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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。

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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’

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