〈擬山行〉2024版本
Ni Xang Shin (2024)
2024
電腦程式運算影像
Computer Generated Images
數位科技持續演進,虛擬與現實的界線不斷模糊化,在當代,影像中的多重現實透過光纖、網路、衛星快速傳播,人們開始以虛擬影像為媒介認識所處的世界,而在這樣的時代,何謂最真實的地景影像?是大量一閃而過的網路圖像在腦中建構的虛擬印象,抑或是實地場景的精確結構?
〈擬山行〉反思上述兩個面向的真實,將花蓮峽谷這個地景作為「數位寫生」的對象,在實地考察後,透過具有即時光追系統的遊戲引擎,形構出一種集結地景、符碼、數位資訊之虛擬風景,重塑橫跨大範圍時空的現地感官經驗。場景使用大量3D掃描的物件拼湊出寫實的地形,並以真實世界的環境資料,包括風速、雨量、地震規模、深度、經緯度等,控制虛擬世界中相對應的參數,使虛擬影像產生如真實世界般不可預測之視覺變化。
The collective “2ENTER,” established in 2021, focuses on visual art through mediums such as video installations, animation, web data, and game engines. Their works have been exhibited at venues including the National Taiwan Museum of Fine Arts, Kuandu Museum of Fine Arts, and the Kaohsiung Museum of Fine Arts, as well as at the Ars Electronica Campus in Austria and Digital Art Center Taipei. They have been supported by the Hualien Cultural Affairs Bureau, Taipei Artist Village, and art collectors. Recently, they have concentrated on collecting vast amounts of online data, translating it into contemporary symbols, and reconstructing it into a virtual ecosystem through game engines.
貳進
2ENTER

「𝟮𝗘𝗡𝗧𝗘𝗥 貳進」團隊於2021年成立,主要以影像裝置、 動畫、網路資訊、遊戲引擎進行視覺藝術創作。作品曾先後展出於國立臺灣美術館、關渡美術館、高雄美術館、奧地利林茲電子藝術節、臺北數位藝術中心等,並獲花蓮縣文化局、台北國際藝術村、私人典藏。 近期創作專注於收集⼤量網路數據將其轉譯為具當代性的符號,並於遊戲引擎中重組,在作品中建構出⼀虛擬的生態系統。
As digital technology keeps constantly evolving, the boundary between virtuality and reality maintains an unceasing fuzzification, multiple realities in the image are fast disseminating through fiber optic, network, and satellite; Hence, people start using virtual images as a medium to recognize the world they live in. Living in such a time, would we be able to interpret what is the most real imagery of the landscape? Is it a virtual impression left by flashing a network image, or a precision structure at the field scene?
Ni Xang Shin is to introspect the two realities above-mentioned. It takes landscapes of the Hualien Gorge as the subject of ”digital sketch“ Upon the field survey, we use the game engine of the real-time ray-tracing system to form an assembly landscape, symbol, and digital information, and by such a virtual scenery to reform the on-site sensory experience across a wide range of time and space. The scene uses a huge number of 3D scanned objects to piece together a realistic terrain, and by collecting real-world environmental data, including wind speed, rainfall, earthquake magnitude, depth, or latitude and latitude, etc., then to control the corresponding parameter in the virtual world to produce an unpredict-able visual change as in the real world.