Opening Artist︱Pin-Da HO
Born in 1986, Pin-Da HO is now studying in the Institute of Music of NCTU, majoring in Multi-media Composition.
Always fancying idly, he therefore put those imagination into creation. Before the graduate school, he studied in the Applied Music Department of TNNUA. During that period, he was interested in the style of soundtrack of European, American, and Japanese fantasy films and games. As to the creation during the graduate school, he focuses on the relationship among art and the spiritual life, such as religion and philosophy.
Artist︱Louis Erwin LEE
Born in Taipei, Taiwan Louis was a researcher for Ministry of Culture. He has also worked for various companies in the domain of internet music service, language education and so on with new media technology. Currently he is working for the Performing Technology Lab in TNUA. Louis is interested in interactive media and sound art performing. In addition he enjoys collaborating on the projects with others from different countries and professional fields. For being a believer, he usually tries to raises questions about society and human nature through his works. In 2009, his interactive biofeedback sound installation/performing “Couch Surfing/VERGENCE《感 應》” was shown in Ars Electronica Festival in Linz, Austria (with Mauro Arrighi). His focus for the last few years and continuing into the future has been on the interactive spatial sound field, the acoustic effects of human biofeedback/perception, natural interaction and wearable media. 演出者︱李霈恩
出生於台灣/台北。曾擔任文建會研究人員, 也在網路音樂、語言教育...等媒體科技領域相關公司工作。目前服務於台北藝術大學表演科技實驗室。喜愛互動媒體，聲音藝術表演, 並樂於與國內外不同專業領域的朋友, 一起合作嘗試不同美感形式的新媒體藝術與表演創作。基於個人信仰，作品不時試圖探討社會和人性本質。2009年與Mauro Arrighi合作的互動生物回饋聲音裝置/表演計畫 “Couch Surfing/VERGENCE《感 應》“, 展出於奧地利林茨電子藝術節。最近與未來幾年, 會持續專注於互動空間音場, 人體生物反饋與知覺的聲學效應, 自然體感互動與可穿戴式媒體。
She is an interdisciplinary, dance artist with formal training in theatre, music, and visual arts. She creates work for both stage and screen while her research in dance and technology focuses on the design of interactive systems, using a unique framework based in Laban Movement Analysis.
She began a dialogue with movement/technology creating experimental dance films then collaborating from 2007-2009 with the Tele-immersive Environments lab at the University of Illinois Department of Computer Science. She recently completed a Fulbright Fellowship in Italy at Virtual Reality and Multi Media Park’s (VR&MMP) Allied Sciences Arts Lab where she then developed, directed, and choreographed fraMESHift, an interactive dance production. As a current Henry Luce Scholar, she is collaborating with Taipei National University of the Arts and immersing herself in the Taiwanese arts scene. 演出者︱Renata Sheppard
她從創作實驗性舞蹈影片開始，展開她在肢體動作與科技間的對話。隨後在2007～2009年，與伊利諾伊大學資訊科學系的遠端沉浸式環境實驗室合作。最近她在意大利的虛擬實境和多媒體園區所屬科學藝術協同實驗室，發展/導演/編舞了一部互動舞蹈製作[ 移碼突變 ] (fraMESHift)，完成福布萊特國際教育交流計畫。目前她以亨利‧盧斯學者的身份與國立台北藝術大學合作，並將自己沈浸於台灣的藝術環境氛圍中。
Born in Yunlin, Taiwan, Hong-Kai WANG received a BA in Political Science from National Taiwan University (Taipei) and an MA in Media Studies from The New School University (New York). She works with sound as a conceptual means to investigate social relations and the construction of new social space, focused on a collaborative and process-driven approach to production. Her work spans interventions, performance, workshops, publication and installations, in a networked excavation of social memory embedded in listening and sound as forms of perceptual, cognitive organization and of political questions of relation and harmony.
Mattin is a Basque artist working with noise and improvisation. His work seeks to address the social and economic structures of experimental sonic artistic production through live performance, recordings and writing.
Using a conceptual approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the idea of ''freedom''and constant innovation that it traditionally implies, and the established conventions of improvisation as a genre.
Mattin considers improvisation not only as an interaction between performers and instruments, but as a situation involving all the elements that constitute a concert situation, including the audience and the social and architectural space. He tries to expose the stereotypical relation between active performer and passive audience, producing a sense of strangeness and alienation that disturbs this relationship.