization history of contemporary and near future, with topics covering language, memory, dreams, body and belief.
① Novel Project | Archaeological Fiction
我把它編排成一本異於往常閱讀體 驗的書，讓內容是片段的、非線性 的，需要讀者翻頁找尋、拼湊線索 並主動思考其中的連結。 此書曾在台北的亞典藝術書店藝文 空間展出，我嘗試將小說內容與氛 圍延續到空間之中。由於這本小說 背後的企圖旨在擬仿知識建構的過 程，故觀者的閱讀行為也是完整故 事的一部分。 在展出過後，將內容打散成不同媒 體形式，如部落格文章、圖像、錄 音檔，分別放置在不同平台上，如 知識型網誌Medium, Instagram, Google Cloud等。想要了解故事 的觀者，需要在不同平台與空間中 主動找尋、拼湊與判斷，來與故事 文本建立對話與思考。
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I design the reading experience to make it different from the usual. The content is fragmented and non-linear, requiring readers to turn pages, piece together and actively think about the links. This book has been exhibited in the Artland Bookstore in Taipei. I extend the atmosphere of the novel into a real space. Because my work attempts to imitate the process of knowledge construction, the viewer ’s reading behavior also takes a part of the completion of the story. After the exhibition, I divided the content into different media forms, such as blogs texts, images, and audio files, and placed them on different platforms on the internet, such as the Medium( knowledge sharing blog), Instagram, Google Cloud, etc. Viewers who is curious about the story will need to seek, link and thing over between different media and internet spaces, in order to establish dialogue and understanding with the story text.
① Novel Project | Archaeological Fiction
2019 四人聯展 身而為人的 Exhibited in Being as human being as Joint Exhibition for 4 artists, 2019 Ｓumer
延伸計畫 投稿文學獎 2019 十二月 論文口試 2020 二月 獨立樂團合作改編小說合作演出 2020 五月
Plans In Process Submit for literature award: Dec 2019 Master's thesis oral exam: 2020 Feb Pop Music performance of my story (cooperate with Taipei University of Arts Music Program): May 2020
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â‘ Novel Project | Archaeological Fiction
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â‘ Novel Project | Archaeological Fiction
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考古之一：語言篇 記述自然語言與電腦語言的特色， 旨在點出未來我們將複雜多元的感 知形式符號化後可能發生的意義化 約與脫落。 故事之一：一首民謠 主角是一位認真的翻譯，致力於動 用全身上下的五感體驗，以精確地 將世間萬物翻譯成電腦語言。
Archeology I: Language Describe the characteristics of natural language and computer language. Aims to point out the reduction and loss of meaning that may occur when we symbolize the complex and diverse forms of human perception. Story I: The Folk The protagonist is a serious translator, dedicated to using the all senses throughout the body, attempting to accurately translate everything into a computer language.
① Novel Project | Archaeological Fiction
考古之二：記憶篇 對照人腦記憶與電腦記憶，談人上 傳記憶的行為模式，漸漸改變了我 們攜帶、保存與失去記憶的方式。 故事之二：一場雨 一座忙碌的城市裡，人們為了維持 高效率的生活步調，習慣將所有太 過珍貴的記憶與情緒上傳到雲端。
Archeology II: Memory Comparing human brain memory and computer memory and make an argument that our behavior pattern of uploading has changed the way we carry, save and lose memories. Story II: The Rain Telling a story about a busy city in where people are used to uploading all precious emotions for sake of keeping efficient pace of life.
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考古之三：夢境篇 提出幾個學界對人類夢境之謎的推 想，討論人對於自身內在與外在的 生命的壓抑與匱乏感。 故事之三：一封信 敏感多夢主角由於不明原因，與夢 中的自己通了幾天的信，在信中與 另一半的自己討論何謂真實。
Archeology III: Dream Introduce some inferences about the mystery of dreams in current academic circles, and discuss people's sense of depression and deprivation from the conflict between their inner and appearance lives. Story III: A Letter The story about a sensitive protagonist who, for unknown reasons, communicated with himself of the dream with letter for a few days, discussing the issue of true with the other half of himself.
① Novel Project | Archaeological Fiction
考古之四：身體篇 用幾個例子討論科技對人體的替換 與強化，將如何影響我們對生命的 時間感與對物質的重量感。 故事之四：一顆牙 故事從牙醫主角父親掉的一顆牙開 始，帶出對生命延續的各種聯想。
Archeology IV: Flesh The purpose is to discuss how the replacement and strengthening of biotechnology affect our sense of time and materiality. Story IV: A tooth The story is about a dentist’s various of imagination and associations about the continuation of life after his own old father lost a tooth.
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考古之五：信仰篇 講述網路為我們的當下帶來一種 虛構與真實等量並存的知識認取 與建構模式。 故事之五：一場玩笑 故事是一個網路偵探著手調查論 壇上匿名指稱總統其實是AI人工 智慧的謠傳。
Archeology V: Faith Discuss that Internet have brought us a new type of knowledge recognition and construction mode that coexists with fiction and reality. Story V: A joke An internet detective is a rumor that An internet detective start an investigation over a rumor that anonymously alleged the president is actually artificial intelligence.
â‘ Novel Project | Archaeological Fiction
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â‘ Novel Project | Archaeological Fiction
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â‘ Novel Project | Archaeological Fiction
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â‘ Novel Project | Archaeological Fiction
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â‘ Novel Project | Archaeological Fiction
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IG: archaeological_fiction
â‘Ą Literature Re-design | Invisible City
â‘Ą Literature Re-design | I
Invisible City
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â‘Ą Literature Re-design | Invisible City
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② Literature Re-design | Invisible City
在夢想中的城市裡他正值青春年少 ，抵達Isidora時卻已經是個老人。 在廣場的那頭，他和這些老人並坐 在一起，看著年輕人來來去去，慾 望已成了回憶。(第一章 城市與記 憶之二)
He was young and promising in his dreams of arriving Isidora, but when he truly arrived he was already old. At the other end of the square, he sat with the old men and watched the young people come and go. Desires had become memories. (Chapter 1 City and Memory no.2)
在Ersilia所在或曾在的地域旅行時 ，沒有傾頹的牆壁，也沒有隨風翻 滾的死人骨骸；只有錯綜復雜的蛛 網，在尋找一個形式。（第五章 貿 易的城市之四）
When traveling in or where Ersilia was, there were no tumbling walls, no dead bones rolling in the wind; only intricate cobwebs looking for a form. (Chapter 5 Trade City no.4)
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經典文學 Re-design｜看不見的城市
2017 Independent project
# 複合媒材插畫 # 書籍裝幀 # 文宣設計 # 空間展演 # 多媒體影像 # Mixed material Illustration # Book design # Leaflet design # Exhibition performance # Multimedia Video
於是你繼續走，經過了一個個的郊 外，要離開Penthesilea了。你已經 放棄去想，在這連綿的荒蕪中，是 否隱藏了一個訪客可以辨識與記憶 的Penthesilea？（第九章 連綿的城 市之五）
So you continue to walk through the suburbs, leaving Penthesilea. You have given up thinking, in this endless wasteland, is there a Penthesilea that visitors can recognize and remember? (Chapter 9: The Incessant City no.5)
有兩種方式可以逃離痛苦折磨。第 一種方式比較容易：接受地獄，成 為他的一部分，直到你再也看不見 它。第二種方法比較危險，需要時 時戒慎憂慮：在地獄裡頭尋找並學 習辨認，什麼人、什麼東西不是地 獄，然後，給他們空間，讓他們存 活。（第九章末）
There are two ways to escape suffering. The first is easier: accept the hell and become part of it, until you can no longer see it. The second is more dangerous, and you need to keep cautious and anxious: find and learn to recognize who and what is not a hell in the hell, and give them space for survive. (End of Chapter 9)
② Literature Re-design | Invisible City
從文學院跨足平面設計，最初的希 望是能透過視覺輔助，讓更多人看 見那些值得一見的作品。這個經典 文學推廣計畫是我的初步嘗試：為 我很喜歡的一本書，伊塔羅卡爾維 諾的《看不見的城市》重新設計一系 列的宣傳視覺。 我挑了四篇引文，用各種材質的日 本紙與不同質地的顏料為文字做插 圖，並且做成搭配人聲的間單動畫 。接著為其重新設計了封面，以及 試讀冊海報。此系列作品曾在2017 年於交通大學藝文空間展出。
在Ersilia所在或曾在的地域旅行時 ，沒有傾頹的牆壁，也沒有隨風翻 滾的死人骨骸；只有錯綜復雜的蛛 網，在尋找一個形式。（第五章 貿 易的城市之四）
When traveling in or where Ersilia was, there were no tumbling walls, no dead bones rolling in the wind; only intricate cobwebs looking for a form. (Chapter 5 Trade City no.4)
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I start making book design due to my passion for literature. My aim is always about using the visual work to make the beauty of stories been seen by a wider audience.This Literature Re-design Project is my first attempt, I did a series of promotion works for my favorite novel Invisible city by Italo Calvino. I choose 4 paragraphs from the work, used various materials and textures of Japanese paper and pigments to illustrate the atmosphere of the literature texts, and made little moving picture with vocals. Then, I re-design the book cover and made a poster which content preview of the novel. This series of works was exhibited in the Arts Center of NCTU in 2017.
於是你繼續走，經過了一個個的郊 外，要離開Penthesilea了。你已經 放棄去想，在這連綿的荒蕪中，是 否隱藏了一個訪客可以辨識與記憶 的Penthesilea？（第九章 連綿的城 市之五）
So you continue to walk through the suburbs, leaving Penthesilea. You have given up thinking, in this endless wasteland, is there a Penthesilea that visitors can recognize and remember? (Chapter 9: The Incessant City no.5)
有兩種方式可以逃離痛苦折磨。第 一種方式比較容易：接受地獄，成 為他的一部分，直到你再也看不見 它。第二種方法比較危險，需要時 時戒慎憂慮：在地獄裡頭尋找並學 習辨認，什麼人、什麼東西不是地 獄，然後，給他們空間，讓他們存 活。（第九章末）
There are two ways to escape suffering. The first is easier: accept the hell and become part of it, until you can no longer see it. The second is more dangerous, and you need to keep cautious and anxious: find and learn to recognize who and what is not a hell in the hell, and give them space for survive. (End of Chapter 9)
② Literature Re-design | Invisible City
引用作品 伊塔羅．卡爾維諾《看不見的城市 》 王志弘譯，時報出版。
Re-design for Invisible city by Italo Calvino. Translator: Zihong Wang (Traditional Chinese) Publisher: China Times Publishing Co. (Taipei, Taiwan)
在Ersilia所在或曾在的地域旅行時 ，沒有傾頹的牆壁，也沒有隨風翻 2017 交大應用藝術所師生聯展 #808080 滾的死人骨骸；只有錯綜復雜的蛛
Exhibited in #808080, the United 網，在尋找一個形式。 （第五章 貿 Exhibition of Institude of Applied Art, 易的城市之四） NCTU, 2017 Winter When traveling in or where Ersilia was, there were no tumbling walls, no dead bones rolling in the wind; only intricate cobwebs looking for a form. (Chapter 5 Trade City no.4)
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於是你繼續走，經過了一個個的郊 外，要離開Penthesilea了。你已經 放棄去想，在這連綿的荒蕪中，是 否隱藏了一個訪客可以辨識與記憶 的Penthesilea？（第九章 連綿的城 市之五）
So you continue to walk through the suburbs, leaving Penthesilea. You have given up thinking, in this endless wasteland, is there a Penthesilea that visitors can recognize and remember? (Chapter 9: The Incessant City no.5)
有兩種方式可以逃離痛苦折磨。第 一種方式比較容易：接受地獄，成 為他的一部分，直到你再也看不見 它。第二種方法比較危險，需要時 時戒慎憂慮：在地獄裡頭尋找並學 習辨認，什麼人、什麼東西不是地 獄，然後，給他們空間，讓他們存 活。（第九章末）
There are two ways to escape suffering. The first is easier: accept the hell and become part of it, until you can no longer see it. The second is more dangerous, and you need to keep cautious and anxious: find and learn to recognize who and what is not a hell in the hell, and give them space for survive. (End of Chapter 9)
â‘Ą Literature Re-design | Invisible City
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â‘Ą Literature Re-design | Invisible City
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â‘Ą Literature Re-design | Invisible City
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â‘Ą Literature Re-design | Invisible City
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Typeface
II: Character
其二：角色／字體。字體是一 種會說話的視覺類型，他能夠 同時攜帶資訊與個性，創造一 個敘事環境的氛圍，如同一個 為台詞而生的角色。 Typeface is a visual type that can carry both information and personality, and creating an atmosphere of narrative environment, like a character born for its lines.
③ Latin Character Composition | Typosition
③ Latin Character Comp
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歐文字型構圖 | 字行編曲
2016 Practice work
# 平面設計 # 海報設計 # 手冊排版 # 實體空間展覽 Medias for creation: # Typographic # Poster design # Layout design # Exhibition performance
position | Typosition
③ Latin Character Composition | Typosition
③ Latin Character Comp
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歐文字型構圖 | 字行編曲
2016 Practice work
# 視覺圖像 # 海報設計 # 手冊排版 # 實體空間展覽 # Visual Composition # Poster design # Typographic # Exhibition performance
position | Typosition
③ Latin Character Composition | Typosition
一場探究歐文字體之美的實驗。 選擇單一個字型，以微觀之眼玩味 每個字元的空間，從單純的三個字 母，再加入三個單詞，然後處理到 句子、再加上段落，最後加入質地 圖樣。這是一件課堂作業，最後大 家都做出一本15*15cm的小書，在 校內辦一個小型展。 我覺得這個過程就像一層層疊上的 聲部，用字體本身與其創造構圖， 共譜一首字間韻律，所以為這件作 品取了這個名字，並做了展覽的宣 傳海報。
③ Latin Character Comp
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An experiment that explores the beauty of Latin Typographic. First, choose a font, and try playing with the space of each character with a microscopic perspective. From simply use three letters to build an image, to add three words. Then process to sentences, then paragraphs, and finally add texture graphic. This is a series of class practice work. In the end, everyone made a small book sized 15 * 15cm and held a small exhibition in the school. I think this process is like a layer of vocal parts, using the font itself and its composition to compose a rhythm between words, so I took the name for this work and made poster for the exhibition.
position | Typosition
③ Latin Character Composition | Typosition
2017 交大應用藝術所師生聯展 三山 Exhibited in Three Mountains, United Exhibition of NCTU Institude of Applied Art, 2017 Spring
③ Latin Character Comp
position | Typosition
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③ Latin Character Composition | Typosition
③ Latin Character Comp
position | Typosition
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③ Latin Character Composition | Typosition
③ Latin Character Comp
position | Typosition
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③ Latin Character Composition | Typosition
③ Latin Character Comp
position | Typosition
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③ Latin Character Composition | Typosition
③ Latin Character Comp
position | Typosition
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③ Latin Character Composition | Typosition
③ Latin Character Comp
position | Typosition
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③ Latin Character Composition | Typosition
③ Latin Character Comp
position | Typosition
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③ Latin Character Composition | Typosition
③ Latin Character Comp
position | Typosition
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③ Latin Character Composition | Typosition
③ Latin Character Comp
position | Typosition
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③ Latin Character Composition | Typosition
③ Latin Character Comp
position | Typosition
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â‘¢ Latin Character Composition | Typosition
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â‘¢ Latin Character Composition | Typosition
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â‘Ł Chinese Character Design | Gem lines in Literary
â‘Ł Chinese Character Des
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中文字體設計 | 文學金句系列
2018 Practice work
# 字型設計 # Typographic
Es mus sein? Es mus sein. It must be so. — Milan Kundera, The Unbearable Lightness of Being
sign | Gem lines in Literary
④ Chinese Character Design | Gem lines in Literary
我一直覺得中文字的圖式特性很有表 達欲，字的本身就有敘事，然後它又 被組織成詞句，在視覺結構上與語言 意義上形成雙重的層次美感。
④ Chinese Character Des
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I always find the graphical characteristics of Chinese incomparably talkative. A character itself can play the role as narrative, and then can be organized into words and phrases, which would form a double layer of aesthetics in terms of both linguistic meaning and visual structure. Es mus sein? Es mus sein. It must be so. — Milan Kundera, The Unbearable Lightness of Being
sign | Gem lines in Literary
â‘Ł Chinese Character Design | Gem lines in Literary
â‘Ł Chinese Character Des
47 | 48
非如此不可嗎？ 非如此不可。 — 米蘭昆德拉，生命中不可承受之輕
Es mus sein? Es mus sein. It must be so. — Milan Kundera, The Unbearable Lightness of Being
sign | Gem lines in Literary
④ Chinese Character Design | Gem lines in Literary
我大約沒有開花的日子了 — 郁達夫 沈淪
It is better to become mineral. I will never bloom anymore. — Yu-Dafu, Sink
49 | 50
â‘Ł Chinese Character Design | Gem lines in Literary
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無限與永恆，也許就喜歡像我這樣的狂妄份子。 — 赫拉巴爾，過於喧囂的孤獨
Living alone in dense thoughts. Infinity and eternity may only like a madman like me. — Bohumil Hrabal, Too Loud a Solitude
â‘Ł Chinese Character Design | Gem lines in Literary
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那一刻的意外、激動與無力是如此強烈。 我從未有過這種感受。 — 史蒂芬茨威格，一個女人生命中的二十四小時
I’m ready for presumptuous and intemperate. I have never had this feeling before. — Stefan Zweig, Twenty-Four Hours in the Life of a Woman
⑤ Motion Graphic of Characters｜City
⑤ Motion Graphic of Cha
55 | 56
中文字體設計 | 文學金句系列
2018 Practice work
# 動畫 # Motion Graphic
aracters｜City
⑤ Motion Graphic of Characters｜City
城市，一個與建造和光有關的詞。
City, a word about construction and light.
⑤ Motion Graphic of Cha
aractersď˝œCity
55 | 56
⑤ Motion Graphic of Characters｜City
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(Graphic Design)
III: Imagines
其三：意象／平面設計。圖像 與文字都是符號的延伸，知識 與邏輯以文字的方式存在於我 們的腦海，而圖像則召喚我們 的直覺，將感受與印象刻入我 們的記憶。 Images and words are extensions of symbols. Knowledge and logic exist in words in the form of words in our brains, while images evoke our intuition and engraving feelings and impressions into our memories.
⑥ Culture Image Poster | Verse on door
⑥ Culture Image Poster |
61 | 62
文化概念海報 | 門上的詩
2019 Practice work
# 海報設計 # Poster design
Verse on door
⑥ Culture Image Poster | Verse on door
「揮春」是一種中華文化圈傳統的新年 裝飾。家家戶戶用書法字在三張春聯 紙上寫下寄語、討喜氣。由於內容常 是對來年的寄語，這些門上的詩可以 被視為給上天的祈求，而因為環繞成 家裡大門的形狀，也象徵著對家中成 員的祝福。 除舊佈新指的就是把去年的揮春撤下 ，換成新的。在傳統的社區，由於每 家都有自身的書法風格、有的也會自 己作詩句，每到新年期間，街道就會 儼然成為一個書畫藝術的畫廊。
⑥ Culture Image Poster |
61 | 62
Huichun is a kind of traditional decoration for Chinese new year. People write verses about blessing with Chinese Calligraphy art on three pieces of red paper, and put them around doorways to create jubilant festive atmosphere. Carrying the new year wish, these verses on the door can be seen as the message to god. Also, because these blessing words form a gate shape, it resemble the good luck to the member of the family. Every year people change their Huichun as a ceremony for renewal. Since every family has their own preference on Calligraphy type and traditional verses, during the festive time the neighbor will be painted by various of verses and turn in to a gallery of typographical and poemtic aesthetics.
Verse on door
⑥ Culture Image Poster | Verse on door
「揮春」是一種中華文化圈傳統的新年裝 飾。家家戶戶用書法字在三張春聯紙上 寫下寄語、討喜氣。由於內容常是對來 年的寄語，這些門上的詩可以被視為給 上天的祈求，而因為環繞成家裡大門的 形狀，也象徵著對家中成員的祝福。
Huichun is a kind of traditional decoration for Chinese new year. People write verses about blessing with Chinese Calligraphy art on three pieces of red paper, and put them around doorways to create jubilant festive atmosphere. Carrying the new year wish, these verses on the door can be seen as the message to god. Also, because these blessing words form a gate shape, it resemble the good luck to the member of the family.
⑥ Culture Image Poster |
61 | 62
Verse on door
⑦ Tourist Image Poster | Island of love & Luck
⑦ Tavel Image Poster | Isl
63 | 64
旅遊宣傳海報 | 門上的詩
2019 Practice work
# 海報設計 # Poster design
land with love & Luck
⑦ Tourist Image Poster | Island of love & Luck
我將共通的概念：愛與祝福與台灣特有 的文化元素結合，讓不同文化人能在產 生共鳴的同時對這個地方有更多想像。 「愛」使用了兩種臉譜意象，一是源於中 國的京劇，二是台灣當地的歌仔戲。過 去兩種藝術表演形式都扮演著向大眾平 民講述經典文化故事的角色，其中情愛 更是常見的主題。今日，這兩種表演藝 術皆被視為重要的文化代表。 在「祝福」中，我用了「擲茭」的意象，這 是台灣廟宇特有的文化，信徒擲出兩片 削成一面平、一面凸的木片，來向神明 許願與請示。我將兩種台灣的圖式與之 結合，一是客家花布、二是原住民圖騰 ，來向遊客闡述一件事：在台灣，無論 你從哪裡來、身處怎樣的社群或文化圈 ，我們都想給你最好的祝福。
⑦ Tavel Image Poster | Isl
63 | 64
I try to expressing two very common values “Love” and “Luck”with unique Taiwanese cultural and art, so that any people will be attracted by the visual elements while still get some idea of this island. n “Love” , I used two kinds of facial art from two traditional opera in Taiwan. One is Pe-king Opera, which is original from China, and the other is Ke-Tse opera, a taiwanese local Opera. Both talk lots of tells about lives, history or legens form Chinese culture, and among them Love story is especially attractive to the public. Now they are both important and will-known forms of performances in Taiwan.
land with love & Luck
⑦ Tourist Image Poster | Island of love & Luck
In ”Luck”, I used “Divining Blocks”as the topic. Divining Blocks is a special temple culture that people will toss two piece of wood and see if the God is agree with them when they are asking question or making wish. I use two Taiwanese special patterns as the texture of the Divining Blocks. One is from Hakka and one is from the aborigines. Both of them are important part of local culture and also the attractive image to traveler. I try to express that in Taiwan, no matter who you are where you from, we all wish you the best.
⑦ Tavel Image Poster | Isl
land with love & Luck
63 | 64
(Book deign)
IV: Stage
其四：場景／書籍設計。書是 故事最熟悉的搖籃與舞台。一 本書的形狀、縫法與材質，若 是為故事而生，那書本本身就 不再僅是一種載體，而是另一 個角度的敘事。 The book is the most familiar cradle and stage of the story. The format, the stitching and texture…. if all this detail are made for the content of the story then the book itself is no longer a carrier, but another narrative.
⑧ Artist’s book | Movie Time
⑧ Artist’s book | Movie T
67 | 68
藝術家的書 工作台、膠綣時光、對話 2018 Practice work
# 裝幀設計 # 複合媒材
# Book binding # Mixed Material
Time
⑧ Artist’s book | Movie Time
藝術家的書作為一種創作類型，讓我 對形式之美產生了不一樣的想像。 ⑧ 膠綣時光 以我曾參與過的影展相關宣傳品當做 素材，製作了一本手札。裝幀的線是 上了膠的粗黑線，如由多股扁線纏繞 而成，每股線就如一串串膠卷，螺旋 纏繞成那段看電影的日常。 ⑨ 工作台 我覺得筆記本的封面與封底打開，就 成了創作者的實驗台或料理沾板，在 這個工作台上進行一次次的嘗試與修 正，美好的事物就誕生於那塊小小的 板子上。 ⑩ 對話 以我曾參與過的影展相關宣傳品當做 素材，製作了一本手札。裝幀的線是 上了膠的粗黑線，如由多股扁線纏繞 而成，每股線就如一串串膠卷，螺旋 纏繞成那段看電影的日常。
⑧ Artist’s book | Movie T
67 | 68
Artist's book, as a type of artistic creation, gives me a new imagination of the beauty of form. ⑧ Movie time I made this handwriting notebook with some film exhibition manual I have participated in. The binding strings are thick black strings with glue on it, like cinestrip of film spiraling and interwoven into a period of movie time. ⑨ Workbench I think the cover of a notebook is like the creator's lab bench or the cooking board. On this workbench, we try and correct our works on this small board again and again. That’s where those beautiful things are born.
Time
⑧ Artist’s book | Movie Time
⑩ Dialogue
I used both Chinese and English texts to intersperse the back of the book, then binding them together with two contrasting colors of string. Just like two kinds of voices talking over a same thing.
⑧ Artist’s book | Movie T
Time
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⑨ Artist’s book | Workbench
⑨ Artist’s book | Workben
nch
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⑩ Artist’s book | Dailogue
⑩ Artist’s book | Dialogu
ue
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⑪ Poet’s book | Loveletter
⑪ Poet’s book | Loveletter
r
73 | 74
詩人的書｜情書、暫存記憶
2018 Practice work # 新詩創作 # 攝影 # 裝幀設計 # 複合媒材 # Poem # Photograpgh # Book binding # Mixed Material
⑪ Poet’s book | Loveletter
延續藝術家的書創作概念，嘗試將詩作 轉化成物件形象與攝影類型，並且透過 紙材質地跟裝幀法的選用，將詩裡的溫 度與觸感表現在書本形式上。 ⑪ 情書 這是一本圖像詩。我將一首自己寫的詩 做成一本書。詩裡說的是一場道別前的 安靜日常，我用純白的紗包覆書封，書 頁是受潮的宣紙，視覺乾淨明亮而質地 柔軟，就像那些想將傷感說得更輕盈一 些的話。 ⑫ 暫存記憶 這是一本攝影詩集，我將那些平日捕捉 到的一閃而過的片刻，以文字或相片的 形式，穿插印在半透明的描圖紙或暖色 的卡典紙上，形成一種朦朧不明晰的效 果。如果我大腦內的記憶載體能被可視 化，看起來大概就像如此。
⑪ Poet’s book | Loveletter
r
73 | 74
Extending from the concept of Artist's book, I attempt to transform poems into object images or photography, and expresses the temperature and touch in the poems in the form of books through the choice of paper texture and binding method. â‘Ş Love Letter This is an image poem. I wrote poems which is about a daily life before a farewell. I cover the book with pure white yarn and use damp rice paper as Inner page. It looks bright and soft, just like those words when people trying speak out sadness in a lighter voice. â‘Ť R.A.M. This is a collection of photography and poems. I kept those flash of moments in the form of text or photos on semi-transparent tracing paper or ordinary paper, to form an unclear vision image. If my memory could be visualized, it may looks as hazy as this.
⑪ Poet’s book | Loveletter
2017 交大應用藝術所師生聯展 三山 Exhibited in Three Mountains, United Exhibition of NCTU Institude of Applied Art, 2017 Spring
⑪ Poet’s book | Loveletter
r
73 | 74
⑫ Poet’s book | R.A.M.
⑫ Poet’s book | R.A.M.
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(Multidisciplinary Collaboration)
V: Event
其五：事件／合作專案。一 個精彩的故事的張力少不了 異質元素之間的互動關係。 它們不可避免第一開始會相 斥或碰撞，接著要會相互適 應、磨合，並且試著暸解彼 此的特徵與本質，最後在經 過一連串事件之後，彼此的 價值將會相互輝映。 The interactive relationship between heterogeneous elements is indispensable for making the tension of a thrilling story. They inevitably begin with repel or collide at first, then needed to try adapting and understanding each other's characteristics and essence. Then, finally, after a series of events the values of each of them will shine and reflect each other.
⑬ Dance Performance | Under Water
⑬ Dance Performance | U
79 | 80
舞蹈與特效動畫演出 | 漩
2017 Group Project
# 影像與特效投影 # 浮空投影紗幕
# 舞台設計 # 舞蹈（台藝大舞蹈系碩士班） # Video & Visual Effect Projecting # Floating Projection Yarn # Stage Design # Dance (by Department of Dance, National Taiwan University of Arts)
Under Water
⑬ Dance Performance | Under Water
結合舞蹈、動畫特效與互動科技，透 過沈浸式舞台，共譜在水中的雙重想 像。進入水中，有如進入個人的心境 之中，視覺、聽覺與觸覺在其中共舞 ，隨著肢體的延展，人思考、嘗試並 轉變。 負責項目：視覺團隊、舞台執行
⑬ Dance Performance | U
79 | 80
This is a performance combining dance and animation effects. Through the immersive stage display the double imagination in the water: entering the water is like entering an individual's mind, where, with the extension of the limbs, the sense of vision, hearing and touch conducting a dance performance all together. As a result, under water can we think, try and change.
As visual effect and stage execution team
Under Water
⑬ Dance Performance | Under Water
指導老師：謝啟民 演出時間： 2017.06.08 演出地點： 台藝大 舞蹈系501劇場 主辦單位： 國立交通大學應用藝術研究所、 國立台灣藝術大學舞蹈系碩班
Instructor: Qi-min, Xie Performance Date: 2017.06.08 Venue: National Taiwan University of the Arts, 501 Theater Organizers: Institute of Applied Arts in National Chiao-Tung University, Department of Dance, National Taiwan University of Art
⑬ Dance Performance | U
Under Water
79 | 80
â‘Ź Dance Performance | Under Water
81 | 82
â‘Ź Dance Performance | Under Water
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⑭ Sound Installation Theater | Tiny Stability
⑭ Sound Installation Thea
85 | 86
聲音裝置劇場｜小小的穩定
2018 Group Project
# 人聲 # 音響串連編輯 # LED燈、釣魚線 # 環境劇場 # Voice # Audio tandem editing # LED light, fishing line # Environmental Theatre
ater | Tiny Stability
⑭ Sound Installation Theater | Tiny Stability
一個在教室走廊的展演小品，我們以 人聲作為演出角色的裝置劇場。改編 魯熱維奇的劇本《證人與我們小小的 穩定》，將兩個角色拆成六個人聲， 在展演空間中安置六個音響，透過串 連，以達成角色的走位效果。 除了聲音，有一個視覺聚焦的裝置， 像是巢一樣的線團，一上一下的斷開 ，隨著對話一明一暗，反映劇本中不 停對話卻又傳達傳達不到關係。另外 在走廊旁開了一個門縫，門縫後面的 場景會隨著劇情變動，然而走動的觀 眾不一定看得到，這樣不被看到的敘 事形式，形成劇場中另一種非感知的 空間感。
負責項目：劇本改編、聲音演出、舞 台設計
⑭ Sound Installation Thea
85 | 86
It was an installation performance using vocals as the protagonist and the stage was in a hallway. Adapted from Rozewicz’s script "Witnesses or Our Tiny Stability", we split two characters into six voices, and hind six audio electronics in the space. With sound flow design we achieved the position and space as on the stage. In addition to the sound, there is a visually focused device that looks like two nests. They were separated with each other and will turn clear and dark as the dialogue. By this device we expressed a kind of dialogue that although people talking, nothing conveyed. A door slit is opened by the corridor, and there was a scene behind the slit which would change with the script. It was not necessarily visible to the moving audience may, which created another non-perceived sense of space in the theater.
In charge of script adaptation, voice acting and stage design.
ater | Tiny Stability
⑭ Sound Installation Theater | Tiny Stability
指導老師：謝啟民 演出時間：2018.01.02 演出地點：交大應用藝術所走道
Instructor: Qi-min, Xie Performance time: 2018.01.02 Venue: Walkway of Institute of Applied Arts building
⑭ Sound Installation Thea
ater | Tiny Stability
85 | 86
â‘ Sound Installation Theater | Tiny Stability
87 | 88
â‘ Sound Installation Theater | Tiny Stability
89 | 90
⑮ New Media Stage | Light Stream of Consciousness
⑮ New Media Stage | Light
91 | 92
跨領域舞蹈演出｜光的意識流
2018 Group Project
# 影像投影 # 人聲 # 音效 # 鏡子、粉末 # 舞蹈（台北舞蹈空間舞者） # Digital image Mapping # Voice # Sound # Mirror & powder # Dance (Dancer of Forum Taipei)
t Stream of Consciousness
⑮ New Media Stage | Light Stream of Consciousness
透過鏡子的反射與折射、以及粉末加 強空氣中的光線，搭配音效與詩句， 營造一個夏日午後的感覺，在不想開 燈的房間裡、外頭的光線刺眼、時間 過得很慢很慢。與舞蹈空間合作的跨 領域工作坊，成員背景包含舞蹈、音 效、視覺、程式等。
負責項目：故事撰寫、聲音演出、視 覺投影團隊
⑮ New Media Stage | Light
91 | 92
This is an interdisciplinary workshop hold by a Dance-forum Taipei. The background of the members includes dance, sound effects, visual design, and programming. Through the reflection and refraction of the mirror, powder in the air, and with sound effects and verses, we created a feeling of summer afternoon that the sun is shining outside a dark room, and you can feel time passing slowly.
In charge of storyline and voice acting. As visual effect team.
t Stream of Consciousness
⑮ New Media Stage | Light Stream of Consciousness
演出時間：2018.07.03 演出地點：舞蹈空間 小舞台 主持單位：舞蹈空間跨域工作坊
Performance time: 2018.07.03 Venue: Small Stage, in Dance Forum Taipei Organizer: Innovation Lab of Dance Forum Taipei
⑮ New Media Stage | Ligh
91 | 92
t Stream of Consciousness
â‘® New Media Stage | Light Stream of Consciousness
93 | 94
⑯ Installation Exhibition | The Ancient Paysage
⑯ Installation Exhibition |
95 | 96
文物與科技裝置作品 | 最古老的風景
2018 Lab Team Project
# 歷史文化研究 # 圖學程序運算 # 布幔場域設計 # 刊物編撰與設計 # Historical and Cultural Studies # Graphical programing # Cloth environmental scene design # Publication compilation and design
The Ancient Paysage
⑯ Installation Exhibition | The Ancient Paysage
海是承載時間的龐大量體，人類文明 長河裡每個亦重亦輕的當下，最終都 流進海裡。萬物都在這種偉大中得到 了救贖和解脫，留下了最古老，最純 正的視覺印象。而海包容著人類的記 憶與流動的情感，在不斷轉變形態的 過程中帶著最原始、純粹的風景繼續 走向未來。 這份作品是交大應用藝術所謝啟民老 師研究室團隊的作品。我們研究了中 國山水畫論「山水春泉集」 （春泉山水 圖）裡對自然，山脈，海洋和河流的 分析，從物質思想到哲學思想。並與 圖學理論以及物理程序運算結合，通 過使用電腦生成的圖形，例如：模擬 海水 (Tessendorf，2001年)，Perlin Noise (Perlin，1985年)。
⑯ Installation Exhibition |
95 | 96
The ocean is the only environment capable of accommodating everything in this world. Not only does it embrace time and space, it also takes in people’s fragility and emotions. Sometimes, disguising itself as water vapor, the ocean conquers the trial of time by constantly changing forms. All things find their redemption and relief in this greatness, leaving the oldest and purest of pictures. The Ancient Paysage an installation work of the team of Xie Qimin's laboratory of JApplied Arts of National Chiao-Tung University. It starts a spiritual conversation with Chinese Shanshui on the shoulder of modern physics. Imitating the analysis of nature, mountains, ocean, and rivers in Shanshui Chunquan Ji (Chunquan’s Complication on Landscape), from material to philosophical thought. The artist’s creation is to imitate the philosophical beauty of the ocean as well as the brief tenderness that we experience by using computer generated graphics such as the simulation of ocean water (Tessendorf, 2001), Perlin Noise (Perlin, 1985).
The Ancient Paysage
⑯ Installation Exhibition | The Ancient Paysage
此專案與台灣故宮博物院合作，我們 海是承載時間的龐大量體，人類文明 長河裡每個亦重亦輕的當下，最終都 研究歷史文物與文獻，結合老師的電 流進海裡。萬物都在這種偉大中得到 腦圖學創作，團隊打造一個與布幔實 了救贖和解脫，留下了最古老，最純 體裝置，跨越時空、淬煉人對海洋的 正的視覺印象。而海包容著人類的記 美的理解，共同模擬一片海景。此作 憶與流動的情感，在不斷轉變形態的 品曾在交大與故宮共同策劃的歷史與 過程中帶著最原始、純粹的風景繼續 科技新媒體互動藝術展 （2018）展出。 走向未來。 負責：故宮文物研究整理、作品概念 這份作品是交大應用藝術所謝啟民老 師研究室團隊的作品。我們研究了中 發想與撰寫、提案企劃書、作品專刊 國山水畫論「山水春泉集」 編寫與設計、對外聯繫窗口 （春泉山水 圖）裡對自然，山脈，海洋和河流的 創作團隊：CM 實驗室 師生團隊 分析，從物質思想到哲學思想。並與 圖學理論以及物理程序運算結合，通 過使用電腦生成的圖形，例如：模擬 海水 (Tessendorf，2001年)，Perlin Noise (Perlin，1985年)。
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This project is in cooperation with the National Palace Museum of Taiwan. Studying historical relics and documents and combing with the computer graphics creation of the teacher, the team builds a physical installation with cloth curtains to jointly simulate a seascape, extracting people's understanding of the beauty of the ocean spanning different time, space, and aesthetic philosophy. This work was exhibited at the History and Technology New Media Interactive Art Exhibition (2018) co-curated by the National Palace Museum and our University.
In charge of the historical relics research and artist statement. As editor, visual designer of implementation plan and issue and contact window Creative teamďźšTeacher and Master student of CM Lab
The Ancient Paysage
⑯ Installation Exhibition | The Ancient Paysage
科技松 Techathon 海是承載時間的龐大量體，人類文明 －故宮Ｘ交大新媒體藝術展 長河裡每個亦重亦輕的當下，最終都
流進海裡。萬物都在這種偉大中得到 展出時間：2018.6.12-7.31 了救贖和解脫，留下了最古老，最純 地點 ：交通大學藝文空間 正的視覺印象。而海包容著人類的記 主辦單位：故宮博物院、國立交通大學 憶與流動的情感，在不斷轉變形態的 協辦單位：交通大學藝文中心、應用藝術 過程中帶著最原始、純粹的風景繼續 研究所 走向未來。 這份作品是交大應用藝術所謝啟民老 Exhibited in 師研究室團隊的作品。我們研究了中 Techathon -「山水春泉集」 New Media Art（Exhibition 國山水畫論 春泉山水 圖）裡對自然，山脈，海洋和河流的 Date: 2018.6.12-7.31 分析，從物質思想到哲學思想。並與 Venue: Arts Center of National 圖學理論以及物理程序運算結合，通 Chiao-Tung University 過使用電腦生成的圖形，例如：模擬 Organizer：National Palace Museum, 海水 (Tessendorf，2001年)，Perlin National Chiao-Tung University Noise (Perlin，1985年)。 Co-organiser: Arts Center of National Chiao-Tung University, Applied Arts of National Chiao-Tung University
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The Ancient Paysage
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⑯ Installation Exhibition | The Ancient Paysage
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⑯ Installation Exhibition | The Ancient Paysage
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⑯ Installation Exhibition | The Ancient Paysage
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⑯ Installation Exhibition | The Ancient Paysage
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⑯ Installation Exhibition | The Ancient Paysage
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楊育姍 +886 930267292 sandy9850205@gmail.com Intro 書蟲，日曬會融化、淋雨會發霉，以思索與混亂為食。 腦內由理性佐感性、想像與現實、主觀又客觀、真實混虛構組成，簡單來說，萬物的矛盾集 合體。夢想是一個想在眾聲喧嘩的世界好幾個故事。 A bookworm feed on thought and confusion. Melt in the sun and mold in rain. Brain Composition: Reality & Fiction, Subjectivity & Objectivity, Rationality & Sensibility, Romantic & Pragmatist. To put it short, an ambivalent collection Dream: Tell some good stories in the era of noisy and bustling Specialty 說故事、跨域合作 文案、平面設計、排版裝幀 Storytelling, Cross-disciplinary cooperation Copywriting, Graphic design, Typography, Book design language Chinese (native, also have some experience of teaching) English: IELTS 7 Japanse: Basic Computer Operating System: MacOS, Microsoft Windows Adobe software: Illustrator, Photoshop, InDesign, Lightroom, After Effect, Dream Waver Programming language: Html5, CSS, J-Query Other: Madmapper Education 交通大學應用藝術所 視覺傳達組 清華大學中國文學系 主修學程：當代文學與文化學程、語言學學程 上海復旦大學中國文學系（交換） 捷克馬薩里克大學美術學院學程（交換） National Chiao-Tung University (NCTU, Taiwan) - Institute of Applied Arts (Major : Visual Communication Design) National Tsing-Hua University (NTHU, Taiwan) - Department of Chinese Literature (Double specialties: Contemporary Literature and Cultural study ＆ Linguistic study) FuDan University (China) - Exchange program to department of Chinese Literature Masaryk University (Czech Republic) - Exchange program Faculty of Arts
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Epilogue: About Yushan
Exhibition 2019 交大應用藝術所四人聯展：身而為人的 2018 故宮Ｘ交大新媒體藝術展：科技松 2017 交大應用藝術所聯展：#808080 2017 交大應用藝術所聯展：三山 2019 “Being as human being as” Joint Exhibition for 4 Artists 2018 “Techathon” National Palace Museum X NCTU New Media Art Exhibition 2017 “#808080” - United Exhibition of Institute of Applied Arts, NCTU 2017 “Three Mountains” - United Exhibition of Institute of Applied Arts, NCTU Cooperation 2019 臺北藝術大學學士後跨藝合創音樂學士學位學程（IMPACT學程）學生樂團 畢業專場演 出｜合作小說家（將於2020年五月底演出） 2019 舞蹈空間跨域工作坊演出作品：光的意識流｜故事撰寫、視覺特效、配音演出 2017 台灣藝術大學舞蹈系特效與舞蹈跨域合作期末演出：UnderWater｜視覺概念團隊、 舞台執行 2019 (On going) As the cooperative novelist in charge of storyline of an independent band performance by Interdisciplinary Multimedia Performing Arts Collaborative Technology Music Program, Taipei National University of the Arts（IMPACT of TNUA） 2019 As the storyline, voice performance and the group member of visual and effect design in performance work: Light Stream of Consciousness, by Innovation Lab of Dance Forum Taipei 2017 As the group member of visual concept and stage execution in performance work: UnderWater, by Department of Dance, National Taiwan University of Art（NTUA） Experience 2017 交大藝文空間｜視覺設計 2017 大衛菲爾藝文空間｜視覺設計、宣傳文案 2016 清大中文系畢業製作：限時備忘｜專刊文編、電子報組組長 2016 清大盲友會｜教科書有聲書錄音員 2015 清大學生會新聞部｜校刊編輯 2014 清大文學讀書會｜召集人 2013 清大學生影片創作工作室｜場記 2017 Visual designe in Arts Center of NCTU 2017 Visual designer in David ArtField Gallery 2016 Editor of issue and leader of E-news editor team in Graduation production “Memo of moment” of Department of Chinese Literature, NTHU 2016 Audiobook recorder in Foundation for the Blind of NTHU Student Association of NTHU 2014 Convener of Literature Reading Club on NTHU 2013 Script Supervisor in video studio of student in NTHU
2015 Editor of campus issues in
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