《海廢塑料頭骨―其生成、流動與綿延 Ocean Waste Plastic Skull – A Generation, Fluidity and Duration》 (2023)
德勒茲認為所有的事物都是變化，現實中只有成為（becoming），沒有存在（being）。本作受到德勒茲思想的啟發，結合近年個人對於新媒體藝術做為生態議題實踐的思考，透過現成物雕塑、科技裝置組構、程式設計、A.I.生成動畫，創造「生成式」(Generative)的物質觀察，也就是跳脫同一性的、分類式的思考框架，引導觀者的意識連結差異化的物質歷史、物質成分、時空流轉、未來想像，以及在此景況中思考人造物、生態與科技的綿密連動關係。
《海廢塑料頭骨―其生成、流動與綿延》在展示設計上透過投影影像與實體物件的並置，意圖幻化人類意識的差異與變動。在投影影像中，觀眾可見不斷變動的海廢塑料頭骨外觀：時而為快速圖禎運行的動畫，描述著塑料與人類生活的種種關聯；時而為光粒子的聚合，呈現出塑料物質在深海中的飄散與流動；時而為破碎的切片造型，如同大自然地景地貌的變遷；時而呈現扭曲變化的樣態，如同海水與潮汐施予物質的力量。當以上影像運行的同時，實體物件―靜止的海廢塑料頭骨也置於展場中央，被一個動力雷射系統掃瞄著，其掃描的位置對應著前述的投影影像，反映物質與影像的豐富連動關係。我也以紫外光燈照射實體空間，讓繽紛的海廢塑料呈現其物質成分的差異，在藍色微光中閃耀，帶出更深層與多元的觀察維度。
本作品之技術核心為以Processing程式串聯A.I.動畫、3D掃描模型、雷射模組與馬達滑軌，以科技操作現場的體驗。我呼應德勒茲所談的「單義性(Univocity)的超脫」(一種開放的溶入異質差異元素的鬆解狀態)，意圖擺脫一般對於物質觀察的框架，自由開放地提供豐富、多元、異質的物質樣態，提呈出差異的細節，藉此鬆懈概念化的、同一性的、武斷的、分類化的價值判斷系統，而達到超越。我也相信，透過開放性的、具有無限延展性的、經驗化的思維；以及融合科技與人文的藝術性探索，我們得以突破種種規範與框限、突破人類世生態的困境和問題。
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Inspired by Deleuze’s philosophy, which emphasizes becoming over being, this work combines recent reflections on new media art as an ecological practice. It employs ready-made sculptures, technological installations, programming, and AI-generated animations to create a “generative” material observation. This approach aims to break free from rigid, categorical thinking and guide viewers’ consciousness toward diverse aspects of material history, composition, spatiotemporal flow, future imaginings, and the intricate interconnections between artifacts, ecology, and technology.
“Ocean Waste Plastic Skull – A Generation, Fluidity and Duration” juxtaposes projected images with physical objects to transform human consciousness. In the projected images, viewers witness the ever-changing appearance of ocean waste plastic skulls: sometimes rapid animations depicting various plastic-human life connections, sometimes the aggregation of light particles representing the dispersion and flow of plastic material in the deep sea, and at other times, fragmented forms resembling the changing landscapes of natural terrain. These visuals may also display distorted patterns, akin to the forces exerted on materials by seawater and tides. Simultaneously, the static ocean waste plastic skull in the exhibition space is scanned by a dynamic laser system. The scanning corresponds to the previously mentioned projected images, reflecting the rich interplay between material and image. UV lights are used to reveal the diverse material compositions of the colorful ocean waste plastic, making them shine in the blueish micro-light, unveiling deeper and more diverse observation dimensions.
The technological core of this work involves Processing programming, which connects AI animations, 3D scan models, laser modules, and motorized slides, creating an experiential, tech-operated environment. In line with Deleuze’s concept of “univocity of deterritorialization” (a state of open dissolution into heterogeneous differential elements), this work aims to liberate material observation from conventional frameworks. It freely and openly presents rich, diverse, and heterogeneous material patterns, highlighting differences in detail. This approach loosens conceptual, categorical, and arbitrary value judgment systems, ultimately achieving transcendence. By embracing open, infinitely extendable, experiential thinking and merging technology with the humanities in artistic exploration, we can break free from norms and boundaries, addressing the challenges and issues of the Anthropocene.
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尺寸：空間約 390cm(寬) x 780cm(深) x 320cm(高)
媒材：海廢塑料、3D列印、接著劑、原木、步進馬達、步進馬達滑軌、雷射模組、電腦主機、Processing程式設計、Arduino程式設計、雙聲道喇叭、投影機
年代：2023
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Dimensions: 390cm (width) x 780cm (depth) x 320cm (height).
Materials: Ocean waste plastic, 3D printing, adhesive, wood, stepper motors, stepper motor slides, laser module, computer, Processing programming, Arduino programming, stereo speakers, projector.
Year: 2023
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《海廢塑料頭骨―其生成、流動與綿延》受邀展示於《重複與差異：後人類・多元物種》(2023)
展出地點：國立陽明交通大學新竹校區藝文空間 (浩然圖書館B1)
展出日期：2023年9月21日至10月24日
策展人：賴雯淑教授
展覽網站：https://posthuman.web.nycu.edu.tw/