CO4 Display of Taiwan Advanced Papers -- Media Cramp
Lin Guan-Ming 、Chi-Tsung Wu 、Zhang Huan Ming 、Huang Xiu Ling 、Zeng Yu Qin 、Tao Ya-Lun 、Zeng Wei Hao 、Tu Wei-Cheng 、Maxray Lin 、Wu Tien-Chang 、Chen Chieh-Jen
2004. 11. 19 — 2005. 01. 23


CO4 Display of Taiwan Advanced Papers -- Media Cramp
Curator / Yuan Goang-Ming

“Convulsions” in pathology means an uncontrollably spasmodical jerk; in considerably rapid and consistently renewed impact by information, “convulsions” represents a keep-going short circuit inside the body. In eyes of surrealist~ eBreton, “convulsions” reveals an irresistible beauty suddenly and unconsciously appearing in art.

The late 19 century’s industrial revolution not only brought convenient transportation, but also changed people’s conception to time and space. The communicating revolution in late 20 century yet thoroughly erases the concept to time and space.

Theological issue like “If it means to take part of Mass by watching in a telescope?” mentioned in Galilei’s mechanical age has been transformed to “If it means to take part of Mass by relay on TV broadcast” described in analogical age. In the present digital time, enthusiasts about tech media urge distant teaching overall, or even encourage the distant sex over internet by sensor and vibrator; does that mean a real teaching or sex? French philosopher- Paul Virilio thinks computerized virtualization eliminates the “transcendental” value held in traditional culture; on the other hand, he points out that the virtual world erasing the necessity of “distance” meant to be for human percept in real world. Jean Baudrillard deems also that appearance and wide application of interactive media erase and remove “distance” in one of its obvious results, meaning the two persons have the same concept. The artists under informational shock placing within a complex emotion to tech media will certainly pounce back at media itself, even if they are in the state of media cramp.

New media, new art?

10 years ago, there’s few dedicated artists in Taiwan engaged in media art; at the present, media art seems prosperous with brilliant prospect. As being the support from authority, there’re digitally creative industry promoted by government and plentiful departments related to digitization established in public/private colleges; on the other hand, assorted media art institutes set up or going to be established are greatly prompted in the manner like preacher to give his call, diversity of large-scale international exhibition, seminar, lecture, and subsidy regarding media art emerge in considerable amounts. However, behind the prosperity, when we review these works and their contents, we can’t help suspecting if media art represents a guarantee to contemporary art that is granted with tolerant censorship; they become a must menu in program of various displays. Perhaps it’s because of pursuit of fashion or a forced comparison, media art occupies a major advantage of competition in stage of contemporary art. Nevertheless, the kind of optimistic appearance formed by dominated species reveals merely a temporary transit after all; after media basic language popularized and matured, we will re-measure by a scale in normal. 

Struggle to pull back from the point of so-called “advanced modern”

Hereafter we start numbing and even boring about the interactive works that parade high-tech or quality game; except what has mentioned previously, the question is that we use the same tool, technology, and similar concept. Popularized instruments like computer, Flash, film editing and interactive surface have confined our creation and made what we done have the similar effect and repeated formation. The “advanced modern” in new media has unconsciously become “academicism” to a certain extent. 

Of course, there’re merely 40 years counting media art from its stage on video art, there must be some other scopes existing that deserve to be developed, for example: physical, biochemical, medical, phenomenal, micro-technological, and vocal device. It can’t just be brightened up by only making media close to art, but express the inspiration at the moment of mutual independence or keeping a distance of lukewarm ambiguousness When we are undertaking a creation, there must exist a certain suspect to the media we use; it’s better we get rid of media in process of creating and throw away the tool and skill we are familiar with; or, unreasonably and illegally manipulate media, when everything doesn’t work, just stop think and let media and tech display themselves by their initial aspects.

Although the works in the exhibition mostly created by tech media, they are not taking high-tech as the direction; make a title of “cramp” but definitely refuse the way of sensation and flattery. In the show, we look forward to pulling aspect of contemporary art back on classical esthetics by presently creative knowledge and artists’ proficient attitude. Namely, all walk backward; struggle to get back from the point of so-called “advanced modern”.