許宜蓁
臺灣
臺灣
1995年出生於臺灣高雄，畢業於國立臺北藝術大學新媒體藝術學系。擅長以複合媒材、動力力裝置與實驗裝置為創作媒材，內容多在廢棄媒體與空間環境間的位置關係探討，試圖重構媒體定義的不可變衰退性，由機械作動揉合出意象形式，再創主體的位置關係，藉以重塑媒介記憶永逝的關係與感受。
Hsu Yi-Chen was born in Kaohsiung, Taiwan in 1995. She graduated from the Department of New Media Art, Taipei National University of the Arts, and specializes in creating mixed media work, mechanical installation and experimental installation, which explore the relationship between discarded media and the environment. Through her exploration, she attempts to reconstruct the irreversible degradation defined by media and combine mechanical movement with image and form to recreate the position of subject for reshaping the disappearing relationship and feeling of media memory.
Hsu Yi-Chen was born in Kaohsiung, Taiwan in 1995. She graduated from the Department of New Media Art, Taipei National University of the Arts, and specializes in creating mixed media work, mechanical installation and experimental installation, which explore the relationship between discarded media and the environment. Through her exploration, she attempts to reconstruct the irreversible degradation defined by media and combine mechanical movement with image and form to recreate the position of subject for reshaping the disappearing relationship and feeling of media memory.
《Signal Processing，遺跡》
光碟機，是數位時代裡的類比遺跡，視過去媒體為已死媒體的物質，經再造調製分配，透過電子線路間的流動傳輸，試圖討論『物質文化』的新定義。面對桃園舊城區與鄉村社區如何再造與不被現代建設抹滅覆蓋，舊城的零碎式記憶如何形成連動？讓議題發生形成迴響被看見？作品以數據扮演一種，了解外在媒體或網路社群需求的媒介，透過數據廣泛的運用，與滲透到各個生活面向之中，轉換至裝置的動態驅動，試圖以寄生數據的方式，講述乘載新舊城間的記憶。數據驅動文化的發生，使數據寄生在這些微型社區之中，如何以藝術再現新與舊、城與鄉發展的共存，透過編碼與數據化，由虛轉實，重塑其位置關係。
CD-ROM is an analogous remnant in the digital age as well as a dead media of the past. This work recreates and readjusts this material, using the flow and transmission between electronic circuits to discuss the new definition of “material culture.” When discussing the re-engineering and preservation of Taoyuan’s old urban area and rural communities from modern construction, how is the issue related to the fragmented memory? How can the issue create repercussion and finally be seen? This work makes use of data as a medium to understand external media or the needs of internet community. Through the extensive use of data as well as its pervasiveness as the dynamic drive in devices found in all aspects of life, the work aims to recount the cessation of memories in the new and old cities in the form of parasitic data. Data propels the emergence of culture, allowing itself to permeate through these micro-communities. With encoding and digitization, art represents the co-existence of old and new as well as the development of the city and the rural area, converting the virtual into the real and reshaping their relation.
光碟機，是數位時代裡的類比遺跡，視過去媒體為已死媒體的物質，經再造調製分配，透過電子線路間的流動傳輸，試圖討論『物質文化』的新定義。面對桃園舊城區與鄉村社區如何再造與不被現代建設抹滅覆蓋，舊城的零碎式記憶如何形成連動？讓議題發生形成迴響被看見？作品以數據扮演一種，了解外在媒體或網路社群需求的媒介，透過數據廣泛的運用，與滲透到各個生活面向之中，轉換至裝置的動態驅動，試圖以寄生數據的方式，講述乘載新舊城間的記憶。數據驅動文化的發生，使數據寄生在這些微型社區之中，如何以藝術再現新與舊、城與鄉發展的共存，透過編碼與數據化，由虛轉實，重塑其位置關係。
CD-ROM is an analogous remnant in the digital age as well as a dead media of the past. This work recreates and readjusts this material, using the flow and transmission between electronic circuits to discuss the new definition of “material culture.” When discussing the re-engineering and preservation of Taoyuan’s old urban area and rural communities from modern construction, how is the issue related to the fragmented memory? How can the issue create repercussion and finally be seen? This work makes use of data as a medium to understand external media or the needs of internet community. Through the extensive use of data as well as its pervasiveness as the dynamic drive in devices found in all aspects of life, the work aims to recount the cessation of memories in the new and old cities in the form of parasitic data. Data propels the emergence of culture, allowing itself to permeate through these micro-communities. With encoding and digitization, art represents the co-existence of old and new as well as the development of the city and the rural area, converting the virtual into the real and reshaping their relation.
