第N類藝術，那些藝術節慶的新可能

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【節目介紹】

藝術節慶如何面對科技浪潮的沖刷，會長出什麼新樣貌？科技與藝術的結合形式越來越多元，已經發展出N種嶄新的可能，科技究竟是賦予藝文節慶更多能量還是帶來更大的挑戰？對於藝術節慶的轉型與未來發展又會帶來什麼變革幸的影響？本次邀請來自加拿大、韓國、歐洲的藝術節與影展策展人，分享不同國家、不同類型的藝術節慶所觀察到「文化X科技」的變化型態，未來參加藝術節慶的創作者和體驗者是不是可以期待一些從未想過的全新體驗？

【講者介紹】

Maurice Jones／加拿大MUTEK藝術節的論壇及市場展負責人

Maurice是來自加拿大蒙特婁（莫霍克語為Tiohtià:ke）的策展人、製作人暨重要的AI研究人員，他是蒙特婁康考迪亞大學的博士生（指導教授是Dr. Fenwick McKelvey），專門研究跨文化的AI觀點、科技治理方面的公眾參與度，以及具有意義的節慶活動。Maurice負責帶領MUTEK的「未來嘉年華」（Future Festivals）智庫，以及策劃專業MUTEK論壇的AI相關程式設計。從2016年到2023年，他都擔任MUTEK.JP（東京電子音樂與數位藝術嘉年華）的藝術總監。Maurice亦製作影音作品，包括與視覺藝術家Ali M. Demirel和環境音樂家Kazuya Nagaya合作的圓頂投影表演「Iwakura」，還有AI驅動的多聲道裝置藝術「地球社群的聲景」（Soundscapes of an Earthly Community）。

Maurice is a curator, producer, and critical AI researcher based in Tiohtià:ke/Montréal, Canada. He's a PhD student at Concordia University, Montréal, under Dr. Fenwick McKelvey, where he investigates cross-cultural perceptions of AI, public participation in technology governance, and festivals as sites of meaning-making. Maurice leads MUTEK’s Future Festivals think tank and curates the AI-related programming at the professional MUTEK Forum. From 2016 to 2023, he was the Artistic Director of MUTEK.JP festival of electronic music and digital arts in Tokyo. Maurice also produces audiovisual works including the Iwakura full-dome show together with visual artist Ali M. Demirel and ambient musician Kazuya Nagaya and the AI-driven multichannel sound installation Soundscapes of an Earthly Community.

金鐘敏／韓國富川影展VR策展人

金鐘敏 (Jay Kim) 是富川國際奇幻影展（BIFAN）的XR策展人。他在2016年首次在韓國電影節中引進了虛擬實境（VR）內容，並且一直負責BIFAN的XR部門項目長達七年之久。此外，他於2019年新建立了BIFAN Beyond Reality部門，向觀眾介紹了各種新媒體內容。自2016年從電影業轉向這一領域以來，Jay製作了多個XR項目，這些項目受邀參加了多個國際電影節，如Sundance、Tribeca、SXSW、IDFA等等。Jay於2020年創立了GiiÖii工作室，目前致力於擴大南韓的新媒體內容生態系統。

Jay Kim, the XR curator of the Bucheon International Fantastic Film Festival (BIFAN), introduced Virtual Reality (VR) content at BIFAN in 2016 for the first time among Korean film festivals and has been in charge of BIFAN's XR section program for seven years so far. Also, he newly established the BIFAN Beyond Reality section in 2019 and has introduced a variety of new media

content to the audience. Also Jay produced many XR projects since he jumped into this industry from the filmmaking business in 2016, and his projects were invited to multiple international film festivals like Sundance, Tribeca, SXSW and IDFA and so on. Jay founded GiiÖii studio in 2020 and is currently focusing on expanding the new media content ecosystem in South Korea.

Martin Honzik／林茲電子藝術節策展統籌暨總監 

Martin Honzik是名藝術家，也是電子藝術中心的藝術節、獎項與展覽的首席策展官（CCO）兼總經理。他在林茲藝術大學主修視覺實驗設計（畢業於2001年），也在林茲大學與薩爾斯堡國際文化與管理中心取得文化與媒體管理的碩士學位（畢業於2003年）。他不僅在多個藝術專案中擔任獨立藝術家，也於2001年到2005年間加入電子藝術中心的未來實驗室擔任研究員，職責包含展覽設計、建築中的藝術、介面設計、活動設計以及專案管理。自2006年起，Martin Honzik便擔任總經理的職位，負責電子藝術節、電子藝術獎項、電子藝術中心展覽與電子藝術出口。他至今策劃過許多藝術、科學與科技相關的國際展覽。另外，他也於2021年成為電子藝術中心的藝術節、獎項與展覽的首席策展官（CCO）。

Martin Honzik is an artist, CCO (Chief Curatorial Officer) and Managing Director of the Ars Electronica’s Festival, Prix and Exhibitions. He studied visual experimental design at Linz Art University (graduated in 2001) and completed the master’s program in culture & media management at the University of Linz and ICCM Salzburg (graduated in 2003). Besides being an independent Artist in several art projects, he joined the staff of the Ars Electronica Future Lab as a researcher, in 2001, where, until 2005, his responsibilities included exhibition design, art in architecture, interface design, event design and project management. Since 2006, Martin Honzik has been Managing Director of the Ars Electronica Festival, the Prix Ars Electronica, the Exhibitions in the Ars Electronica Center and Ars Electronica Export. He has been curating a considerable amount of international Exhibitions in the context of Art, Science and Technology. Additionally, he became CCO (Chief-Curatorial-Officer) of Ars Electronica Festival, Prix, and Exhibitions in 2021.

林昆穎／豪華朗機工共同創辦人，華麗邏輯有限公司創意總監

以跨域藝術家、文化導演與創意策劃身份，專注於當代議題論述、創意組織營運、藝術產業連結與科技表演編導當中，積極實踐社會共創的各種跨域呈現，以豪華朗機工於2019年獲頒總統文化青年創意獎。

曾擔任2017年「臺北世界大學運動會」開幕文化節目導演及聖火裝置藝術家、2018年「台中國際花卉博覽會－聆聽花開的聲音」同名聲光機導演、2019年「臺南藝術節－府城流水席」導演、2020-2022年「台北白晝之夜」藝術總監、2021-2022年「台灣文博會」總策展人。

As a cross-disciplinary artist, cultural director, and creative planner, Kun-ying Lin focuses on the discourse of contemporary issues, operations of creative organizations, connections within the art industry, and direction of technology performance. He actively engages in various cross-disciplinary presentations that promote social collaboration. Luxury Logico was awarded the Presidential Culture Awards in 2019.

He has previously served as the director for the opening cultural program and the torch installation artist for the 2017 Taipei Summer Universiade, the director of the sound and light show “The Sound of Blooming” at the 2018 Taichung World Floral Exposition, the director for the “Performance Extravaganza” at the 2019 Tainan Arts Festival, the artistic director for the Taipei Nuit Blanche event from 2020 to 2022, and the chief curator for the 2021-2022 Creative Expo Taiwan.

【主持人介紹】

黃雅玲／國立雲林科技大學視覺傳達設計系教授

專長：策展規劃、場域情境探索、科技媒體應用整合、多次元影像應用、全像立體影像。自2004年開始接觸雷射全像hologram後，進行跨領域的探索，2010年參與了高雄市政府文化局的「好漢玩字節」策展，開始結合漢字文化、互動科技與跨領域整合之策展活動，並且持續於2011、2013、2015、2017年「好漢玩字節」進行策展工作。近年來，黃雅玲教授也參與多場文化資產主題的策展，擅長以互動科技搭配展演方式轉譯文化資產內容。

Professor Ya-ling Huang began her interdisciplinary exploration in 2004 when she started working with holograms. In 2010, she curated “The Delight of Chinese Character Festival” for the Bureau of Cultural Affairs, Kaohsiung City Government, combining Chinese character culture, interactive technology, and interdisciplinary integration in curatorial activities. She has continued her curatorial work for “The Delight of Chinese Character Festival” in 2011, 2013, 2015, and 2017.

In recent years, Professor Huang has also been involved in curating exhibitions with cultural heritage themes, excelling in using interactive technology to interpret cultural heritage content through various exhibition methods.