以藝術家建構的互動體驗與參與機制，提出虛與虛，虛與實，實與實之間的擁抱策略，也凸顯不可確認的共存狀態，為上述兩個主題的回應，在弔詭的虛實分身與溝通情境中，呼喚眾人回到彼此擁抱的真實世界中，然而何為真實？卻無從確認
臉部共享
Sharing Faces
​在此作中，攝影機及特殊軟體會捕捉觀者的臉部位置，觀者一旦移動，系統便會由資料庫中配對相應的新面容，產生觀者運用他人容貌製造出的鏡像。透過《臉部共享》，觀者得以與身處他方、與自身有所差異的人們建立新的關係。
 
A camera and custom software match the face locations of the persons looking at the screen. As the visitor moves, new images are pulled from the database matching the new location and create a mirror-like image of yourself using the images of others. “Sharing Faces” is about finding connections with people in another place that you typically find quite different from yourself.
3D大瀏覽器
The Big Browser 3D
​《3D大瀏覽器》運用藝術家自己編寫的軟體，讓觀眾在虛擬世界中成為主角，觀眾可自行控制虛擬角色，讓其跳動或移動，也能使用網路瀏覽器或搜尋引擎，瀏覽器的視窗和角色尺寸相當，讓觀眾重新思考用來觀看網路世界的後網路時代瀏覽器及變化的視窗模式。
 
Big Browser 3D, created with software of the artist’s own invention, provides a virtual world where the audience can act as a protagonist. Viewers can control the VR characters by having them move or jump. They can also use a web browser or search engines. The browser window is as large as the character’s size; this leads us to reconsider the browser of the post-internet era and the changed mode of the windows through which we look at the internet.
 
 
心靈
Psyches
科技的發展日新月異，我們的日常生活被各種通信工具佔據，特別是智慧型手機在我們生活中的角色日益吃重，似乎透過和在世界不同角落的人快速分享資訊，就能產生一種立即「連結」的感受。
 
然而，人類情感總是飄乎不定，難以真正傳遞片刻的共聚感，或捕捉與溝通對象之間那種微妙的情感波動。
 
此計劃的目的是要運用能夠以人類感官分享的方式，透過智慧型手機，捕捉二人目光交會時的微妙情感共時，強化他們眨眼時產生的節奏及共鳴，彰顯人類之間的親密感。
 
New technologies are advancing rapidly and there are now just so many types of communication tools that fill our everyday lives. Especially, smartphones play increasingly greater roles in our lives. They seem to engender an instant feeling of ‘connectedness’ by sharing information with anybody in the world in a blink of an eye.
However, human emotion is fleeting and always shifting that it is hard to truly convey a moment of togetherness or capture a subtle emotional fluctuation of the other person that you are communicating with.
The goal of this project is to celebrate human intimacy by capturing a subtle emotional synchrony between two people while their eyes crossing each other and amplifying the rhythm and the resonance of their blinks using smartphones in a way that can be shared through the five senses
上帝之眼
The eye of the God
這項藝術作品使用麥卡托投影技術與先進的交互式軟體和數位設計。 利用創意將科學藝術作品與天文現象融為一體，此裸體3D的“上帝之眼”數位藝術作品由數位藝術家劉為開製作。觀眾用真誠的心向上帝之眼致敬。 上帝之眼將會從宇宙中賜給你上帝的信號。該數位藝術作品使用3D立體投影球與上帝的眼睛互動軟體結合並運用KINECT互動技術，讓觀眾享受與上帝之眼藝術品雙向互動的特殊經驗和第二類體驗。

This work uses Mercator projection technology with advanced interactive software and digital design. Using creative ideas to integrate a work of science art with astronomical phenomenon. This autostereoscopic 3D “Eye of God” is produced by digital artist Wei-kai Liou. When the audience bows to the eye of God with a sincere heart, it will give you God's signal from the universe. This work combines a 3D stereoscopic projection ball with God's eye interaction software and Kinect interactive technology, allowing the audience to enjoy the unique and second experience of interacting with The eye of the God.
神經元
Neurons
藉由實體動力機械的方式來討論神經元之間如何進行溝通與資訊傳遞。本作品發展基由一個已經發展完成的硬體型態之資訊傳遞架構，傳遞的方式以光線、風力、聲音或是動力機械等方式進行。過去我們太習慣在數位的議題上討論資訊傳遞，這次應用集體創作的方式，發展一套無窮迴圈的資訊傳遞系統，讓人們能由觀看或參與體資訊傳遞的過程中體驗且了解到資訊傳遞的各種可能性。
 
The work uses motorized machinery to explore how neurons communicate and transmit information. It is extended from on a fully developed information transmission framework embodied by a hardware system, in which the communication is conducted through light, wind, sound and motorized machinery. In the past, we have been extremely used to discussing information transmission through digital means. This work has adopted an approach of collective creation and developed an infinitely looped information transmission system that allows viewers to perceive or participate in the process of information transmission while experiencing a wide range of possibilities about information transmission.
位元陶計劃
Binary Pottery
計劃形塑空間結構雕塑，觀賞者在遠距離察覺到傳統的拱形建築結構，隨著距離的推進逐漸感知到結構表面的紋理變化及材質差異，近距離觀察得知表面紋理回應造型本身承重結構，呼應了自 19 世紀起機能主義所強調 Form follows Function 型隨機能理論，造型表面的紋理並非無意義的裝飾活動。

​Derivative Phenomenon/ Preposition aims to shape spatial structure into sculpture. Viewers first see a traditional architectural arch from a distance. As they move closer, the surface texture of the structure and the variation of materials gradually become clear. As they observe the work closely, they realize the surface texture corresponds to the
structural form and its function to support the architectural weight. This work substantiates the theory of “form follows function” emphasized by Functionalism in the nineteenth century, and reveals that the surface texture can be meaningful rather than just decorative.