Future Morphoid: Crystact
People tend to entrust sentiments and memories to objects, where traces of use serve as proof of a life once lived.
At the site, a display case resembling a stone coffin houses the personal belongings accumulated by the artist’s grandmother throughout her life, stacked together into the shape of a human figure; Micro devices attached to the human-shape object continue sampling and computing, transforming the evidence into a faint and yet steady “breath.” Meanwhile, the projected images on the back wall are reassembled in the fragment form to present an impression both unfamiliar and familiar, extending and proliferating within the digital realm at the same time.
This is an experiment in “how not to forget”: private memories and algorithms, data and images, interlock within the intergranular fracture, and thus generate a new mode of existence. Perhaps we have already been living this way—outsourcing memory to the cloud, entrusting daily life to the lens. As data continues to breathe in its own rhythm, “she,” too, can be extended, lingering within the fractures.
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Animabotany
This artwork is inspired by the fundamental composition and growth structure of natural organisms. Its purpose is to use human-made technology as a unit of biological growth and activity mechanisms, demonstrating collective behavior and representing the uncertainty and biological form of both inorganic nature and organic behavior.
The piece seeks to create new species in an extraterrestrial environment, composed of two distinct mechanisms: one-half mechanical organization and the other half soft inflatable tissue. The predatory tentacles, reminiscent of coral, are presented through mechanical linkages, while the organic movement of the leaf blades opening and closing is conveyed with the soft skin of the inflatable organs and airways. Various sensors capture environmental information to create biomimetic collective interaction, with the ultimate goal of generating interactive extraterrestrial environments.
EMILS: Effervescent-Material-based Interactive Life-like Sculpture
Emils is an ephemeral kinetic sculpture composed of numerous slime bubbles, whose volumes expand as they encapsulate more air. These bubbles compete, fuse, and rupture with one another as they grow, collectively shaping a dynamic form through their interactions. This creation is inspired by the way multicellular organisms are constructed.
From a microscopic perspective, the numerous cells within a living organism continuously divide, grow, and die, collectively forming organs of the organism. From a macroscopic perspective, the external organs of a living organism, such as the lush foliage and clusters of fruit, are composed of countless similar individuals that collectively form the external contours of the organism.
Similar to the genetic code of living organisms, the internal structure and input parameters of the slime sculpture determine when and where slime bubbles are generated, how much they grow, but like living organisms, the interactions between bubbles and external factors influence the final form of the sculpture.
Symbiotic Peach Blossom Spring
This design takes genetic recombination and new life as its main theme, drawing inspiration from Taoyuan’s city flower to create a modern Peach Blossom Spring infused with bionic concepts. The idea of the Peach Blossom Spring comes from Tao Yuanming’s Peach Blossom Spring, symbolizing people’s longing for an ideal life. Taoyuan, as a vibrant city, harmoniously balances its rich traditions with modern development, bridging nature and culture.
The peach blossom not only represents nature but also conveys hope and prosperity. When in bloom, its vitality is closely tied to the pursuit of a better life. This design incorporates that symbolism, using natural elements to present a Peach Blossom Spring full of vitality and hope.
As visitors enter the maze and approach the blossoms, the flowers gradually open through interaction, evoking the sense of life in full bloom. The modern Peach Blossom Spring is no longer an escape from reality but a place where natural energy and technology coexist, reimagining its dreamlike essence as a symbol of “nature and the future.
Human Data Flood
Focusing on “the relationship between the self and information in contemporary society,” this work employs the imagery of cyborg-like birds and birdcages filled with technological symbols to reflect the role and condition of human beings in the digital age. The birdcage symbolizes our state of being surrounded and constrained by information and data, as if our behaviors and perceptions are invisibly controlled and restricted. Eyes transformed into screens displaying images suggest that our reception of external information is no longer a purely sensory experience, but one filtered, selected, and edited by virtual systems. This overwhelming flow of information renders our self-perception blurred and paralyzed. The work reveals how the intimate entanglement between humans and the digital information stream leads to alienation from the self and a sense of loss of control, warning against the neglect of self-awareness and the erosion of authentic perception.
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A Robot’s Daily Pastime
A Robot’s Daily Pastime is an AR interactive video installation that explores the role of artificial intelligence in everyday life with humor and absurdity. While robots are equipped with precise logic and powerful computational abilities, they often display unexpected reactions when confronted with mundane human routines. This work portrays a robot attempting to comprehend human ways of living generates whimsical and absurd behaviors in the repetition of daily routines.
Shifting from strict computational logic to humorous thinking that is almost like mankind, even producing gestures that may be meaningless yet full of playful charm, the piece exaggerates the robot’s actions through visual narrative. This re-imagination overturns the cold and rigid stereotype of technology, while also mirrors the absurdity of human behavior in an era of hyper-automation. As we relentlessly pursue intelligence and efficiency, are we ourselves becoming increasingly mechanical? And when machines begin to display humor, might they be acquiring a trace of “humanity”?
Hello Bloom
Hello Bloom combines AI-generated imagery with brainwave-sensing technology to explore the connection between human consciousness and the digital world. Wearing an EEG headset, participants have their thoughts and emotions translated by AI into unique digital flowers, each with forms and colors driven by their brainwaves, symbolizing the idea that “thought is creation.” These flowers can be stored in a digital space to form a “Brainwave Garden,” becoming visualized life forms of emotions and thoughts. The work envisions a future in which humans can shape the world through pure intention, opening a new chapter of human–machine interaction in an era where technology and nature coexist.
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Parallel Tummy Clinic
In a future of aging populations and commonplace artificial wombs, this work invites viewers to step in as elderly citizens imagining a time when older people can have children—while questioning how loneliness might be exploited.
Through three videos—clinic guidance with AI bias check, a drama of three visitors, and a role-play of elderly parents—it explores reproduction, family, and social norms.
It asks: How could an artificial womb, free from political and economic influence, exist? Rather than dystopia, it envisions a parallel service that challenges age, health, and gender limits. With gratitude to writer, director, actor, and theatre company Zeitaku Binbō founder Yuri Yamada, who joined from the project’s conception to lead its theatrical approach.
We Travel Together
“We Travel Together" is a single-channel HD video work that continues artist Patricia Piccinini’s long-term exploration of the theme of care. The film tells the story of a young girl who forms a deep emotional bond with a peculiar hybrid creature. Together, they interact in natural settings such as forests, meadows, and sandy landscapes, expressing intimacy, trust, and mutual care—challenging viewers’ preconceived notions of “the other” and “heterogeneous life.”
Piccinini’s practice weaves together science, nature, and art, creating hybrid beings that feel at once familiar and fantastical. By blurring the boundaries between humans, animals, and technological constructs, her work provokes a reconsideration of what defines life. The piece invites audiences to approach different life forms with empathy and to reflect on how, in an era of rapid biotechnological and genetic engineering advancements, humans might reimagine coexistence with both nature and technology.
“We Travel Together” is not only a visual narrative but also an emotional experience—offering a tender vision of interspecies symbiosis and encouraging viewers to embrace life’s diversity and the possibilities of future evolution with openness.
Structures of Being
"Structures of Being" is an exploration and articulation of the myriad inspirations found within Antonio Gaudí's practice and Casa Batlló. Taking the form of a facade mapping, projections took place throughout 2024. The intention was to create an immersive experience that invites viewers to contemplate the profound beauty of natural forms and their ongoing influence on human creativity.
Drawing parallels between technological innovation and Gaudí's revolutionary architectural approach, new tools and technologies were used to respond to the natural forms, sources of inspiration, patterns and aesthetics in Casa Batlló's nature-inspired facade and internal structure (including a collaboration with the Barcelona Supercomputing Center). Utilizing a detailed 3D scan of the facade, the features and topology were brought to life, allowing both visible and hidden facets of the architecture to emerge. Sources of natural inspirations and phenomena important to Gaudí further influenced the visual evolution.
The visual piece was accompanied by an original score composed by Robert M. Thomas, featuring algorithmic compositions interpreted by local performers, including organist Juan de la Rubia and the Cosmos string quartet, recorded at the Palau de la Música Catalana.
TAIWAN NEWTYPE
Taiwan has ranked #1 in the world for disinformation exposure for eleven straight years. Social media algorithms, fragmented platforms, diverse news sources, evolving scams, live-streamed content, and the rapid rise of AI have reshaped how information is delivered and believed.
This work asks: How can we separate truth from falsehood? And for Taiwan’s new generation, how could they choose wisely?
In this digital interactive game, players take on the role of a computer cursor navigating a virtual world, making quick decisions to accept or destroy false information, while seeking the messages they truly want to understand.
How to Play:
1. Move ＆ Select – Mouse + Keyboard
2. Attack – Left-click
3. Adjust Speed – Scroll Wheel
4. Symbols – Red = False, Green = True
5. Win – Reach 100% on your bar
Clone Skin
What affirms that one exists?
DNA, memory, a name?
Or identifying fire hydrants in a CAPTCHA test?
In the old tale Painted Skin, a creature being sketches a human form upon a sheet of skin, dons it, and thus moves among people as one of them.
Our sense of self is unsettled through relations with others and entanglements with the world; concepts that once seemed clear shift, word by word. Perhaps the condition of existence is not inscribed in the body’s boundaries, but emerges only in each moment of recognition, or misrecognition, by others, as though one must ceaselessly submit proof of being.
The story of the creature and the borrowed skin pries open the fissure between identity and form. In an age of sensors and recognition systems, even the category of “human” hovers in ambiguity, continuously negotiated through the protocols of detection.
The LUMI
The LUMI is an immersive interactive experience that uses light as its core language, merging technological systems with a sense of natural imagination.
“LUMI,” derived from luminous, refers to an artificial light-based lifeform. Through the simulation of its luminous pulse, participants are invited to engage, connect, and resonate within this dynamic ecosystem.
The installation is centered around the symbolic Tree of Life. Equipped with a motion capture system and handheld wireless light devices called LUMO, the environment responds in real time—transforming light, sound, and visuals according to the audience’s movement and rhythm.
Following a staged narrative structure—encounter, awakening, transformation, and return—participants are no longer passive viewers, but active contributors to the cycle. Each interaction becomes a moment of growth and variation within the evolving LUMI system.
Exquisite Insectors
Gaze Toward the Otherworld:
The Birch’s Eye and a Poetic Encounter with Digital Life
In a forest as pristine as snow,
lie hidden creatures forgotten by a bygone civilization—
Exquisite Insectors, as if awakened from a surreal dream.
Inspired by the exquisite corpse method,
this collaborative creation is a poetic encounter,
seeking to push the boundaries of the possible,
and unveiling the unexplored realms of our imagination.
In the Coming Millennium: Where Will Life on Earth Evolve?
The birch trees stand in silence,
their bark white as frost, their hollows dark as wells,
whispering forever of a cold life, devoid of warmth.
At the entrance, the visitor sees only apparent emptiness;
but through the eye of the phone,
immense creatures hidden in reality suddenly emerge.
Tangible void and virtual fullness intertwine,
evoking awe and wonder—
such is the enchanting magic of augmented reality!
Hallucination
AI technology is now so astonishingly lifelike, while I am so shocked that I am unable to recognize how today’s image industry has matured into a full simulacrum. It no longer requires clumsy machinery, nor the direct intervention of human operators. It already manifests, through the shaping from data instructions, the appearances so convincing that they blur the boundary between truth and falsehood. On this glowing screen, imagination surpasses reality, narrating possibilities that have no counterpart in our present lives. In projecting visions of the future and regeneration of the past, it leaves nothing concealed, instead creates a shared value.
When the screen powers off, what exactly has just happened? The relative position between human and machine seems to fall into darkness with the vanishing glow. What have been left behind are only the stories of characters within the script in our minds, and the persistence of vision that is the afterimage left by the light stimulus.
