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「三生萬物」來自《老子、四十二章》:「道」生一,一生二,二生三,三生萬物。「道」到「萬物」是一個連續發展過程中,由二元相交所孕生出萬物及宇宙的發展成形。而「三生萬物」這一詞則耐人尋味地揭示著世界的運行,指向「極多」或在運動變化中形成的規律和概念,最終是和他者調和、混種,生成出一種開放性系統,我們可以說這是最早的「非人智能」。

 

人類創意思考的能力,推進人類宇宙觀的視野和發展。思考工作、人類創意、藝術和人工智能,終究,要面對的仍是人如何解決人的問題。而「關係」、「關懷」是人與人、個體與外部環境建構出的世界系統。當我們試著提出智能城市中的創意,如何改變環境這樣的提問時,我們回到如何看待「關係」之於藝術和創意工作、「關懷」在人工智能發展歷程時之必要性,因為包容與涵納、調和與混種,使萬物得以作用、讓觀念和想像力得以落實在生活場景。而在此,我們提出以協作式的「工作坊」作為一種實驗方法。

 

「工作坊」之於藝術成為當代藝術演進歷程中的一種方法,主要在於揭露、肯認並從事於「社群溝通」的藝術實踐,從六〇年代另類公共藝術的開端,表現出介入社會場域的藝術態度、到關係美學將「交流空間」移至展場和錄像中,並推及到「對話美學」的合作性藝術計畫,待進至二十一世紀觀念藝術與政治藝術中大量藉由工作坊進行「交互理解」與「深化議題」,以至於後全球化時期,藝術團隊進入社會交往的跨領域協作歷程。

 

而本次展覽將展出「A.P.D.計畫」於本地藝術聚落的協作展覽計劃<泥淖,潮間帶> (2019)、與竹圍工作室、日本藝術家武谷大介(Daisuke Takeya)亞洲聯結藝術創作計畫的合作<上學去> (2020)、以及與韓國藝術家金雅英(Ayoung Kim)線上協作的<啪擦 - QQ  漂浮特工> (2022)工作坊之工作方法與成果,以具體的實踐行動,提出對於「工作坊」如何可能在人工智能城市,作為「關係性創意環境工作」的未來想像。

The Chinese idiom 'Three produces myriad things' comes from Chapter 42 of the Tao Te Ching: Tao produces One, One produces Two, Two produces Three, Three produces myriad things. This transition - from 'Tao' to 'myriad things' - represents a continuous process in which the intersection of duality generates the development and shaping of the universe and of all the things it contains. The idiom 'Three produces myriad things' thus offers an intriguing understanding as to how the world operates by pointing us toward the idea of ‘heterogeneity’. That is, the laws and concepts formed amidst ceaseless processes of movement and change must mix and harmonize with others doing the same, resulting in the formation of a ceaselessly open and hybrid system. We can say that this system represents the earliest concept of ‘Impersonal Intelligence’.

 

Our ability to think creatively advances both the vision and the depth of human cosmology. Whether located in productive thought, ingenuity, or art and artificial intelligence, ultimately, this creativity is always interrogating how we might best solve the challenges of humankind. Crucially, within this particular configuration we now notice that ‘relationships’ and the notion of ‘taking care’ have emerged as vital world systems constructed between people, individuals and the external environment. This means that when attempting to raise the question as to how creativity within a ‘smart city’ can benefit that environment, we should remain aware of the necessary ‘relationships’ between art and creative work, as well as the need for ‘taking care’ in the development of Artificial Intelligence. After all, it is only through tolerance and inclusion, reconciliation and hybridization that myriad things can function, and that  the conceptual and the imaginary are able to be implemented into our everyday situations. Here then, we propose the idea of the collaborative ‘workshop’ as an experimental method. 

 

The ‘workshop’ has become a significant methodological tool within the evolution of contemporary art, not least because it necessarily exposes, recognizes, and engages in the artistic practice of ‘community-based communication’. As such, the ‘workshop’ is something clearly visible at various points within this evolution; from alternative public art and social intervention in the 1960s, the centering of the gallery or video art as ‘spaces of communication’ by relational aesthetics, through to the many collaborative projects that might fall under the term ‘dialogical aesthetics’. Now, in the twenty-first century, we see quite clearly that both conceptual and political art have utilized the workshop to engage in ‘interactional understanding’ and the ‘deepening of issues’ through workshops, and that in the current era of post-globalization artistic teams frequently enter into cross-disciplinary and collaborative processes of interaction.   

 

This exhibition showcases a series of collaborative exhibitions or workshops organized between Art Petri Dish (A.P.D. Project) and various artists or artist groups. These include, Quagmire, Intertidal Zone (2019), held at a local art village in New Taipei City, Go To School (2020), a collaboration between Japanese artist Daisuke Takeya and Bamboo Curtain Studio, and Patsa - QQ Levitating Agent (2022), a series of workshops held with the online participation of Korean artist, Ayoung Kim. Through these concrete actions, the exhibition proposes a future imagination of how the ‘workshop’ may function in a smart city as a potential site of ‘relational creativity in environmental work’

Field 1-n 

「社會場域,是力場也是鬥爭場。」

- Bourdieu, 1976

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Thinking 1-n 

「思維,是思考未被思考者。」

- Deleuze, 1968

Technic 1-n 

「社會場域,「技術,是生命的環境。」

- Simondon, 1965

啪擦-QQ 漂浮特工任務檔案
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I 1-n 

「現在可以走出洞穴了。」

- Serres, 2012

展區中以「場域」、「思維」、「技術」與「我」的「1-n」 作為呼應「三生萬物」象徵朝向多元、多樣化的概念。展場分成四區、三展桌,以APD計畫及工作坊實踐為例,思考創意如何可能在環境與關係的原生結構上,開啟n種維度的可能性。

第一展區,場域的1-n,以「泥淖,潮間帶」為例,呈現當官辦藝術聚落必然淪為都市計畫、仕紳化發展過程中的前哨站,進駐藝術家如何透過聚落內部關係的連結,發動新的創意動能,進而產生批判或與現實對話的能動性。以藝術家的創意作為社群分享的基礎,在特定場域中試驗深刻的關係連結,從基地醞釀指向未來的有機潛能。

 

第二展區,思維1-n。若教育是1,則創意可以使思維方式為n。「上學去」是與竹圍工作室、日本藝術武谷大介(Daisuke Takeya)的亞洲連線計畫-「島居」的工作坊實踐。由台灣、韓國、香港三地創作者共思,在學校課堂中對高中生提出對同為亞洲第二島鏈上、三地民主化歷程與該地黨政教育的連動問題,透過藝術家的創意,引導孩子們對「受教育」有進一步的反思力。

 

第三展區,技術1-n,「啪擦-QQ漂浮特工」在疫情之下,雲端之上,以工作坊翻轉出新的關係連結,嘗試跨出地理位置、文化和時空限制,透過與韓國藝術家金雅英的連線交流,經由藝術家的創意,帶領孩子們進入對於生命環境的超時空想像。展出作品即為孩子們在工作坊中透過關鍵字、心智圖工作,思考如何透過人工智能、未來科技,回到十九世紀工業革命的時代,拯救賣火柴的小女孩。

 

最後一個展區,「我」的1-n。引用米榭·塞荷的「拇指姑娘」點出面對未來世界時我們對於教育想像的侷限性。攀爬、穿越室、內外環境的黏土小人意象,如同展覽主視覺中的「漂浮小特工」,朝向以「我」和「個體」為主體想像未來,在未來的人工智能或虛擬世界裡構築出友善環境。因當我們從當代走出柏拉圖的洞穴,是迎來的未知讓1得以到n。