《網路原民2011》(2011)

吳梓寧 Laza Wu

《網路原民2011》，3D動畫，5分鐘，2011。

《網路原民2011》，是以作者2009年於國立臺灣美術館展出360°環景影像創作個展《虛鏡迴圈》所重新剪輯的單機播放版本。作者認為3D電腦動畫所生成的非物質性數位影像，最貼近網路虛擬世界由純粹數碼所組成的概念。
作品呈現各種網路虛擬分身與網路空間場域的想像，從去性別、結合動物形象並隱含七宗罪寓意的《虛境公民》系列，到《網路原民》以自畫像呈現「類原住民」形象的小女孩，她身上與臉孔流動如原住民紋面的圖案，其實來自作者個人網站的螢幕擷取圖像，依稀還可辨認出網頁瀏覽器的圖示與操作選單滾動而過。穿梭遊走在網路森林與網路城市場景中的小女孩，也有了形象上的進化，在網路城市中遊走的小女孩彷彿哥吉拉巨獸般，獨自漫遊於網路世界。網路科技快速成長，影響全球人類的生活形態，並發展出越來越快速傳遞流通的網路流行文化，網路族群發展出獨特的溝通語言與人際互動方式，如今已跨越國家種族、性別、年齡…等界線，全球化的網路文化後殖民現象，也早已經悄悄滲入我們的生活與認同之中。

Cyber Native 2011, 3D Animation, 5 min, 2011.

Based on artist’s former work titled Cyber-ring Cyclorama Digital Art Creation Series exhibited in National Taiwan Museum of Art Arts in 2009, Cyber Native is re-edited and made to a single channel version by the artist Tzu-Ning Wu.

There are diversified imaginations on cyber virtual identities and cyber spatial fields, including Cyberbeings Series which consists of images of desexualized figures, of a combination of animals, and of implying the Seven Deadly Sins. In addition, in Cyber Native Series a little girl is represented in the “Aboriginal-like” images through the artist’s self portraiture. Ambling around in the cyberspace, the little girl, as if a giant Godzilla, a Flaneur wanders alone in the cyber world. Growing rapidly, the Internet technology has not only affected global lifestyles, but also developed a cyber popular culture which circulates faster and faster. Netizens invent a distinctive language to communicate and develop a unique way to interactive among one another, and therefore they have transcended the boundaries of nation, race, gender, age, and so on.

The postcolonial phenomenon of globalized cyberculture has already permeated through our daily lives and Cultural identities.