ACA交流電：動漫與當代藝術的相遇

ACA活動現場直擊!

2011-12-08T07:06:00.000-08:00

12/3（六） 14:00 演講：酷獸‧鐵人‧大和魂

講者：難攻博士(搧胡椒秘密基地總司令)

照片集：2011年12月3日演講：酷獸‧鐵人‧大和魂

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12/4（日） 14:00 座談：漫‧動畫創作私房大公開

主持人：傻呼嚕同盟ZERO

與談人：VOFAN、血多、林世勇

照片集：
2011年12月4日座談：漫‧動畫創作私房大公開

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照片集：

血多"賣火柴小女孩"真人現身!!

ACA交流電大受好評‧排隊盛況一賭!!

ACA交流電展場紀實‧倒數四天‧敬請把握時機!!

2011-11-24T07:20:00.000-08:00

千呼萬喚始出來! ACA交流電佈展幕後花絮大公開!!!

巨大的勇士鐵金剛

優美的沙動畫

超酷便利貼QR code!

藝術家的工作室!

想知道藝術家和工作人員是怎麼把ACA交流電一點一點拼湊出來的嗎???

還有更多佈展精采照片，請看：

https://picasaweb.google.com/113939080658312156387/ACA02#

開幕和講座集錦：

https://picasaweb.google.com/113939080658312156387/ACA03

2011-11-22T05:59:00.000-08:00

ACA交流電即時更新!!!!

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展出訊息

2011-11-18T23:39:00.000-08:00

2011 駁二動漫祭 2011 Pier-2 Anima Festival

ACA交流電 Animation + Comic + Contemporary Arts

展出時間Time／ 2011.11.12 (Sat.)~2011.12.11. (Sun.)

展出地點 Location／高雄駁二藝術特區C5倉庫 The Pier-2 Art Center, C5 Warehouse

開放時間 Opening Hours／Tue. to Sun. 10:00~18:00 (Close on Mon.)

策展人Curator ／謝慧青 Hui-Ching Hsieh‧羅禾淋 He-Lin Luo

參展藝術家 Artists ／

運．動．畫 The Making of Animation

林容嫺 Jung-Hsien Lin

邱禹鳳 Yvonne Chiu

連俊傑 Chun-Chien Lien

劉邦耀 Bun-Yao Liu

謝珮雯 Pei-Wen Hsieh

任藝天堂 Game Maze

李珮雯Pei-Wen Lee

林欣傑 Keith Lam

涂維政 Wei-Cheng Tu

陳依純 I-Chun Chen

黃心健 Hsin-Chien Huang

廖克楠 Kehnan Liao

羅禾淋 He-Lin Luo

鋼鐵之城 Robot Base

王培旭 Pei-Hsu Wang

李明道 Akibo Lee

李文政Wen-Cheng Lee

林世勇Shih-Yung Lin

楊茂林 Mao-Lin Yang

漫．動．畫 Comics vs. Animation

VOFAN

可樂王Cola king

血多Xieduo

虞雅婷+葉亞璇+鍾玲Ya-Ting Yu+ Ya-Hsuan Yeh+Ling Chung

動畫地帶 Animation Zone

史明輝 Jack Shih

朱書賢 Shu-Hsien Chu

吳梓寧 Laza Wu

邱立偉 Li-Wei Chiu

林巧芳 Chiao-Fang Lin

林青萱 Mad Lin

紀柏舟 Po-Chou Chi

陳秋苓 Chou-Lin Chen

張世明 Shih-Ming Chang

張淑滿 Monster Chang

張徐展 MoresZhan

游凱麟 Kai-Lin Yu

楊雅涵 Ya-Han Yang

蔡旭晟 Shiu-Cheng Tsai

蔡珏伶 Chueh-Lin Tsai

主辦單位 Organizer ／高雄市文化局、高雄市政府新聞局、財團法人高雄市文化基金會、駁二藝術特區

執行單位 Operator ／傻呼嚕同盟、台灣動漫畫推廣協會、新臺風有限公司

2011-11-18T04:21:00.000-08:00

ACA交流電動畫體驗營

交流電動畫體驗營---棒棒糖動畫營

◎活動目的／利用色彩繽紛的零食與糖果、甚至是外包裝做物件動畫(object Animation)，讓參觀民眾體驗親手做動畫的過程與樂趣。活動結束學員還可將零食與糖果帶走唷。講師會說明與示範，實作時在旁引導學員創作和了解動畫拍攝的TIMING(時間控制)的概念。

◎活動時間／2小時

◎活動地點／駁二藝術特區C5倉庫

◎參加成員／一般參觀民眾 or 親子檔(無拍攝經驗可)

◎課程內容／

相見歡---老師自我介紹與活動說明

餅乾翹翹板---動畫原理(逐格拍攝)介紹

夢想烘焙廠---拍攝示範與教學

飛天糖果屋---進行分組現場拍攝

小導演大夢想---成果放映會

2011-11-08T07:25:00.000-08:00

高雄駁二藝術特區2011動漫祭

「ACA交流電」開幕首映《願快樂》

地點：高雄駁二藝術特區C5倉庫

時間：100年11月11日（五） 16:30-18:10

《願快樂》
動畫，12分30秒，2011

　簡介/

　本片敘述都市小孩在繁忙的功課壓力下，尋找一個快樂的出口。劇中描述面對升學壓力的主角婷婷，選擇用想像來逃避現實。她無意間遇到怪魚媽媽和小魚兒，共同經歷了一連串的奇幻冒險。一個簡單的願望，開啟了一場無限想像力的感人故事，找到了原本就該屬於小朋友的快樂。

導演/

史明輝 Jack Shih

曾就讀於加州藝術學院實驗動畫研究所。從事動畫教育工作，投入動畫獨立製片與創作已有十幾年，除了最新作品《願快樂》(短片)、《小水滴的奇幻旅程》外，執導作品曾榮獲金馬獎最佳創作短片、台北電影獎最佳動畫片，信誼基金會兒童文學獎動畫類首獎、金穗獎和美國電視艾美獎以及國際影展入圍等肯定。

導演作品年表/

2011《野柳異想樂園》動畫短片編導

2011《願快樂》動畫短片編導

2011《不倒翁的奇幻之旅》電影長片動畫總監

2010《我,19歲》電影長片動畫視覺總監

2010《小水滴的奇幻旅程》動畫影集編劇導演

2009《鏡花緣》動畫影集編劇導演

2007《飛越藍調》獨立製片

2004《小辛蒂》獨立製片

動漫與當代藝術相遇

2011-11-07T23:49:00.000-08:00

文／謝慧青、羅禾淋

「ACA交流電」作為2011駁二動漫祭的首波主打活動，也是高雄市文化局接辦高雄動漫展後，展場移師駁二，企圖將動漫與藝術、文化結合的重要大展。共邀請三十六位優秀的動畫導演以及當代藝術家參與。

AC在電子學中是交流電的縮寫，在此ACA則為Animation + Comics + Contemporary Arts 的縮寫疊合，象徵動漫文化與當代藝術之間的交流激盪。展覽內容呈現國內動畫導演創作的多元面貌，以及當代藝術家挪用動漫因子而創造出的藝術創作，為雙方營造一個對話交流的場域，激發出更多的創作想像。同時，本展是由當代藝術策展人謝慧青與動畫策展人羅禾淋共同策畫，希望運用雙策展人制度使當代藝術的觀點與動漫文化對話結合，讓台灣動漫畫學術理論有新的方向與思考層面。

台灣的動畫，從早期幫國外動畫的代工作畫，到近期政府推動相關政策，大專院校投入設立動畫相關系所，培養了年輕一代的動畫創作者，這些動畫人也在這幾年於國際各大動畫影展大鳴大放，讓國際驚豔，由代工走向原創者。這些獨立製作的動畫導演們，或由自身經驗、或由關懷社會的角度，以劇情動畫或是實驗動畫的表現方式，創作出許多優秀的作品。

動漫因子對當代藝術創作的影響，可追溯自1960年代，在英國與美國開始興起的「普普藝術」，藝術家們大量將流行文化中的漫畫圖像帶入藝術作品，將高級與流行文化間的差異與疆界逐漸打破。1990年代後，日本藝術家將日本特殊次文化中的動漫圖像與御宅族文化語彙運用在藝術創作中，如：村上隆。台灣則是在日本動漫文化的影響下，藝術家將動漫畫圖像與元素在藝術創作中轉化再現；有些作品反映了藝術家的童年回憶與時代影響；在有些作品中，動漫圖像被借用來象徵流行、年輕的次文化，對台灣混雜的文化現象進行批判。

展覽包括四個子題的展區以及一個動畫影展。四個子題包括：「運動畫」、「漫動畫」、「任藝天堂」、「鋼鐵之城」，以及影展「動畫地帶」，所有展區幾乎都囊括了動畫導演以及當代藝術家的作品，讓他們的作品在不同的主題地帶互相對話。展出作品內容除動畫作品外，也包括即時互動裝置、現場裝置、戶外燈光裝置、雕塑、版畫等等。「ACA交流電」由「漫畫+動畫+電玩+模型／當代藝術」中有著共通元素卻又跨領域的展演及閱讀出發，強調出在動漫觀眾／同人創作／當代藝術家之間可能存在的多重身分及創作交流，作為「2011駁二動漫祭」這個本身就富含多元創作意味的事件的一個代表性詮釋。

展出訊息

2011 駁二動漫祭 2011 Pier-2 Anima Festival
ACA交流電 Animation + Comic + Contemporary Arts

展出時間Time／ 2011.11.12 (Sat.)~2011.12.11. (Sun.)

展出地點 Location／高雄駁二藝術特區C5倉庫 The Pier-2 Art Center, C5 Warehouse

開放時間 Opening Hours／Tue. to Sun. 10:00~18:00 (Close on Mon.)

策展人Curator ／謝慧青 Hui-Ching Hsieh‧羅禾淋 He-Lin Luo

參展藝術家 Artists ／

運．動．畫 The Making of Animation

林容嫺 Jung-Hsien Lin

邱禹鳳 Yvonne Chiu

連俊傑 Chun-Chien Lien

劉邦耀 Bun-Yao Liu

謝珮雯 Pei-Wen Hsieh

任藝天堂 Game Maze

李珮雯Pei-Wen Lee

林欣傑 Keith Lam

涂維政 Wei-Cheng Tu

陳依純 I-Chun Chen

黃心健 Hsin-Chien Huang

廖克楠 Kehnan Liao

羅禾淋 He-Lin Luo

鋼鐵之城 Robot Base

王培旭 Pei-Hsu Wang

李明道 Akibo Lee

李文政Wen-Cheng Lee

林世勇Shih-Yung Lin

楊茂林 Mao-Lin Yang

漫．動．畫 Comics vs. Animation

VOFAN

可樂王Cola king

血多Xieduo

虞雅婷+葉亞璇+鍾玲Ya-Ting Yu+ Ya-Hsuan Yeh+Ling Chung

動畫地帶 Animation Zone

史明輝 Jack Shih

朱書賢 Shu-Hsien Chu

吳梓寧 Laza Wu

邱立偉 Li-Wei Chiu

林巧芳 Chiao-Fang Lin

林青萱 Mad Lin

紀柏舟 Po-Chou Chi

陳秋苓 Chou-Lin Chen

張世明 Shih-Ming Chang

張淑滿 Monster Chang

張徐展 MoresZhan

游凱麟 Kai-Lin Yu

楊雅涵 Ya-Han Yang

蔡旭晟 Shiu-Cheng Tsai

蔡珏伶 Chueh-Lin Tsai

主辦單位 Organizer ／高雄市文化局、高雄市政府新聞局、財團法人高雄市文化基金會、駁二藝術特區

執行單位 Operator ／傻呼嚕同盟、台灣動漫畫推廣協會、新臺風有限公司

運動畫 The Making of Animation

2011-11-07T23:11:00.000-08:00

藝術家 artists／

林容嫺 Jung-Hsien Lin、邱禹鳳Yvonne Chiu、連俊傑 Chun-Chien Lien 、劉邦耀 Bun-Yao Liu、謝珮雯 Pei-Wen Hsieh

動畫創作的多元面貌：動畫的醞釀與誕生

【運．動．畫】，是以裝置的方式，來呈現動畫的製作過程以及媒材的多元面貌，包括偶動畫、沙動畫、格拍動畫、油彩動畫、動畫箱、3D動畫等等。【運．動．畫】所要談及動畫最根本的起源，「運」一字包含著「運轉中」與「運用」的雙關意念，運轉中意旨動畫正在運作中的情景，回歸動畫的核心，運用則是意旨運作動畫的手法，呈現動畫原始面貌的本質。

林容嫺運用人偶實體與3D虛體交互使用，創造出亦真亦假的動畫幻景，展出作品亦包括了動畫主角的雕塑模型，以及影片的場景如：街景、客廳等等。邱禹鳳運用燈箱與沙子的光影變化，在即時與半即時的思考邏輯下，創造出如詩如夢的超現實動畫創作；觀眾亦可在現場嘗試沙動畫的創作。連俊傑則運用數位攝影機與類比馬達的轉動，創造出數位與類比共鳴的魔幻轉盤。謝珮雯的運用玻璃彩繪創造出色彩變化細膩的動畫。劉邦耀運用便利貼創造出融合空間感與時間感的動畫作品。（文／羅禾淋、謝慧青）

The Making of Animation section employs installations to display the process of animation production, and to showcase the variety of mediums used, including puppet animation, sand animation, stop-motion animation, oil painting animation, animation box, and 3D animation.

The Making of Animation is concerned with the most primary inception of animation; in the Chinese title of the section, the character “yun” carries the double meaning of “in a mechanical, circular movement” and “application”.

The first points to the physical process of animation-making, speaking to the core of animation, while the second references the ways in which animation functions, presenting the bare essentials of animation in its most original shape.

任藝天堂 Game Maze

2011-11-07T23:10:00.000-08:00

藝術家 artists／

李珮雯Pei-Wen Lee、林欣傑 Keith Lam、涂維政 Wei-Cheng Tu、陳依純 I-Chun Chen、黃心健 Hsin-Chien Huang、廖克楠 Kehnan Liao、羅禾淋 He-Lin Luo

電玩的藝術迷宮：當代藝術中的遊戲因子 &互動裝置

「電玩」(Video Game)，約於1960年左右開始出現，是透過資訊的即時運算，讓玩家藉由操縱搖桿或輸入訊號，得以與遊戲中的物件或景象互動，以模擬（simulation）、沉浸（immersion）與經驗（experience）的方式，讓玩家在互動過程中得到樂趣。而隨著資訊運算技術與介面的進步，電腦遊戲、電視遊戲機，如：任天堂遊戲機Famicom，SONY推出的PlayStation，或是在2006年上市的Wii遊戲機，甚至可即時感應人體動作的XBOX Kinect等等，都是利用科技的介面，將使用者所操縱的控制資訊輸入遊戲機後，即時控制遊戲中的化身或人偶，而使用者再根據遊戲中因為化身所改變造成的遊戲空間中所發生的訊息或變化，繼續控制化身的行動。

而在目前數位化的發展趨勢中，ACG之間已經產生密不可分的關係；相同的主角、故事，跨越了不同載體的形式，在動畫、漫畫、遊戲、模型中呈現了共通的視覺要素。【任藝天堂】中，除了黃心健、羅禾淋所作的互動裝置作品外，也包括了挪用電玩遊戲語言的當代藝術作品。

瑪力歐是電玩遊戲中的代表性符號，就像以前達達主義會挪用蒙娜麗莎符號一樣，瑪力歐成為新一代受到遊戲影響的藝術家們挪用的符號。如：林欣傑將瑪力歐遊戲由虛轉實，探討遊戲身體的狀態；廖克楠、陳依純與李珮雯挪用了遊戲內的影像符號，作為藝術的表現語言；涂維政是將遊戲搖桿，轉化偽裝為考古出土的古蹟文物。數位時代產生的遊戲語言與電玩形式，已經深深地影響了電玩世代的創作者。（文／謝慧青）

Video games first appeared around 1960; using simultaneous information processing, video games enable the players to interact with the objects and scenes in the game through the manipulation of gaming controls-/joysticks or signal input. Video games employ the concepts of simulation, immersion and experience to provide pleasure for the players. The player control the actions of the surrogate characters or puppets in the game in real time, and then decide on the surrogate characters’ next move according to the information or changes engendered by the change within the space of the game, which has come into being because of the characters’ previous actions.

In the context of the current general trend in the development of digitization, the connections between animation, comics and games have become tightly interwoven. That is, in most instances, the same characters and stories could be featured across different media, presenting common and shared visual elements across the forms of animation, comics, games and models.

鋼鐵之城 Robot Base

2011-11-07T23:01:00.000-08:00

藝術家 artists／

王培旭 Pei-Hsu Wang、李明道 Akibo Lee、李文政 Wen-Cheng Lee、林世勇 Shih-Yung Lin、楊茂林 Mao-Lin Yang

機器人的秘密基地：超級機器人大戰當代藝術

機器人在日本動畫脈絡中，是一個非常重要的類型，代表了人類對巨大力量的憧憬，以及對自身形象的再塑造。日本重要的機器人動畫中，永井豪的無敵鐵金剛對抗各種機械獸，象徵人類文明從古到今人與獸之間永恆的鬥爭主題；富野由悠季的《機動戰士鋼彈》中的戰爭，代表人類不同文明的相互抗衡；《超時空要塞》中，以歌聲喚來和平，象徵了文化間的衝擊與融合；《新世紀福音戰士》表現了人類在邁向演化的下一個階段中產生的矛盾與衝突；《天元突破》中突破天際永不停止的螺旋力，將人類的基因演化以及宇宙銀河的命運相連。對機器人的想像，在「漫畫+動畫+電玩+模型」的各類文本中，有豐富的各類表現，也延伸轉化在許多當代藝術作品中出現。

【鋼鐵之城】邀請了王培旭、李明道、李文政、林世勇、楊茂林五位藝術家，

展出他們以機器人為元素的創作。無敵鐵金剛可謂是可載人式的機器人元祖，王培旭融合無敵鐵金剛以及原住民圖騰元素，製作了一座高近四公尺的燈光雕塑《勇士鐵金剛》，裝置於展場入口。楊茂林作品巧妙地以戲謔的方式融入更多的文化符號，如：無敵鐵金剛中的機器人、海綿寶寶中的角色以及宗教圖騰，在圖像的混雜和並置中也傳達出藝術家對當代文化幽默與反諷式的觀察。李文政作品中，由建築元素所組成的巨大機器人影像投影在C5展場內上方的山形牆上，緩緩由拔出一把以101大樓為主元素的大劍；李明道的LuLubo，是一個女孩機器人，在甜美中帶有未來感；林世勇的木偶人動畫系列，以趣味惡搞的表現方式了BBS中的次文化世界。（文／謝慧青、羅禾淋）

The robot is an extremely significant archetype/image/genre in Japanese animation culture. It represents the human desire for immense power, and the re-imagination of the self-image. Of the significant Japanese robot animation works, Go Nagai’s Mazinger Z battles against various types of mechanical beasts, representing the eternal struggle between man and animal, a common theme consistently present in human civilization from ancient times to the present. The battles in Yoshiyuki Tomino’s Mobile Suit Gundam represent the warring balance between different human cultures. In The Super Dimension Fortress Macross, the act of singing songs in order to procure peace is a symbol for cultural impact and fusion; Neon Genesis Evangelion shows the conflicts and contradictions of the human race as it moves towards the next step of evolution. Musings concerning robots are richly represented within the texts of comics, animation, video games and models, and have appeared in many contemporary art pieces by extension.

漫．動．畫Comics vs. Animation

2011-11-07T08:00:00.000-08:00

藝術家 artists／

VOFAN、可樂王Cola king、血多 Xieduo、虞雅婷+葉亞璇+鍾玲 Ya-Ting Yu+ Ya-Hsuan Yeh+Ling Chung

漫、動畫家的私密工作室：繪畫性的畫作與動畫

　　漫畫是透過圖像、線條、文字來敘述情節與故事，讀者可以以較為自由的角度來進行閱讀。動畫則可以說是在圖像之外，配上音樂以及時間的要素來訴說故事與主題，觀眾受到動態視覺的牽引進入創作者的想像世界中。【漫．動．畫】中邀請VOFAN、可樂王、血多、虞雅婷，共四位畫家與動畫家，將他們創作中的工作室樣貌，或創作概念的發想過程，重現觀眾面前，讓觀眾可以一窺創作者由靈感發想到製作完成的工作軌跡，提供觀眾一扇窺視的窗口來理解創作者的內在思路。除影片播出外，更讓主角回歸到每個動畫影片的創作者身上，讓創作者展現自己對於動畫最原始的靈魂，並且讓觀眾可以近距離的接觸每個動畫人創作的心路歷程與動畫製作的過程，展現出創作者最真實的一面。

VOFAN運用攝影的角度思考電腦繪圖的光影，再運用攝影的影格製作出作品《1/60．∞》，企圖用光、影、時間的概念來構成一種視覺饗宴。可樂王以動畫創作的背景經驗，運用角色設計的視覺高度，創造出個性強烈的插畫角色。血多用日式動漫文化的風格與知識，以輕鬆詼諧的手法，創造出網路動畫與角色賣火柴的小女孩這樣。虞雅婷、葉亞璇、鍾玲以動畫製作的合作流程，創作出細膩且感人的劇情短篇動畫。（文／謝慧青、羅禾淋）

Comics relate plots and stories through the workings of images, lines, and words, and the reader has more freedom in deciding his/her perspective in the reading process. Animation, on the other hand, tells stories and explores themes with not only images but also such crucial factors as time and music; in this way, the viewer gains entrance into the creator’s imaginary world through the pull of the moving visuals. In the Comics v.s. Animation section, we invited VOFAN、Cola King、Xieduo、Evaty Yu, either contemporary artists or animators, to re-construct either the studio spaces where they create art or the process of developing their creative impetus, all in front of the exhibition spectators. In this manner, the spectators can trace the progression of the animation and comic artists’ work, from inspiration to finished product. The setup aims to provide for the spectators a window through which they can peek and gain understanding of the inner workings of the artists, as well as their creative process.

動畫地帶 Animation Zone

2011-11-07T07:55:00.000-08:00

藝術家 artists／

史明輝 Jack Shih、朱書賢 Shu-Hsien Chu、吳梓寧 Laza Wu、邱立偉 Li-Wei Chiu、林巧芳 Chiao-Fang Lin、林青萱 Mad Lin、紀柏舟 Po-Chou Chi、陳秋苓 Chou-Lin Chen、張世明 Shih-Ming Chang、張淑滿 Monster Chang、張徐展 MoresZhan、游凱麟 Kai-Lin Yu、楊雅涵Ya-Han Yang、蔡旭晟 Shiu-Cheng Tsai、蔡珏伶 Chueh-Lin Tsai

劇情、實驗、藝術動畫的交會

「動畫」是一種最原始的自我敘事手法，也是最容易讓觀者產生共鳴的載體。在不同的學術領域中，皆有創作者運用動畫的手法詮釋自我對於我或他者的感知。動畫地帶邀集了不同學術背景、不同創作媒材、不同創作目地的十五位動畫創作者，用各種不同的觀點述說「親情」與「環境」，並用地帶的方式希望彼此連接與激盪，讓動畫如大爆炸式的引爆與啟動。動畫創作者史明輝、紀柏舟、蔡旭晟、游凱麟、林巧芳、張淑滿、蔡珏伶、林青萱等，皆是用動畫的方式紀錄著自己與家人。動畫創作者張世明、邱立偉、楊雅涵、朱書賢、吳梓寧、陳秋苓、張徐展等，皆是用動畫的方式預言，關注著環境或人類所要面對的議題。動畫創作者觀心自我與環境間的問題，並且運用動畫的方式傳達與連結。

另一方面，現今許多實驗動畫在表現形式、觀念與主題上已然與當代藝術接軌，除了借用了許多美術使用的媒材，如：黏土、水墨、油彩等，或引入電腦繪圖、互動式多媒體技術來呈現之外，劇情也不再是唯一重點，而有著更多元的意念呈現；而許多當代藝術家也運用了動畫的形式來進行創作與傳達概念，實驗動畫與藝術中的動畫作品，表現手法可說是如出一轍；兩方創作者在創作形式、觀念與主題上有著多重的共通處。（文／羅禾淋、謝慧青）

Animation is one of the most primordial methods of self-narration, and also one of the mediums the viewers identify with the easiest. In various academic arenas, creators have used animation as a means to interpret their own understanding of the self or the other. With Animation Zone, the curators invited fifteen animation artists from different academic backgrounds, working with different creative materials and propelled by different creative purposes, to expend their varying perspectives upon the common themes of familial love and the environment. The resulting exhibits are then arranged by geographic zones in order to create connections and stimulations between the different works, in the hopes of generating a big bang-style kickoff and explosion. On the other hand, a major faction of experimental animation works has already crossed over into the realms of contemporary art in presentation, conceptualization, and subject matter. Many contemporary artists have also used animation to make their art and relate their ideas. The methods of presentation are practically identical in experimental animation and in contemporary art pieces which employ animation. The two sides have multiple commonalities in creative presentation, concept and subject matter.

《讓風帶我走》 (2010)

2011-11-07T07:53:00.000-08:00

蔡珏伶 Chueh-Lin Tsai

《讓風帶我走》，動畫，3分33秒，2010。

選用喬治桑的詩，敘述我自己在決定成為藝術家之後心情上的轉折和改變：

我有時逃開自我，儼然變成一棵植物，我覺得我自己是草木、是飛鳥、

是樹頂、是浮雲、是流水，

是天地間相接的那一條橫線，

覺得自己是這種顏色或那種形體，

瞬息萬變，來去無礙，

我時而走，時而飛，時而潛，時而吸露，

我向著太陽開花或棲在葉背安眠，

雲雀飛舉時我也飛舉，蜥蝪跳躍時我也跳躍，

螢火和星空閃耀時我也閃耀，

總而言之

我所棲息的天地，仿佛全是由我自己伸張出來的。

女主角是一隻蝴蝶，有著人類的形體，站在水中，似乎被困著，害怕忘記自己最初的樣貌，於是身上穿著充滿蝴蝶符號的服裝，藉著水中倒影時時刻刻提醒自己莫忘初衷，在一連串看似無特殊的行動；吃飯、閱讀、梳洗；一切都是為了回到「那個地方」(人來到這世上都有一個使命，當完成了就會回到最初開始的地方)必經的重大過程，最後，女主角從衣服上拉出一隻實體蝴蝶放到頭上，把心和理智的阻礙結合達到同步，接下來就一躍上天了。

Let the wind take me away, Animation, 3 min 33 sec, 2010.

Selecting from George Sand’s poem to express the transition and change after I decided to become an artist.

There are hours when I withdraw from myself, when I live in a planet, when I feel myself grass, a bird, the top of a tree, a cloud, running waiter, the horizon, color form and sensations wavering, variable, indefinite; hours when I ran, I fly, I swim, I sip the dew, I expand in the sunlight, I sleep beneath the leaves, I soar with the lark, I crawl, with the lizard, I shine with the stars, and glow with the brilliant verse, when, in short, I gain an insight into the midst of a development which is like a dilation of my own being.

Transported beyond, self

George Sand

It’s about a character that is a butterfly, having a human girl’s figure, whose feet were trapped in the water. Afraid of forgetting what she ought to be, she only wore the cloth that had butterflies on it, so she can reminded herself not to forget who she really was by looking the reflection in the water. In her everyday life, she ate, read and dressed up. It was a trivial yet necessary process, and was all for her to go back to “that place” (which is about ideal and death), still hoping to keep in mind that who she really was in the end. When she pulled out a real butterfly from her cloth to put on her head, she finally overcame the obstruction between her heart and her mind. And she flew away.

《櫻時》(2011)

2011-11-07T07:52:00.000-08:00

蔡旭晟 Shiu-Cheng Tsai

《櫻時》，動畫，23分40秒，2011。

這個動畫描述一個小男孩，在一間神祕破舊不知為何原因燒毀的舊廟，遭遇到意想不到的魔幻事件和神奇的奇幻朋友們，也回到當時廟還是華壇香火鼎盛的時候。就在這時，小男孩看到了廟被燒毀的原因了…

《櫻時》全片長約23分鐘，取材至台灣文化中特別的民俗色彩與宗教信仰.整片採獨立製片創作，前置構思準備花費將近一年時間，大量取景與參考台南與高雄等南台灣中大家熟悉的巷道小徑，與各種廟宇古蹟與街頭陣頭慶典，來營造動畫影像中台灣人最熟悉的風景與氛圍。而在接下來的兩年製作期，完全由電腦動畫和數位工具製作，並在影像表現上盡量呈現有如傳統手繪美術風景與卡通動畫的特色。

在故事上以魔幻的動畫表現，加上類似民間故事的架構，來描述一個小男孩在街道上一間廢棄的神祕廟宇中遭遇到的奇幻事件。故事裡充滿台灣民俗常見的宗教儀式.與台灣各種神明色彩的形象，並用一種比較童言童語接近卡通的可愛手法表現出來。音樂上以貼近台灣特有的民俗風味，用著民俗節奏與樂器如嗩吶，加上兒童合唱團純真又有神祕感的嗓音，來營造台灣原創具有現在草根味的動畫配樂。

Time of Cherry Blossoms, Animation, 23 min 40 sec, 2011.

This story is about a boy's adventure in the old and shabby temple where were burned by the secret reason. And the fantasy story happened unexpectedly and meet fancy friends and the spirit dolls. When he came back to the temple where was still gorgeous and bustling aforetime, and then the boy saw the accident behind the old temple...

This animation is about twenty-three minutes. The creating idea was developed from the folk color and religion. This film was made by Independent Films. It took one year to develop the idea. Many scenes in Tainan and Kaohsiung, the temple, the historic scenes and folk festival were used as a reference when painting the scenes of this film .These images were known by Taiwanese. And then it took two years to create by the computer animation technology and the digital tools. This animation presents the style of classic landscape painting and cartoon animation.

The story was written by fantasy and folk story. It describes an adventure that a boy played in the old and shabby temple. There are many Taiwanese religion and Taiwanese gods in the story. This film was timed for child's language. The original style of the music was created close to the life in Taiwan, and there are many folk rhythms of the China musical instruments and the secret sound of the Children's Choir in this animation.

"A Dummy Named Desire" (2009)

2011-11-07T07:50:00.000-08:00

楊雅涵 Ya-Han Yang

A Dummy Named Desire，3D動畫，3分56秒，2009。

故事不斷地重複著「找」這個動作；人偶一開始的初衷只是想要能自由活動，然而在過程中，它的態度越來越挑三撿四；它的目的逐漸在改變，為了慾望開始破壞一切，直至最後毀滅自己。第一幕的「向下」墜落，就是「墜落」地獄；這個短篇我想表達的是「貪婪」──人偶花了大部分的時間在「找」；房間內許許多多的球狀關節及散落的肢體是一次次輪迴遺留下來的證據。最後由它原本的眼睛又回到它墜落的那個瞬間--這是無止盡的循環，是一個幻象，一種對於慾望的描繪。

A Dummy Named Desire, 3D Animation, 3 min 56 sec, 2009.

The action “searching” is constantly repeated in the story. At first the mere intention of the puppet is to move freely; however, its attitude becomes more and more picky through the process; its purpose is gradually changing, destroying everything for its desire and ruining itself eventually. The falling “downward” in the first scene is actually “falling into” the hell. The artist wants to express the concept of “greed” in this episode—the puppet spends most of its time “searching,” and a large number of ball-like joints and scattered limbs are the proof of this process. The last scene returns to the moment its eyes fall to the ground—it is an endless circle, an illusion, a depiction of desire.

《「手，心」》(2011)

2011-11-07T07:45:00.000-08:00

游凱麟 Kai-Lin Yu

《「手，心」》，實驗動畫／有聲彩色影片，3分25秒，2011。

「手，心」一片，透過動畫技法與照片合成多媒材進行創作。結合手繪的高自由創造度以及實拍照片；傳達抽象的心情寫照與畫面描寫。片中藉由在手掌中繪製胎兒的動作，來抒發對生命從無到有、生成發展的感動。本片的創作動機來自於作者本身，從懷孕初期的不安、緊張以及育兒生活中充滿酸甜苦辣的細膩心情變化。小生命誕生如同作品創作，從一開始什麼都沒有，經過繁瑣且冗長的「前置作業」與準備，以及漫長的等待時光。一樣要經過像是分娩般的不安痛苦掙扎，一部完整的作品才能呈現在觀者眼前。拜現代像是文藝復興般的影片新浪潮之賜，才能讓更多人透過觀賞創作成品時，只需花費短暫的數小時或數分鐘；卻分享了創作者人生中的一小片精采段落。

Life in hand, Animation, 3 min 25 sec, 2011.

A piece of “The Heart of a Palm” is a multimedia work being created by animation combined with photos. Beside real photos, the work is designed by hand-illustrated in order to communicate illusion and feelings.

The baby motions painted within hand are expressing the life from zero to full and the inspiration from life development. This motivation for this work is designer’s changeable feeling from the pregnancy. Worried, nervous, and all the emotions filled with complexity. The creation is just like the birth of infant. In the beginning, there is nothing but all the preparation, pre-work, and long waiting. Also, a complete work will be presented in front of audience after the uneasy birth. By new video wave like Renaissance, more and more people will take little time to watch the creations and enjoy a piece of wonderful section of the designer’s life.

"ReNew / The Future not Future" (2010)

2011-11-07T07:44:00.000-08:00

張徐 展（張 展）(MoresZhan)

ReNew / The Future not Future，實驗動畫，5 分鐘，2010。

創作理念

我嘗試利用動畫這形式、內容可以完全虛構的形式去創造一個完全假造的未來型態，一種屬於虛構的未來狀態，這件作品是對應一段時間的台北正在高頻率進行城市改造，也就所謂的都市計劃，都市更新，對我來說都市更新就像是因為人們對未來充滿了憧憬、遠景及幻想，想像創造一個更美好的世界景觀，而去執行的一種行動。

我創造了一段都市更新後的未來，並想像化了一種生態，影像中「拒絕呼吸的樹

、「黑色液態顏料怪」是我試圖創造一種未來生態，呈現一段屬於未來的寓言紀錄片，面對未來的生存地獄，喚醒關於生存的恐懼。

【人類以為正在創造更美好的未來，但諷刺的是，我們在建構的卻是個沒有未來的未來..】

環境構成│

拒絕呼吸的樹│因空氣污染而導致植物為了生存，只有拒絕呼吸，會循環下著侵蝕的細胞雨。

以鍵盤溝通的電話亭│人類依賴鍵盤失去語言能力，演變人類言語進化論。

老式建築│故事不用高樓而採用破舊的台北城，呈現一種科技的倒退感。

黑色液態、細胞眼│未來唯一生命，也是我所想像的未來生態。

ReNew / The Future not Future, Experiential Animation, 5 min, 2010.

Introduction:

What do we need in the future? Continuing to renew the city to build the beautiful future or people just want to pursuit the never satisfy desires. The black liquid paint monsters were the implication of the future ecology. The huge trees refuse to breath and provoke the high acidic waste and erosion effect the whole biosphere. The greedy natures of human still try to attempts the fact which grasps is unable to change. The world is a large-scale building under the ecological vicious cycle and we can predict that the earth in the universe will become a monument in the future.

Human want to create a better future, but ironically, we have constructed is no future.

The main character of the story:

The huge trees refuse to breath:
Because of air pollution, refuse to breathe evolved into tree.

Communicated with the keyboard in the telephone booth:

Human lost the ability of language and relay on the keyboard which was changed the evolution of language.

Old buildings:

There were a lot of old buildings to present a kind of technology regressive.

Black liquid with eye:

Black liquid with eye were the only life to survive in the future and it was the upcoming ecology which we are imagine in the story.

《是誰偷了我的便便》(2011)

2011-11-07T07:42:00.000-08:00

張淑滿 Shu-Man Chang

《是誰偷了我的便便》，拼貼動畫，8分40秒，2011。

小荳人的便便不見了，開始了一段尋找便便的旅程。路上遇到狗、獅子、鱷魚和羊，大家都沒有偷小荳人的便便，那麼，便便到底到哪裡去了呢？

獲獎／展出經歷:

2011信誼幼兒文學獎最佳原創動畫

Who steal my poo-poo, Cut-out Animation, 8 min 40 sec, 2011.

Spring is coming, the flowers is opening, the poo-poo of little bean sprout is lost. Who steal the poo-poo? Is the dog, the lion, the crocodile or the goat? Where is the poo-poo?

Awards/film festival:

2011 Hsin-Yi Children Literature Award, the Best Original Animation

《妹妹揹著洋娃娃》(2009)

2011-11-07T07:39:00.000-08:00

張淑滿 Shu-Man Chang

《妹妹揹著洋娃娃》，拼貼動畫，7分10秒，2009。

妹妹揹著洋娃娃在花園裡玩耍，小兔子出現了......一個描述女孩成長過程的故事。以背光拼貼手法呈現的動畫短片，剪刀和小刀取代畫筆，讓光影為影像增添神祕色彩。

獲獎／展出經歷:

2010「希臘羅德影展」

2010「2010城市遊牧影展」

2010「第十七屆女性影展」

The Garden, Cut-out Animation, 7 min 10 sec, 2009.

The little girl is playing in the garden with a doll. There comes a rabbit...a story of growing up, The Garden is the filmmaker's stylish pastiche of a mysterious colors and images.

Awards/film festival:

2010「Rodos International Film and Visual Arts festival ECOFILMS」

2010「URBAN NOMAD FILM FEST」

2010「The 17th Women Make Waves Film Festival」

《小海豚遊愛河》(2005)、《林道乾鬧高雄》(2005)

2011-11-07T07:37:00.000-08:00

張世明 Shih-Ming Chang

《小海豚遊愛河》，動畫，5分31秒，2005。

利用當時海豚誤闖高雄港區的新聞事件，以小海豚與愛河為主角，以兩者擬人化的對話，採拼貼風格，講述了愛河的發展歷史。

A Little Dolphin in Love River, Animation, 5 min 23 sec, 2005.

This story talks news events about the dolphins strayed into Kaohsiung Harbor. A little dolphin and Love River are for the leading characters. By using the personification dialog between the two characters and using collage style, this story talks about the history of Love-River.

張世明 Shih-Ming Chang

《林道乾鬧高雄》，動畫，5分27秒，2005。

將古代高雄的傳奇海盜林道乾，塑造不合時宜的丑角形象，返回到二十一世紀的繁華高雄，闖出一連串的鬧劇。

Takao Pirate Legend, Animation, 5 min 27 sec, 2005.

To make Lin Dao-Gian, who is the legend pirate in ancient Kaohsiung, become a outdated clown. When Lin returns to Kaohsiung Metropolis in the twenty-first century, he rushes out a succession of farce.

《彼岸》(2010)

2011-11-07T07:31:00.001-08:00

陳秋苓 Chou-Lin Chen

《彼岸》，動畫，23分鐘，2010。

女孩和男孩嚮往那朦朧模糊的彼岸，總是幻想能夠逃離這座充滿鬼魂的城市與母親的主宰，親眼目睹未知的世界。他們偷竊旅客的隨身物品或照片，藉由這些物品想像另一世界的輪廓樣貌。虛擬著前往彼岸的計畫，他們想像著地圖，為幻想中的遠行做著健身的體操，期待著旅途成行的那一天。

而前往到彼岸的時刻，是否會來臨呢？

The other side, Animation, 23 min, 2010.

A girl and a boy expect someday they will go across oceans to the other island. They think that they can make a living by stealing tourists’ personal belongings on that island. They fancy the map of the other side all the time and do physical training like play games in order to survive on the way to it. Will they make it to the other side someday?

《光之塔》(2010)

2011-11-07T07:29:00.000-08:00

紀柏舟 Po-Chou Chi

《光之塔》，動畫，7分30秒，2010。

《光之塔》這部影片是一個有關父母的故事。講述遊子追求夢想，父母就像燈塔一樣支持、看望與守護，也是導演自己生命經驗的寫照與體悟。

既風格華麗的電腦動畫《回憶抽屜》之後，經歷幾年沈潛，有了這部新的作品[光之塔]。雖然是2D而非3D電腦動畫，然而這次的作品嘗試以「故事」為主軸，希望能反璞歸真，回到動畫與影片的本質。我相信好的故事與訴說意涵是創作的靈魂，因此這次創作特地回歸樸實的手繪風格，希望能帶給觀者更深切的共鳴，找尋最原始而單純的感動。

The Lighthouse, Animation, 7 min 30 sec, 2010.

“The Lighthouse” is a story which is about parents support their children to make their dreams come true. No matter what happened, parents will be always looking for their children, just like the lighthouse waiting for the boats.

After” The Drawer of Memory”, I want to do something more simply and focus on the story telling.” The Lighthouse “is my second independent animation film, and the story idea is according by myself. This time I didn’t do 3D animation but try to draw by hand. Hope my film can make the audience feel more touching.

《我的週記》(2011)

2011-11-07T07:22:00.001-08:00

林青萱 Ching-Hsuan Lin (Mad Lin)

《我的週記》，動畫(複合媒材)，6分24秒，2011。

這是一部2011年三月到六月的動畫週記，採用實驗動畫的方式製作，在本片中作者將實驗動畫比喻為一面鏡子，是內省地、一種自我表現。內容包含作者目前的學校生活以及部分的時事。

Weekly Diary, Multi-media Animation, 6 min 24 sec, 2011.

It is my weekly diary since March to June, 2011. I considered Experimental Animation as a “Mirror”, an “Introspection”. In this film, it talks about my school,

Japan

earthquake, tsunamis...etc. It shows "Inside" actually, including myself.

《米苔兔》(2009-2010)

2011-11-07T07:22:00.000-08:00

林青萱 Ching-Hsuan Lin (Mad Lin)

《米苔兔》，2D電腦動畫，1分45秒，2009-2010。

米苔目是台灣的傳統麵食之一。然而，在影片中的這家餐廳，提供另一道奇特的餐點，名稱是「Mitaitu」，這道餐點的原物料是來自於....？

Mitaitu, 2D Animation, 1 min 45 sec, 2009-2010.

Mitaimu is a traditional rice noodles dish in

Taiwan

. However, in this animation, the restaurant serves a dish called “Mitaitu” which is made by....

《大熊想家》(2005)

2011-11-07T07:19:00.000-08:00

林巧芳 Chiao-Fan Lin

《大熊想家》，動畫(色鉛筆、數位處理)，4分40秒，2005。

《大熊想家》影片敘述一位名叫大熊的男孩，從小家中經營鞋店。大熊因求學而離開家，每當放假回家時，他總會在鞋店幫媽媽的忙。但是，他更喜歡在家中附近的巷弄中穿梭，因為走在巷子裡的感覺就好像回到童年的時光。雖然這一切，巷子依舊還是老樣子，家中的廚房也依然傳來忙碌的炒菜聲，這是大熊始終難以忘懷的「家」。

Homesick, Animation (color pencil & digital effect), 4 min 40 sec, 2005.

Homesick depicts the story of Da Hsiung whose family owns a shoe shop. Although leaving home to pursue his studies, Da Hsiung always helps his mother in the shoe shop whenever he comes home. He, however, loves more ambling among streets in his neighborhood since it feels like to go back to his childhood. Despite the fact that streets still remain as they used to be, and that there are still busy sounds of frying in the kitchen, all these, after all, contribute to the “home” that Da Hsiung is hard to forget.

《小貓巴克里電視動畫影集》(2010)

2011-11-07T07:17:00.000-08:00

邱立偉 Li-Wei Chiu

《小貓巴克里電視動畫影集》，動畫，13集，22分鐘／集，2010。

巴克里是一隻無憂無慮的城市貓，是城裡的混世魔王，生活過的很滋潤。直到某天陰錯陽差的被載到鄉下去，展開了一連串的歷險記！在開始感受到鄉村人情味，和寵物醫院王醫生的女兒阿芬變成好朋友的同時，村子裡開始發生一連串不尋常的事件...先是新開的柏油路隔開了動物的棲息地，轟隆隆的黑頭車開進原本寧靜的村莊，奇怪的黑衣人說要買地、買山、買河…喵啊！這是怎麼一回事？！

Barkley the Cat, 3D Animation, 13 episodes, 22 min per episode, 2010.

Barkley is a happy-go-lucky kind of cat. Carefree and cosmopolitan, Barkley spends his time wandering around the metropolis, exploring different cultures, and of course, eating his way through every restaurant on the Times “Critics’ Choice” list. It’s a charmed life for this city kitty… that is, until a series of eventful coincidences leaves Barkley stranded in a countryside village. With the help of his new friends, Barkley learns to love his new home and begins to realize the importance of protecting the natural environment. When the evil pesticide manufacturers “Pest-Die” build a factory in the village, Barkley and his friends begin to notice the harmful changes occurring around their homes – pollution in the creek, strange black clouds in the sky, and even plants and animals getting sick. Together, Barkley and the villagers rally against “Pest-Die” to protect Mother Earth and to save their homes!

《網路原民2011》(2011)

2011-11-07T07:01:00.000-08:00

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.

《簑蟲》(2010)

2011-11-07T06:59:00.000-08:00

朱書賢 Shu-Hsien Chu

《簑蟲》，3D動畫，3分02秒，2010。

簑蟲這件作品是由街頭觀察遊民的幾個事件所組成。當我看到幾個街友交換著四處撿來的廢棄物品時，我好奇的想著這些物品的價值何在。沒有主機與螢幕的鍵盤有何作用？沒有電源供應的電器用品又有何作用? 街友們交易時討價還價，反覆估算著物品的價值。看著他們以各種廢棄物堆積成的家，似乎也存在著累積財富與收藏的觀念。

原以為街友對於社會價值都有某種程度上的放棄，但仔細思考後覺得他們與你我並無不同，在買賣中存在價值合理的概念，也有著爾虞我詐的貪念，對於擁有的物品也有著比較的心理。對比於活在社會價值規範中的你我，也許只存在著程度上的差異。

故事的開始一名街友捲曲在街角，並把四處收集而來的物品堆疊在四周，形成一個簡單的家，狀似簑蟲。說它是一個家又不怎麼成立，牆上張貼的買賣租屋廣告似乎又否定了這一個家的價值。另一名街友走來，向他展示了想交換的物品，並對於交換物品一再的挑剔，最後一名流浪漢以一個壞掉的鍵盤換得了一個三太子的面具。故事的終了，戴著三太子面具的街友跌了一跤，是三太子對於交易時貪念的處罰？又或者只是面具遮蔽了眼睛？

註：

簑蟲─收集鄰近枝葉織成簑衣，以簑衣為家的蟲子。

三太子(Nalakuvara)：中國神中的人物。節慶中，裝扮為三太子，以舞蹈祝賀廟宇活動。

Bagworm, 3D Animation, 3 min 02 sec, 2010.

This work was done by observing the behavior of street tramps. It brought my curiosity when I first saw the street tramps treading their collecting goods. I wondered what exactly the values of those broken pieces. Somehow, it seems like their personal value maybe just beyond our imagination, such as a monitor or keyboard without the hard drive, appliances without power electricity.

I used to assume that the street tramps gave up the social assessment. Yet after careful consideration, I realize that apparently we have established our individual appraisal, and appraisal may be done at the collection. The street tramps have more or less the same appraisal by trading collections too. Not only they study the appraisal carefully before determining whether or not it is worth trading, but also try to get the most out of their trade.

The story began with a tramp who was sleeping in the corner all curled up, his collections were piled up around him, which seemed like a home, the same as a bagworm. However, the commercial posters on the wall were deprived of the true meaning of a home. Another tramp came close to him and then started browsing around to see if he could find something he liked. Later he woke up the sleeping tramp and wanted to make a trade. He overrated his shattered keyboard and nitpicked the exchange goods. Finally his shattered keyboard was traded to a pretty Nalakuvara mask. By the end, he fell down while wearing the mask. Was it because of his greedy plan, he ended up facing the force of retribution or just simply due to his eyes were covered by the mask?

Note:

Bagworm: They build small protective cases from the leaves of host plants and add material to the front of the case as they grow

Nalakuvara：A rebellious and precocious child-god in Chinese mythology. Dressed up as Nalakuvara and then dance in bliss for temple festival.

《願快樂》(2011)

2011-11-07T06:53:00.000-08:00

史明輝 Jack Shih

《願快樂》，動畫，12分30秒，2011。

A Happy Wish, Animation, 12 min 30 sec, 2011.

The film performed the internal struggle of the children who are under the educational system nowadays. It’s an inspiring story of the kids who are living in the city and stressed out by the overwhelming tests and academic works. The main character, Tin-Tin, chose to escape from the reality by using her imagination and experienced a series of fantasy adventures.

"Out of Sight" (2010)

2011-11-07T06:07:00.000-08:00

虞雅婷+葉亞璇+鍾玲 Ya-Ting Yu (Evaty), Ya-Hsuan Yeh (Kynight), Ling Chung

Out of Sight，現場裝置與動畫，5分27秒，2010。

這是由台灣藝術大學多媒體動畫藝術學系 95級的三位畢業生所製作的畢業短片故事是敘述一位小女孩因為被搶劫而離開原本熟悉的道路，在穿過籬笆後的未知世界，靠著視覺以外的感官展開一場大冒險。全片採取水彩繪製的背景與手繪動畫搭配的製作方式，以繪本式的用色和簡單的人物造型呈現小女孩想像中的世界。

Out of Sight, Installation & Animation, 5 min 27 sec, 2010.

This is a graduation Production made by three students graduated from the National Taiwan University of Arts. The main character of little girl in the story confronts a robbery and strays from the road she is familiar with. After passing a hedge, she enters an unknown world and unfolds a magical adventure depending on senses other than vision and her imagination. With soft and cute colors as the main key, we used simple designs to depict the little girls' imaginary world.

《血多塗鴉動畫大爆發》(2011)

2011-11-07T05:59:00.000-08:00

血多 Xieduo
《血多塗鴉動畫大爆發》，現場裝置(圖紙、布料)，地面1-2坪x牆面1-2坪，2009-2011。

「血多大爆發！」

想不想知道網路動畫家血多的動畫怎麼產生的？

用原子筆畫？用麥克筆畫？用毛筆畫？用電腦畫？用魔法用超能力畫？

不告訴你。

但我們把從繪製、上色、拆圖層、到動畫成品的過程，用個安靜的大爆發秀給你看。

安靜的大爆發？那是什麼？

來就知道！

看完，記得跟血多最受歡迎的角色賣火柴小女孩照張相喔！

Xieduo's animation explosion, Installation (Paper & Fabrics), 3-6 m² on ground x 3-6 m² on wall, 2009-2011.

“Xieduo's Static Big Bang!”

What does Xieduo create those animations with?

Ball-pen? Marker? Brush pen? Computer? Super power?

Well, we don't have a specific answer!

However, we'll show you the process works on papers IN A STATIC EXPLOSION!

How??? And what??

Just stop by and check it out!

Don't forget to take a picture with our famous The-Little-Match-Girl when you visit us!

《可樂王／電氣牡丹移動畫室》(2011)

2011-11-07T05:49:00.000-08:00

可樂王 Cola king

《可樂王／電氣牡丹移動畫室》，現場裝置(現成物‧畫作)，2011。

可樂王的工作桌。

可以是創意市集，也可以是創意不市集。可以是四大天王，也可以是四大鳥王。可以是流浪戲班，也可以是豪華戲院。可以是Andy Warhol，也可以是Andy 不Warhol。可以是村上隆，也可以是技安。可以是胡說八道，也可以是言之成理。可以是名流權貴，也可以是販夫走卒。可以是村上春樹，也可以是六角綾子。可以是個人主義，也可以是犬儒主義。可以是「完全沒感覺」，也可以是「完全不可理解」。可以是「新美學」，也可以是「舊新潮」。可以是庫伯利克，也可以是大衛林區。可以是沒觀念，也可以是沒程度。可以是超級真實，也可以是超級現實。可以是「色情米老鼠」，也可以是「爆漿芭比」。可以是「什麼都是」，也可以是「什麼都不是」。

Cola king/Electric-Peony Art Moving Studio, Installation (Objects & Paintings), 2011.

Cola king’s working table.

It can be handcrafted stuffs, or not to be. It can be four Heavenly Kings, or four Suck Kings. It can be stray circus, or a luxurious theater. It can be Andy Warhol, or Andy Woohol. It can be Murakami Takashi, or Jyai-an. Can it be sense, or be nonsense. Can it be Celebrities, or be a bandit. It can be Murakami Haruki or Ayako Rokkaku. It can be individualism or cynicism. It can be “No any feeling” or “Completely misunderstand”. It can be a “new aesthetics” or an “old trend”. It might be Stanley Kubrick or Lynch David. It might be no concept and have no any degrees. It might be super factual or Surrealism. It can be a “erotic Mickey Mouse” or a “cum-bump Barbie “. Can it be “anything it could be”, or “everything it could not be”..

《六十分之一秒無限遠》(2008)

2011-11-07T05:47:00.000-08:00

VOFAN

《六十分之一秒無限遠》，動畫，10分鐘，2008。

一段關攝影愛好者的青春題材短片實驗動畫。手法上使用２Ｄ動畫人物及靜態的攝影背景合成，期望能同時具有２Ｄ動畫的溫度和攝影的景深質感，特別重視畫面和光線的流動。本片欲探討的並非攝影在藝術上的哲學理論，而是當今攝影已成為全民運動，但每個攝影者執著於拍照時，卻可能發生「顧此失彼」的現象：當我們拿著相機，執著於獵取完美鏡頭的時候，是不是也失去了以身體體驗當下感動的機會？

1/60．∞, Animation, 10 min, 2008.

The Animation is a story about young people who like to take photo.

《空想的誕生》(2010)

2011-11-07T05:44:00.000-08:00

VOFAN

《空想的誕生》，現場裝置與動畫，20分鐘，2010。

一段電腦繪圖插畫作畫的過程。由角色設計、配色決定以至於草稿到上色完成，歷時20小時的時間以20分鐘快速播放。此作品用於西雅圖Sakuracon活動海報，替日本震災海嘯作義賣募款。

牆上投影草稿作品出自《電玩通周刊》封面－青文出版社，以及《Colorfuldreams》－全力出版社。

A process of drawing, Installation & Animation, 20 min, 2010.

The Animation is a process of CG drawing.

2011-11-05T05:54:00.000-07:00

ACA交流電 shared 駁二藝術特區's album: ACA交流電-線上導覽.

ACA交流電-線上導覽

ACA交流電 Animation + Comic + Contemporary Arts 展出時間：2011年11月12日至12月11日（週一休館）展出時間：10am~8pm 展出地點：高雄駁二藝術特區C5倉庫參展藝術家： ◎運動畫The Making of Animation 林容嫺、邱禹鳳、連俊傑、劉邦耀、謝珮雯 ◎任藝天堂Game Maze 李佩雯、林欣傑、涂維政、陳依純、黃心健、廖克楠、羅禾淋 ◎鋼鐵之城 Robot Base 王培旭、李文政、李明道、林世勇、楊茂林 ◎漫．動．畫Comics vs. Animation VOFAN、可樂王、血多、虞雅婷+葉亞璇+鍾玲 ◎動畫地帶Animation Zone 史明輝、邱立偉、紀柏舟、張世明、游凱麟、楊雅涵、蔡旭晟、朱書賢、吳梓寧、林巧芳、林青萱、張淑滿、陳秋苓、張徐展、蔡珏伶 ACA交流電FACEBOOK粉絲專頁 http://www.facebook.com/ACAKaohsiung ACA交流電部落格 http://2011acainkaohsiung.blogspot.com/
By: 駁二藝術特區
Photos: 32

18 hours ago
ACA交流電 via 駁二藝術特區

櫻時Time of Cherry Blossoms Teaser Trailer 先行預告
http://www.youtube.com/
一部描述小男孩.與一間廢棄的廟宇.及有關台灣人鬼神,信仰與想像的短片動畫. 相關製作訊息 http://www.facebook.com/pages/ying-shi-Time-of-Cherry-Blossoms/356138505015

18 hours ago
ACA交流電
http://www.youtube.com/watch?v=6o1KYO1lG2g
博物館美學散步主持人專訪ACA交流電策展人謝慧青介紹本展
於11月20日下午3-4時重播配樂有ZERO找的各大動畫配樂喔敬請收聽!

20111116「博物館美學散步 -- ACA交流電」.mp3
http://www.youtube.com/
‎20111116 Bravo FM91.3 劉惠媛主持

Yesterday at 3:16pm
ACA交流電
破風方丈的相本!
http://louis819.pixnet.net/album/set/14558890

http://louis819.pixnet.net/album/set/14558890
louis819.pixnet.net
Louis819的相簿 - 1001111駁二動漫祭

Yesterday at 12:55am
ACA交流電
培旭部長的相本!

20111112-ACA交流電展覽

有機會還是看現場比較震撼~ 沒機會過去的就來這裡看看過過乾癮囉~
By: 培旭部長
Photos: 58

2011 駁二動漫祭小小沙畫師沙動畫工作坊

2011-11-05T04:25:00.000-07:00

2011 駁二動漫祭 小小沙畫師沙動畫工作坊

企劃／主講

邱禹鳳導演／老師

(網路名:禹多田)

yvon106@gmail.com

日期：11／19~11／20 （ 14：00~16：00 pm)

◆活動主旨：沙畫老師禹多田會教大家如何用沙子畫出卡漫角色喔，所以，如果你是熱愛漫畫、喜歡塗鴉畫畫的小朋友，快來報名啊！因為絕對沒有人可以畫出比你更卡哇伊的角色喔^_^~小朋友、大朋友要記得把自己的數位相機帶來拍照喔，因為沙畫是無法留下來的，只能把美美的沙畫拍進相機帶回家記念囉！

◆活動對象：高雄市民，親子為佳。

◆每場人數：因場地關係，每梯次限20人以內，報名從速，若人數未滿，會開放現場報名！，邱禹鳳老師指導每人輪流拍攝。

◆活動地點：駁二藝術特區C5倉庫 ACA交流電展場內

◆注意事項：請參加者盡量自備數位相機，無數位相機者請自備記憶卡。

《摩訶極樂世界複刻版》系列 (2009-2011)

2011-11-05T04:01:00.000-07:00

楊茂林 Mao-Lin Yang

《摩訶極樂世界的黑牛菩薩II》，銅雕‧金箔，131.5x86x55 cm，2010。

《摩訶極樂世界的鐵人菩薩II》，銅雕‧金箔，133x48x78 cm，2010。

《摩訶極樂世界的不空阿強佛II》，銅雕‧金箔，141x85x116 cm，2011。

《摩訶極樂三聖之不空阿強佛》，不鏽鋼‧金箔，114x110x150 cm，2009。

《苦海三聖—無敵愛金剛》，金屬相紙，215x120 cm，2010。

摩訶極樂世界複刻版

我將卡漫、童話人物列於仙班，這個系列作品的創作思維，大約是從一九九五年開始，從繪畫、電腦影像製作、雕塑一路延伸下來；最早主要是為了表述我從「殖民文化的滲透與影響vs.主體文化的生成與建立」這個角度的思考，挪用了這些「外來文化」與「次文化」的圖像，拿來類比為民間傳統中所謂的「仙」。經過十六年來的反芻與思考，如今對我更有吸引力的元素，則是從優生學的角度混種、雜交所產生出來的新鮮感與生命力。

無論是過去、現在、未來，也就是佛家所說的「三世」，任何一個時代的人們，總會透過幻想、神話、故事…為自己所無能為力的世界，擬想製造出一些英雄角色、理想人物，寄予希望與夢想，從而獲得心靈上的滿足與救贖。

我的雕塑系列一開始就挪用了當今之世人們心中企盼的救贖典型：將理想中正義、真誠、道德、拯救世界的神力，藉著重新編改捏造的神像，重新賦予祂們大家最為熟悉的卡漫名角（比如阿強、鐵人28…）、童話人物（像是小飛俠彼得潘、愛麗絲…）的形象，並為祂們製造了獨具風格的珍奇座騎。藉由這些幻化為眾模各樣的佛菩薩造像，用以象徵著雖然世間有億萬各不相同的眾生，但是每個人心中卻都有著異中見同的佛心與善念。

佛家說：悟道即是佛，既然宇宙中的「佛」就像恆河流沙那麼多，既然人人可以悟道成佛、可以立地成佛，那麼佛的法相當然也可以「相隨心轉」；「宗教」是人類社會中的精神寓所，而「卡漫」與「童話」中的救贖角色，則可以說已經是這數十年來，幾代人文化上最具永恆性與共通性的精神寄託與造像，就某種意義而言，他（它）們可說是早就已經「立地成佛」了。

「摩訶極樂世界」是我最早開始的鑄銅作品系列，經過了這麼多年，我對於雕塑的造型、語彙跟實驗性有了更多的想像，在這樣的概念中再創造、再豐富的慾望逐漸累積、昇高，因此這次發表的「摩訶極樂世界複刻版」，就是為了滿足自己在雕塑造像、變化無窮的染銅技巧等等，難以言表的藝術語言之奧妙的探索樂趣，付諸實現。

Black OX Bodhisattva of Pure Land of Maha II, Bronze & Gold Leaf, 131.5x86x55 cm, 2010.

Iron Man Bodhisattva of Pure Land of Maha II, Bronze & Gold Leaf, 133x48x78 cm, 2010.

Ah Chiang Deva of Pure Land of Maha II, Bronze & Gold Leaf, 141x85x116 cm, 2011.

The Three Sages of Ah Chiang Deva of Pure Land of Maha, Stainless Metal & Gold Leaf, 114x110x150 cm, 2009.

The Three Sages in the Ocean of Misery-Extraordinary Love Vajradhara, Metal Photo Paper, 215x120 cm, 2010.

Revisiting the Pure Land of Maha

Sometime around 1995, I started thinking about ideas for the series the Pure Land of Maha, which introduces cartoon and fairy tale characters into the pantheon of the deities and includes painting, computer generated imagery and sculpture. In the beginning I mostly wanted to express my ideas about the impact of colonial culture versus the establishment and production of local cultures. In this series I make analogies between the imagery of foreign cultures or subcultures and the deities of folk traditions. Today, I find the novelty that arises from cultural fusion, which is like genetic hybridizing, to be most vital, especially after ruminating over these ideas for the last sixteen years.

Regardless of which of the Buddha's three lifetimes—the past, present or future—or which era we are considering, humanity always invents heroes or idealized persons through myth or legend in hopes that they will deal with problems that we are incapable of mastering, thus providing spiritual satisfaction and redemption.

The first works in my sculpture series focused on a typical form of redemption desired by people today: the extraordinary power of idealized justice, sincerity and morality to save the world. I recast the images of certain deities in the roles of familiar cartoon characters (such as Boss or Tetsujin 28-gō) or characters from fairy tales (Peter Pan or the Alice of Alice's Adventures in Wonderland), and place them on unique pedestals and mounts. Through these imaginary and unfamiliar Bodhisattva images, I symbolize the fact that although there are countless sentient beings in the world, each one possess its own Buddha heart and good thoughts.

Buddha is the way to enlightenment so says Buddhism, and since there are as many Buddhas in the universe as there are stars in the heavens and anyone can attain Buddhahood, the laws of Buddhism allow a changes of form that are as easy as changing one’s mind. Religion is the locus of spirituality in a society, and it could be said that cartoons and fairy tales have already become the site of the eternal spirit and redemption for the generations of the last few decades. In some significant way, it could be said that these characters have become Buddhas.

The Land of Pure Maha is the first series where I used bronze casting. Now, many years later, having more experience with experimental sculpture techniques and language, I decided to create a richer version of this work. The purpose of Revisiting the Pure Land of Maha is not only to satisfy a desire that has been building over the years, but also to explore sculpture, difficult ideas and the inexhaustible variations of patina techniques.

《木偶人系列動畫》(2004-2007)

2011-11-05T03:56:00.000-07:00

林世勇 Shih-Yung Lin

《木偶人系列動畫》，動畫影片，共28分鐘，2004-2007。

《BBS鄉民小劇場系列動畫》，動畫影片，共28分鐘，2004-2007。

「網路也好，真實的世界也好，人多的一方往往霸佔著所謂的正義。」2015年，台灣的網路論壇BBS發生了一起洩密事件，板主間的私密訊息被暱稱女皇的網友放在網路上供人批判。BBS論壇站長執行一支智慧型程式「木偶人」來維持論壇的運作，並且同時追查女皇的真實身份。

湘是罹患癌症的BBS論壇板主，她想在有生之年能夠參與轟動全網路的事件，但是卻意外的成為了被網友們人肉搜尋的對象。網路霸凌、舊愛誤解、孤立無援的湘逐漸走向自殺一途。

矛盾的網路族群、表裡不一的站方、無人知曉的真相，BBS論壇將引發台灣網路史上最嚴重的事件。

Woodman Animation, Animation Video clips, 28 min, 2004-2007.

BBS Animation, Animation Video clips, 28 min, 2004-2007.

“Whether in a cyber world or a real one, the majority always dominate the so-called justice.” In 2015, there is a secret-leaking incident in which secretive messages circulating among webmasters are uploaded to the cyberspace to be criticized by a netizen nicknamed Queen. One administer of a BBS forum runs an intelligence program named Woodman to maintain the forum. In the meantime, this administer searches the true identity of Queen. Xian is a webmaster diagnosed cancer, and she wants to attend an event that will shock the whole cyber world; however accidentally she becomes the victim of a human flesh search engine. Torn between cyberbullying and the misunderstanding of old friends, isolated Xian gradually approaches the way to suicide. Because of paradoxical cyber groups, hypocritical webmasters, and an undiscovered truth, a BBS forum is about to cause the most damaged incident in the history of the Internet in

Taiwan

《乘上城　甲天下》(2011)

2011-11-05T03:51:00.000-07:00

李文政 Wen-Cheng Lee

《乘上城　甲天下》 ，數位動畫，3分鐘，2011。

讓山只是山，有也等於沒有。人的存在建於土地之上，不管是何種空間形式，總是被不停被定義，土地＝房地產＝家＝地盤＝財富＝BOT＝國家主義＝通路＝店租＝資源＝天下，土地對人來說有無限的定義與用途，而無法的定義的動植物就在人的繁忙空檔中，慢慢的繁衍，流浪狗最初不是流浪者，只因我們改變了其生存方式與本能。

今年難得因為一則停止國光石化興建的新聞，感動一整天，發現了良善的可能，年近三十的我，有了成家立業的責任，更驚覺土地的遊戲，多元到難以想像，卻發現，山為何不能只是山，空地就一定要BOT，一定要活化？或許放開所有權與定義，才能擁有真的定義。希望山只是山、隱於山、養於山、感於山，安靜的被大地擁抱，找到良心的歸宿。

面對看不見的敵人，卻一直存在的意識，是我創作的初衷。

Building the word, Digital Animation, 3 min, 2011.

Let Mountain Be the Mountain – It Is There As If It Is Not There. Land helps to build up human beings’ existence. Land, however, with its unlimited usages, is defined through different space concepts. Land = Real Property = Home = Territory = BOT = Nationalism = Product Channels = Shop Rents = Resource = The World. As for those animals or plants which are not empowered to define themselves, they have to follow their nature, carrying on propagation even though they are ignored and forgotten by human beings who are occupied developing the intellectual world. A street dog would not have been a stray one if we hadn’t changed its instinctive way of life to survive.

Earlier this year, I was moved by the news that the plan for Kuokuang Petrochemical plant has been stopped. For the whole day, I had been filled with the joy because of the possibility of the human goodness. As a man reaching his thirties, I start to realize my responsibility to establish my own family. I am also shocked by what human beings have been doing to the earth and what they are capable of doing. The various forms are even beyond my imagination. It is beyond my imagination. Then I cannot help but wondering: why can’t mountain just be mountain? Why should the vacant space be Build-Operate-Transfer (BOT)? Why should it be activated?

Maybe only when we get rid of all the ideas of property, possessions, and definition can we actually own the land. I still wish that mountain is just mountain – hidden in the mountains, nurtured in the mountains, and being in the mountains.

And then we will be embraced by the land, quietly.

In Wen-Cheng Lee’s artistic exploration, he adopts the form of real property broadcasting and the fetishism represented by the giant robot to discuss the possibility of digital images, focusing on the invisible power play and the living space as his essential concept.

"She is my LuLubo" (2011)

2011-11-05T03:48:00.000-07:00

李明道 Akibo Lee

She is my LuLubo，塑像+大圖輸出，52x52x173 cm‧220x350 cm，2011。

LuLubo是Akibo的跳舞機器人，喜歡電子音樂重複的節奏和迷幻的燈光。喜歡跳舞的Lulubo站在紅色鮮豔的像煙火般的畫面中間，她期待已久Party就要開始。

She is my LuLubo, Statue & Image Output, 52x52x173 cm‧220x350 cm, 2011.

LuLubo is Akiko’s dancing robot, and it likes the repeating beats of the electronic music as well as trance light. LuLubo who loves to dance is standing within the brightly red picture resembling fireworks, and the party that it has expected so long is about to begin.

《勇士鐵金鋼》(2011)

2011-11-05T03:46:00.000-07:00

王培旭 Pei-Hsu Wang

《勇士鐵金鋼》，玻璃纖維、太陽能LED燈，高3.6 x寬1.6 m，2011。

5-6年級世代的民眾所熟悉的「無敵鐵金鋼」，結合原住民勇士的代表物品之-勇士之珠，用以表現作者心目中原住民的勇士形象。並透過這形象傳達意念給作者自身一個永不放棄、熱血不斷的生活態度與熱忱。更希望觀賞者能透過作品感受到作者想傳達的意念。

The Invincible Iron Warrior King, Fiberglass, Solar LED Lights, 3.6 x1.6 m, 2011.

The Invincible Iron Warrior King,

The figure of Mazinger Z, familiar to those who were born in Taiwan between the 1960s and 1970s, is combined with the “Beads of the Warrior”, the representative of the indigenous groups aboriginal in Taiwan, in order to manifest how the artist imagines the image of the indigenous warrior. Through this image, the artist not only conveys himself the passion and the attitude that never quits anything easily but also hopes the audience receive what he intends to convey.

A C A 活動日程表 Events & Activities

2011-11-05T03:26:00.000-07:00

11/11（五） 16:30 開幕首映《願快樂》，史明輝導演會後座談
_>>活動簡介

11/12（六） 14:00 藝術家座談主持人：謝慧青、羅禾淋
主題一：超級機器人大戰當代藝術
與談人：傻呼嚕同盟ZERO、王培旭、李文政
主題二：電玩特攻．藝術迷宮
與談人：林欣傑、廖克楠、陳依純

11/12（日）14:00 主題對談：女人．動畫—當代女性動畫導演創作探索
與談人：游婷敬（2011女性影展總監、東方設計學院傳播藝術系講師）

　　　　林巧芳（藝術家）

11/19（六）14:00 工作坊小小沙畫師(一)

講師：邱禹鳳(動畫導演)

_>>活動簡介

11/20（日）14:00 工作坊小小沙畫師(一)

講師：邱禹鳳(動畫導演)

_>>活動簡介

11/26（六）14:00 工作坊棒棒糖動畫創作坊

講師：游凱麟（耕莘專科學校數位媒體設計科專任講師）

_>>活動簡介

11/27（日）14:00 演講：動畫的過去現在與未來

講者：朱善傑（崇右技術學院數位媒體設計系專任講師）

12/3（六） 14:00 演講：酷獸‧鐵人‧大和魂

講者：難攻博士(搧胡椒秘密基地總司令)

12/4（日） 14:00 座談：漫‧動畫創作私房大公開

主持人：傻呼嚕同盟ZERO

與談人：VOFAN、血多、林世勇

【漫畫連環接龍】展覽期間於動畫地帶展間設立漫畫塗鴉牆，讓藝術家、漫畫家、同人以及民眾，以連環漫畫接力的方式，自行創作塗鴉。

駁二動漫祭其他相關活動：

【萌之少女繪師百人展】11月16日-明年2月26日

【同人誌創作展】 12月3日-12月4日

《救救瑪利歐》〔2005(2011重製)〕

2011-11-05T03:14:00.000-07:00

羅禾淋 He-Lin Luo

《救救瑪利歐》，互動裝置(可調整)，2005(2011重製)。

反轉互動感知的主客關係，讓電玩遊戲的角色與觀者合作，運用攝影機偵測人像，讓人像生成遊戲中的場景物件，使電玩角色可以因此與現實中的真人合作，共同過關。

遊戲中的瑪利歐在一個斷崖上無法移動，需要透過觀者之間的合作，串聯彼此的身體並被攝影機擷取，擷取後電腦得到現實人體的資訊，在虛擬遊戲中生成一道橋，幫助瑪利歐可以移動破關。作品結合虛擬實境與實擬虛境的概念，讓有自我AI的瑪利歐能透過現實觀眾生成的一道橋，到對岸中的過關處。

Help Mario, Installation(adjustable), 2005(2011 reproduced.)

The work reverses the role of the appreciator and the appreciated, contributing to the cooperation of video game characters and the appreciator. The video camera is used to detect human figure and form the background objects in the games, enabling the characters in the game to cooperate with players in the real world and pass the stages together.

Mario in the game is stuck on a cliff and unable to move. It takes the cooperation of the appreciators to put their figures together and make them retrieved by the video camera. After successful retrieve, the computer acquires the information of figures in reality and forms a bridge in the virtual game for Mario to move and clear the stage.

The work combines the concept of virtualizing the real and realizing the virtual, enabling Mario who has an independent AI to reach the destination by crossing the bridge formed by the appreciators in the real world.

ACA交流電：動漫與當代藝術的相遇

ACA活動現場直擊!

展出訊息

動漫與當代藝術相遇

運動畫 The Making of Animation

任藝天堂 Game Maze

鋼鐵之城 Robot Base

漫．動．畫Comics vs. Animation

動畫地帶 Animation Zone

《讓風帶我走》 (2010)

《櫻時》(2011)

"A Dummy Named Desire" (2009)

《「手，心」》(2011)

"ReNew / The Future not Future" (2010)

《是誰偷了我的便便》(2011)

《妹妹揹著洋娃娃》(2009)

《小海豚遊愛河》(2005)、《林道乾鬧高雄》(2005)

《彼岸》(2010)

《光之塔》(2010)

《我的週記》(2011)

《米苔兔》(2009-2010)

《大熊想家》(2005)

《小貓巴克里電視動畫影集》(2010)

《網路原民2011》(2011)

《簑蟲》(2010)

《願快樂》(2011)

"Out of Sight" (2010)

《血多塗鴉動畫大爆發》(2011)

《可樂王／電氣牡丹移動畫室》(2011)

《六十分之一秒無限遠》(2008)

《空想的誕生》(2010)

ACA交流電 shared 駁二藝術特區's album: ACA交流電-線上導覽.

ACA交流電 via 駁二藝術特區

ACA交流電http://www.youtube.com/watch?v=6o1KYO1lG2g博物館美學散步 主持人專訪ACA交流電策展人謝慧青介紹本展於11月20日下午3-4時重播 配樂有ZERO找的各大動畫配樂喔 敬請收聽!

ACA交流電破風方丈的相本!http://louis819.pixnet.net/album/set/14558890

ACA交流電培旭部長的相本!

2011 駁二動漫祭 小小沙畫師 沙動畫工作坊

《摩訶極樂世界複刻版》系列 (2009-2011)

《木偶人系列動畫》(2004-2007)

《乘上城 甲天下》(2011)

"She is my LuLubo" (2011)

《勇士鐵金鋼》(2011)

A C A 活動日程表 Events & Activities

《救救瑪利歐》〔2005(2011重製)〕

ACA交流電
http://www.youtube.com/watch?v=6o1KYO1lG2g
博物館美學散步主持人專訪ACA交流電策展人謝慧青介紹本展
於11月20日下午3-4時重播配樂有ZERO找的各大動畫配樂喔敬請收聽!

ACA交流電
破風方丈的相本!
http://louis819.pixnet.net/album/set/14558890

ACA交流電
培旭部長的相本!

2011 駁二動漫祭小小沙畫師沙動畫工作坊

《乘上城　甲天下》(2011)