新媒體藝術家林珮淳受邀參加愛丁堡大學「台灣光點大師講座」，分享「夏娃克隆」啟示與警世
由台灣文化部與英國愛丁堡大學共同支持的「台灣光點大師講座」（Spotlight Taiwan Lecture）邀請，台灣新媒體藝術家林珮淳日前於愛丁堡大學藝術學院發表演講，以「夏娃克隆新媒體藝術的啟示與警世」為題，分享其近年與「夏娃克隆」的相關創作計畫以及其獲得國際獎項的新媒體作品，包括：獲得義大利佛羅倫斯雙年展新媒體藝術類全球首獎的作品《夏娃克隆創造計劃I》，以及獲選於國際知名波蘭WRO新媒體藝術雙年展的《夏娃克隆肖像》系列作品。
愛丁堡大學的「台灣光點大師講座」計劃從2014年創辦至今剛好滿十週年，由愛丁堡大學藝術學院藝術史研究所博士課程主任楊佳玲博士主持計畫，透過臺灣文化部與愛丁堡大學的合作支持，每年固定舉辦臺灣藝術大師講座與英國臺灣光點電影節。曾經受邀演講的藝術家包括謝德慶、李明維、鄭淑麗、吳瑪悧、袁廣鳴、陳界仁等人，致力於台灣當代藝術的國際推廣與交流。
英國愛丁堡大學藝術史研究所博士課程主任暨「台灣光點大師講座」計畫主持人楊佳玲教授與林珮淳於演講現場。圖/林珮淳提供
而今年屆滿十週年的大師講座，則邀請近年活躍於國際藝壇的藝術家林珮淳擔任主講。台灣駐愛丁堡辦事處代表張嘉政處長亦親自出席。活動開始乃由愛丁堡藝術大學Carol Richardson教授致歡迎詞，其本身研究專長之一即為文藝復興時期，因此對林珮淳作品中運用達文西的創作，包括女性肖像手稿創作來製作夏娃克隆肖像，及以《維特魯威人》為起點的《夏娃克隆創作計畫I》作品印象深刻。林珮淳的演講以其2019至2020年於臺南市美術館舉辦的個展《夏娃克隆啟示錄》的紀錄短片為開場，帶領與會觀眾如同身歷其境般一同漫遊夏娃克隆從創造、演化再到衍伸出不同面貌的豐富多樣性的演變過程。《夏娃克隆系列》創作於2006年，是林珮淳藉由結合自然與人工的賽伯格所打造的烏托邦式女體。這看似歌詠數位與人工創造世界所帶來的美好，實則乃藉由數位科技來反諷設計對於人類所帶來的箝制與危害，以及社會對於女體的刻板印象與束縛。林珮淳在創作過程中亦援用宗教原典如《但理以書》與《啟示錄》的文字內容，結合後人類的造型創造來傳遞數位女性主義的觀點，以科技所打造的完美夏娃克隆來探討性別、科技、社會與文化等種種議題，並對於人類過於依賴科技的現況提出深刻的反思。
林珮淳演講現場。圖/林珮淳提供
活動開始由愛丁堡藝術大學Carol Richardson教授致歡迎詞。圖/林珮淳提供
《夏娃克隆創作計畫I》。圖/林珮淳提供
林珮淳的演講以其2019至2020年於臺南市美術館舉辦的個展《夏娃克隆啟示錄》的紀錄短片為開場，帶領與會觀眾如同身歷其境般一同漫遊夏娃克隆從創造、演化再到衍伸出不同面貌的豐富多樣性的演變過程。圖/林珮淳提供
這次的演講也梳理林珮淳《夏娃克隆》整個創作系列脈絡，例如夏娃克隆如何從一個虛擬皮層開始被打造，於是誕生了《夏娃克隆肖像》 挪用達文西著名作品《維特魯威人》所創造完美身材比例的《夏娃克隆創作計畫 I 》，則賦予夏娃克隆整個完整的形象。而後，更近一步藉由電腦互動裝置開啟夏娃與人類互動的新階段，如以臉部辨識和臉部動作捕捉系統捕捉人類表情，讓「夏娃克隆」可以藉此模仿人類的表情與情感，如作品《夏娃克隆創造計畫 II 》 或是透過觀眾感應賦予夏娃克隆生命能量使其更為活躍，如作品《夏娃克隆大偶像》。林珮淳在十多年的《夏娃克隆創作計畫》中，展現個人對於科技美學的表現能力與敏銳度，並透過技術的專研精進不斷提升作品的創作高度與思考規模，並維持其對於社會、政治議題的諷刺與批判力度。例如，演講最後分享的2023年最新作品《夏娃克隆萬湖會議》，則是林珮淳使用更為進階的AI機器學習演算法和3D建模軟體為「夏娃克隆」創造更仿真人的臉部特徵，尤其是在政治、科技與社會的代表性人物，例如普京、金正恩、習近平、祖克伯與拜登等人，並透過語音辨識系統將這些人的演講聲音轉換為相對應的臉部表情。當這些影像共同置於一個空間內，滔滔不絕而眾聲喧嘩，也更反諷政治人物無窮無盡的政治野心與慾望。
《夏娃克隆創造計畫 II 》以臉部辨識和臉部動作捕捉系統捕捉人類表情，讓「夏娃克隆」可以藉此模仿人類的表情與情感。圖/林珮淳提供
《夏娃克隆大偶像》透過觀眾感應賦予夏娃克隆生命能量使其更為活躍。圖/林珮淳提供
演講最後分享的2023年最新作品《夏娃克隆萬湖會議》，則是林珮淳使用更為進階的AI機器學習演算法和3D建模軟體為「夏娃克隆」創造更仿真人的臉部特徵。圖/林珮淳提供
在這次演講中，愛丁堡大學師生、博物館會員與一般大眾出席踴躍，現場座無虛席。演講結束之後，林珮淳亦接受現場聽眾提問，現場討論氣氛熱烈，亦有多名學生、老師參與會後茶會，近距離與藝術家進行更多請益與交流，亦可見以林珮淳老師代表的新媒體藝術，透過「夏娃克隆」的啟示與警世，獲得在場觀眾與學生的許多共鳴，除為台灣新媒體藝術的優異精湛的創作能力與質量做一證成，亦以藝術作為軟實力外交，得以為台灣建立一個文化優質且富有美學涵養的國際形象。
台灣新媒體藝術家林珮淳受邀前往愛丁堡大學藝術學院發表演講。圖/林珮淳提供
台灣駐愛丁堡辦事處代表張嘉政處長、秘書何惠琳與本文作者杜綺文。圖/林珮淳提供
林珮淳老師代表的新媒體藝術，透過「夏娃克隆」的啟示與警世，獲得在場觀眾與學生的許多共鳴。圖/林珮淳提供
演講摘要
林珮淳「夏娃克隆」新媒體藝術的啟示與警世
我將在此「Spotlight Taiwan Master Lecture」講座中分享我在2019至2020年於臺南市美術館舉辦的個展《夏娃克隆啟示錄》以及我2023年的新作《夏娃克隆萬湖會議》。「夏娃克隆啟示錄」個展策展人陳明惠博士指出：林珮淳從2006年開始創作《夏娃克隆系列》，而其所創作出的「夏娃克隆」是象徵林珮淳對於後人類(尤其是女體)的想像與詮釋。夏娃克隆不僅呈現女性特質，更帶有宗教的象徵c儘管林珮淳的作品數位技術而創造出來，藝術家其實反諷、批評科技帶給人們社會負面的影響，對於當代「性別、科技與藝術」重要文化議題提出精湛的觀點與思考。
在臺南市美術館的展覽中，除了展出我在波蘭著名的WRO新媒體藝術雙年展中入選的《夏娃克隆肖像》系列作品，以及在義大利佛羅倫斯雙年展的「新媒體藝術」類別中獲得首獎的《夏娃克隆創造計畫I》外，特別建造了一個大型互動裝置作品《夏娃克隆大偶像》，展現了「夏娃克隆」的演化過程以及人類對其的崇拜與共生關係。另一件作品《夏娃克隆創造計畫II》則利用臉部辨識和臉部動作捕捉系統，邀請觀眾與「夏娃克隆」作即時互動，再現了「夏娃克隆」此科技產物已進階具有學習人類表情的AI人工生命，因著此AI作品品，我啟動了2023年的新系列作品《夏娃克隆萬湖會議》。
在此新系列中，我利用AI機器學習演算法和3D建模軟體為「夏娃克隆」創造更仿真人的臉部特徵，並將這些「夏娃克隆」的臉部與不同時代和領域（如政治、科技和文化等）的強勢代表人物的肖像合成，包括希特勒、普京、比爾蓋茨等人。同時，透過語音辨識系統將這些人物的演講聲音轉換為相應的臉部表情。而這些「夏娃克隆」們的演講影片將裝置在同一展覽空間內，諷刺這些「夏娃克隆」們正大放厥辭在「萬湖會議」傳播著他們的企圖與慾望。
《夏娃克隆創造計劃III》大型投影裝置乃將聖經的《但以理書》和《啟示錄》相關章節，以及先知洪以利亞的「神國文告」投影於整個空間。在神聖的數位背景音樂伴隨下，一個超越框架限制的沉浸式空間被形成，創造出一種無法抗拒的視覺與聽覺的張力。《巴比倫之城》和《夏娃克隆啟示錄IV》兩部影片播放於立體的螢幕裝置內，影片的故事情節與投影文字相互交織與共鳴，有力地宣揚著聖經預言與末日重大的啟示。
(特別謝謝我在台南美術館個展的策展人陳明惠博士以及我數位藝術實驗室藝術家胡縉祥、王聖傑、吳伯偉、王克謙) @P
New media artist Lin Pey-Chwen was invited to participate in the quotSpotlight Taiwan Lecturequot at the University of Edinburgh, where she shared insights and societal reflections from her work on quotEve Clone.quot
By Audrey, Ms. Tu Chi-Wen
Organized by the collaboration between the Ministry of Culture of Taiwan and the University of Edinburgh, the quotSpotlight Taiwan Lecturequot invited Lin Pey-Chwen to present a lecture at the Art School of the University of Edinburgh. The topic of her talk was quotRevelations and Notification of Pey-Chwen Linrsquos New Media Artmdash Eve Clone Series.quot During the lecture, she shared her recent projects and artworks that have earned international recognition. These include the award-winning piece quotMaking of Eve Clone I,quot which received the Global Grand Prize in the New Media Art category at the Florence Biennale in Italy, and the quotportrait of Eve Clonequot series, selected for the WRO Media Art Biennale in Poland.
The quotSpotlight Taiwan Lecturequot program at the University of Edinburgh, established in 2014, has recently marked its tenth anniversary. Dr. Yang Chia-Ling, Director of the Ph.D. Program in Art History at the University of Edinburgh#39s School of Art, has hosted this program for over a decade. With collaborative support from the Ministry of Culture of Taiwan and the University of Edinburgh, the program annually organizes lectures featuring distinguished Taiwanese artists of ldquoTaiwan Spotlightrdquo and directors of the Taiwan Film Festival. Previous artists invited to speak include Hsieh Tehching, Lee Ming-Wei, Cheng Shu-Li, Wu Mali, Yuan Guangming, Chen Chieh-Jen and others, contributing to the international promotion and exchange of contemporary Taiwanese art.
The quotSpotlight Taiwan Lecturequot program at the University of Edinburgh, established in 2014, has recently marked its tenth anniversary. Dr. Yang Chia-Ling, Director of the Ph.D. Program in Art History at the University of Edinburgh#39s School of Art, has hosted this program for over a decade. @ PEY-CHWEN LIN
This year, marking the tenth anniversary of the master lecture series, invited the artist Lin Pey-Chwen, who has been active in the international art stage in recent years, to be the keynote speaker. Director Chang Chia-Cheng of the Taiwan Representative Office in Edinburgh also attended the event. The opening remarks were delivered by Professor Carol Richardson of the University of Edinburgh, specializing in the Renaissance period. Professor Richardson was deeply impressed by Lin Pey-Chwenrsquos works, including quotMaking of Eve Clone Project Iquot and the portrait of Eve Clone, which involve the appropriation of Leonardo da Vinci#39s manu, quotVitruvian Man.quot
The opening remarks were delivered by Professor Carol Richardson of the University of Edinburgh, specializing in the Renaissance period. @ PEY-CHWEN LIN
Pey-Chwen Linrsquos digital audio and video installation, Making of Eve CLone I, was awarded the First Prize in the category of New Media Art at the 2019 Florence Biennale in Italy. @ PEY-CHWEN LIN
Lin Pey-Chwenrsquos lecture opened with a documentary short film showcasing her solo exhibition quotRevelation of Eve Clone,quot held at the Tainan Art Museum from 2019 to 2020. The film guided the attending audience through an immersive journey, experiencing the diverse evolution of Eve Clone from creation to the exploration of different facets. The quotEve Clone Series,quot initiated in 2006, features utopian female figures crafted through the fusion of nature and artificial cyborgs. It effectively conveys that Lin Pey-Chwen#39s work, while seemingly celebrating the beauty of the digital and artificial creative world, actually serves as satire. This satire addresses the ways in which technological advancements have already constrained and harmed humanity, as well as how societal stereotypes impressions and constraints imposed on the female body. In her creative process, Lin Pey-Chwen incorporates religious texts, such as the Book of Daniel and the Book of Revelation in the Bible. Additionally, she integrates post-human forms to convey a perspective within digital feminism. The perfect Eve Clone created through technology serves as a lens to explore issues such as gender, technology, society, and culture, while prompting a profound reflection on humanity#39s excessive dependence on technology.
Lin Pey-Chwenrsquos lecture opened with a documentary short film showcasing her solo exhibition quotRevelation of Eve Clone,quot held at the Tainan Art Museum from 2019 to 2020. @ PEY-CHWEN LIN
The presentation also reviews the entire context of Lin Pey-Chwen#39s quotEve Clonequot series, illustrating how Eve Clone is crafted from a virtual cortex, giving birth to the quotEve Clone Portrait.quot By appropriating Leonardo da Vinci#39s renowned work quotVitruvian Manquot to create perfect body proportions in quotMaking of Eve Clone I,quot the complete image of Eve Clone is endowed. Subsequently, through interactive computer devices, a new phase of interaction between Eve Clone and humans is initiated. This involves capturing human expressions using facial recognition and motion capture systems, enabling quotEve Clonequot to mimic human facial expressions and emotions, as seen in quotMaking of Eve Clone II.quot Another approach involves infusing life energy into Eve Clone through audience sensing, making it more dynamic in works like quotBig Image of Eve Clone.quot
This involves capturing human expressions using facial recognition and motion capture systems, enabling quotEve Clonequot to mimic human facial expressions and emotions, as seen in quotMaking of Eve Clone II. @ PEY-CHWEN LIN
Another approach involves infusing life energy into Eve Clone through audience sensing, making it more dynamic in works like quotBig Image of Eve Clone.quot @ PEY-CHWEN LIN
In over a decade of the quotEve Clone Sereis,quot Lin Pey-Chwen has demonstrated a remarkable artistic expressive ability and sensitivity to the aesthetics of technology. Through dedicated technology development and research, she continuously elevates the creative depth and conceptual scale of her works, maintaining a strong satirical and critical stance on societal and political issues. For instance, the latest work shared in the speech, quotEve Clone Wannsee Conferencerdquo in 2023, employs advanced AI machine learning algorithms and 3D modeling software. This is used to create more lifelike facial features for quotEve Clone,quot especially in the representation of political, technological, and social figures like Putin, Kim Jong-un, Xi Jinping, Biden and Zuckerberg. The speech concludes with the artist using a voice recognition system to synchronize the speeches of these figures with corresponding facial expressions. When these images are collectively placed in one space, the constant uproar and cacophony serve to satirize the boundless political ambitions and desires of political figures.
For instance, the latest work shared in the speech, quotEve Clone Wannsee Conferencerdquo in 2023, employs advanced AI machine learning algorithms and 3D modeling software. @ PEY-CHWEN LIN
In this lecture, there was enthusiastic attendance from students, faculty, museum members, and the general public at the University of Edinburgh, filling the venue to capacity. Following the speech, Lin Pey-Chwen engaged with questions from the audience, creating a vibrant atmosphere for discussion. Many students and teachers participated in a post-lecture tea gathering, offering an opportunity for close interaction with the artist, additional inquiries, and exchanges. It is evident that Lin Pey-Chwen, representing new media art through quotEve Clone,quot has resonated with the audience. This not only stands as a testament to Taiwan#39s outstanding and exquisite creative capabilities in new media art but also serves as a form of cultural diplomacy. Through the inspiration and societal awareness brought by quotEve Clone,quot Lin Pey-Chwen has played a significant role in establishing a high-quality and aesthetically cultivated international image for Taiwan.
In this lecture, there was enthusiastic attendance from students, faculty, museum members, and the general public at the University of Edinburgh, filling the venue to capacity. @ PEY-CHWEN LIN
Mr. Chang Chia-Cheng, Director of the Taiwan Representative Office in Edinburgh, Secretary Ho Hui-Lin, and the author of the article Ms. Tu Chi-Wen Audrey. @ PEY-CHWEN LIN
It is evident that Lin Pey-Chwen, representing new media art through quotEve Clone,quot has resonated with the audience. @ PEY-CHWEN LIN
Abstract of the lecture by Lin Pey-Chwen
I will share the concept and the video of my solo exhibition ldquoRevelation of Eve Clonerdquo held at the Tainan Art Museum 2019- 2020, as well as my new work ldquoEve Clone Wannsee Conferencerdquo in the 2023 Spotlight Taiwan Lecture. The curator of my solo Dr. Ming Turner stated that Pey-Chwen Lin began her ldquoEve Clonerdquo series in 2006, introducing a sequence of artworks that convey the artistrsquos imagination and interpretation of the posthuman, and especially that of posthuman female bodies. This series conveys both femininity and religious symbolism. Although the creation of Linrsquos works applied lots of digital techniques, she is actually being critical of the negative impact of technology on modern human society. Her works present insightful views and thoughts about the increasingly important contemporary cultural issues of gender, technology and art.
In my solo exhibition, alongside showcasing my ldquoPortrait of Eve Clonerdquo series, which was selected for the prestigious WRO Media Art Biennale in Poland, and the award-winning ldquoMaking of Eve Clone Irdquo which received the first prize in the ldquoNew Media Artrdquo category at the Florence Biennale in Italy, there is a special large-scale interactive installation titled ldquoBig Image of Eve Clone.rdquo This artwork presents the evolutionary process of ldquoEve Clonerdquo and the symbiotic relationship between humans and their worship of ldquoEve Clonerdquo. Another piece, ldquoMaking of Eve Clone II,rdquo incorporates facial recognition and facial motion capture systems, inviting the audience to interact in real-time and showcasing how ldquoEve Clonerdquo has advanced in learning human emotions and expressions with her artificial life. Due to this AI artwork, I initiate the new series for 2023 ldquoEve Clone Wannsee Conference.rdquo
In this new series, I employ AI machine learning algorithms and 3D modelling software to create more realistic facial features for the ldquoEve Clones.rdquo I synthesize the faces of these ldquoEve Clonesrdquo with portraits of influential figures from different eras and domains such as politics, technology, and culture, including individuals like Hitler, Putin, Bill Gates, and more. Simultaneously, through a speech recognition system, I convert the speeches of these individuals into corresponding facial expressions, creating these ldquoEve Clonesrdquo with different appearances and expressions who incessantly propagate their desires. Finally, these ldquoEve Clonerdquo speech videos are installed within the same exhibition space, satirically depicting their attempt and actions in the ldquoWannsee Conference.rdquo
ldquoMaking of Eve Clone IIIrdquo is a large video mapping projection that incorporates texts from the biblical books of Daniel and Revelation, as well as the divine message proclaimed by the prophet Elijah Hong for this generation. The videos ldquoGreat Babylonrdquo and ldquoRevelation of Eve Clone IVrdquo have been carried by the screen monitors and installed in the space. The plot of the videos and the projected texts intersect and resonate with each other, making powerfully and significant revelations of biblical prophecy in the end times.
(Special thanks to Dr. Ming Turner, the curator of my solo exhibition at the Tainan Art Museum, and the members of my Digital Art Lab. Ching-Shiang Hu, Sheng-Chieh Wang, Bo-Wei Wu, Allen Wang)