不在場獨白——生存的表徵

Monologue Offstage —— Manifestation of Survival

「……在後人類的將來，自由意志和個人機構還可能存在嗎？在變化之後，我們還能夠認識自己嗎？還會有一個需要被承認和已經被公認的自我存在嗎？」

凱瑟琳‧海勒《我們何以成為後人類：文學、信息科學和控制論中的虛擬身體》

“ Will free will and individual agency still be possible in a posthuman future? Will we be able to recognize ourselves after the change? Will there still be a self to recognize and be recognized? ”

N.Katherine Hayles

How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics

近來在人工智能程式「ChatGPT」對外開放評測後，引發沸騰的討論。其具備可細膩處理資訊乃至圖像創作的能力，此類對於未來極具顛覆性的科技，亦再度促使各界探索「人」的意義與存在性。

從人類世（Anthropocene）、半機械人（Cyborg）、後人類（Posthumanism）乃至於人工智能，時至今日仍無人知曉，科技在此世代中所扮演的角色，究竟會賡續文明血脈，抑或造成文化歷史的罅隙與斷裂。

相應於此，本次展覽「不在場獨白——生存的表徵」試圖擺脫實體形骸，透過藝術家相關創作展現科學文明與機械技術的高度發展下，對於非人向度的揣想及臆測。

吳旭曜藉由理想的永生智能式生命體，承載了科技的藍圖並指涉未來的想像；劉玹希透過殘存使用痕跡的骨董零件，復歸其解構重塑的世界且傳遞出遺存記憶。兩人以全然相異的互補形式，突顯曾經「生存的表徵」，雖未見真實肉身的元素，作品卻仍因焉成為生命體的「不在場獨白」，為生命與存在的議題揭開序幕。

Recently, there has been a heated discussion around the ChatGPT artificial intelligence program, which possesses the ability to process information and even create images with great sensitivity. Such a technology is highly disruptive for the future, and has prompted exploration of the meaning and existence of "humanity" across various fields, from the Anthropocene and cyborgs, to posthumanism and artificial intelligence.

In response, the exhibition seeks to break free from physical form and explore the dimensions beyond humans through the artists' creative works, showcasing the highly developed science and machinery of modern civilization and technology.

Wu Hsu-Yao carries the blueprint of technology and imagines the future through an ideal immortal intelligent life form, while Liou Shiuan-Shi reconstructs a world of deconstruction and preservation of memory through antique parts that bear traces of use. In their completely different yet complementary forms, the two artists highlight the " Manifestation of Survival" and create a " Monologue Offstage" of life forms, even in the absence of physical elements.