來自宜蘭喜歡珍珠加白飯的軟爛馬鈴薯。

方晨軒 Chenxuan,Fang

摸魚四年，準備失業。喜歡歡樂的故事。

吳名澤 Shako

自許樂天知命、樂觀向上，喜歡音樂害怕蜘蛛的青年。

汪牧德 Alex Wang

周森筑，高雄人，正在成人的叛逆期。

周森筑 Chou Sen, Chum

相信光是魔法，世界是一本溫柔的插畫繪本。

林子妍 Zi-Yan, Lin

林俊遑 Chun-Huang, Lin

彬彬有禮⋯獅子座（註：「⋯」為全形佔一格）

洪以諾 Hong Yinull

致力於以科技藝術的形式體現對人性的關懷。

高永翰 Yung-Han, Kao

喜歡底片和跳舞，平常忙於搞笑，跟其他好玩的東。

陳怡瑄 I-Hsuan, Chen

陳品絜 Pin-Chieh, Chen

喜歡在城市中穿梭，用各種感官去認識周遭。

陳彥霖 Tân Gān-lîm

喜歡吃早餐、玩文字笑話，能用PPT就不想用以拉。

曾柏瑜 Bo-Yu, Tseng

熱帶人，創作類型未定，需要睡眠。

黃紀虹 Chi-Hung, Huang

雨都成長、風城流浪。近期以本作的前身於林茲參展。

黃琦 Qi Huang

在虛擬實境中尋找空間與建築的敘事性。

楊子慕 Tzu-Mu, Yang

楊允箏 Yun-Zheng, Yang

2000年生，台北人。現為國立清華大學藝術學院學士班四年級生。

劉昱辰 Yu-Chen, Liou

毛茸茸控。 想從創作中探索自我，但容易鑽牛角尖。

劉柏岑 YUME

其創作多以人與環境為主題，透過作品引發對話。

劉玲君 Ling-Chung, Liu

劉雅瑜 Ya-Yu, Liu

2000年生，新竹人。現為國立清華大學藝術學院學士班四年級生。

劉嘉昀 Chia-Yun, Liu

三點才睡，睡到三點。喜歡動物。

鄭子芸 Zih-Yun, Jheng

在數位技術與藝術間工作，創作互動式作品。

鄭凱睿 Kerry Cheng

本學院107 學年度成立藝術學院〝科技藝術〞跨域「學士班」。與校內其他學士班規劃不同，是以「科技藝術」學系方式運行。「科技藝術（Techno-Art）」是當代藝術的新形式創作也是國際藝術發展的重要趨勢，包含互動藝術、電腦動畫、電腦音樂、聲音藝術、數位表演、混合藝術、網路社群、創客藝術、仿生藝術、生物藝術、人工生命…等。在當代數位美學與數位藝術的基礎下，結合創新科技，如各種互動感測技術、虛擬/ 擴增/ 混合實境、物聯網、人工智慧、大數據分析、基因工程…等，把「科技」與「藝術」結合視為「專業領域」，旨在清華培育未來科技藝術跨域之專業創作與研究人才。

This program is an interdisciplinary program focused on "Technology and Art (Techno-art)" for undergraduate students. With outstanding instructors from home and abroad gathered here, we would like to recruit students with creative thinking of art and design and love for creation based on technological media, or students with creative thinking of mathematics and love for creation using new media or innovative technologies. The two kinds of students are going to provide positive stimuli for each other and bring better learning effectiveness.

國立清華大學藝術學院學士班 Interdisciplinary Program of Technology and Art

主辦單位

語音導覽

動線導覽

習慣城自然：當代人類行為百科 The Story of a Nostalgic Town

浮點數 Float

21小節 Twenty One Bars

包裝垃圾 Nonsense Garbage

紊答 The Tangled Answer

HALT

海漂計畫：末日遷徙 SeaDrift: Eternal Migration

鹿柴計畫 Amid

第一人稱 First Person

電述機 Tell Vision

第三人稱 Third Person

雨境＿聲境 Rainy Spectrum of Hometown

／國立清華大學 藝術學院學士班第二屆畢業展／

破壞其實比維持容易，但我們經常會小心地想辦法保持⽣活的原狀，⽇復⼀⽇，即使打破了規律，裂縫也會被各種方法彌補。在佛洛依德晚期的思想中，他將⼈的本能分為破壞性的「死亡本能」與建設性的「⽣存本能」，⼈類總是在⼀件事上同時使⽤這兩種本能，只不過彼此消長。舉例來說，吃飯時的咀嚼破壞掉了食物的原型，進到⾝體後，⼜重新組成⼈體可以吸收的樣⼦，提供⼈類能量⽣長。在⼀直打碎⼜重組的⽣活裡，我們何不⽤另⼀種全新的看法去創造新的⽇⼦呢？

然而並非所有⼈都全力避免打破完美的現狀，在接受⼈類的死亡本能後，有許多重新⽤另外⼀種⽅式展現⽣存本能的可能性。⽇本的傳統工藝「⾦繼」修補砸碎的瓷器，將破損和修補視為物件的一部分；福建⼈的「嵌瓷」將打碎的完整瓷板重新切割後重組，拼湊成為新的樣貌。比起極端的⾚腳踏過碎片，或丟棄破碎的⼀切，他們欣然接受這些缺失，將其視為⼈⽣的新可能，從不完美中找尋美。

而回顧科技的發展，人們不斷地使⽤加法來加速社會的進步，竭盡所能將⽣存本能發揮到極致，這也讓新世代的⼈們不習慣死亡本能，總是為了破壞或碎裂⽽難過，遊蕩於懊悔與失落中。

在這次的展覽中，藝術學院學⼠班23⼈提出了13個疑問，包含對⽂化記憶的質疑、科技的詰問、社會的反動。在思想趨於安逸的世代，虛假的繁榮與矯飾的謊⾔被用來彌補社會中視為錯誤的不同聲音。在社會與科技持續進步下，安逸的思想其逐漸成為知識，成為資源，潛移默化進入潛意識之中。於是，我們漸漸忘記如何錯誤；恐懼框架上的所有裂痕；避免打破規律的生活。

「砸碎星期＿之後」，＿是⼀個開放的空格，它可以是看展覽的那⼀天，可以是想難過的那⼀天，也可以是離開熟悉城市的那⼀天。「星期」是⼀個很特別的存在，看似每七天⼀個循環，但時間其實⼀直走在線性的單⾏道上。在不停歇的時間軸上，⼈將其拆分成七個⼀組，卻為了讓⼈的⽣活有目標與規律，將五十二個星期組回成了⼀年。在本展覽中，我們希望觀眾將每⼀天都砸碎，再⽤⾃⼰的⽅式組回成⼀天，拼湊出⼀個屬於⾃⼰的新框架。

—— 在砸碎那⼀天後，你會做什麼？


/2nd Graduation Exhibition of Interdisciplinary Program of Technology and Art NTHU/

Destroying is actually easier than maintaining, but we always try to find ways to maintain the status quo of our lives as if we’re walking on a tightrope, day after day. Even if the order breaks, the cracks are always mended by various crude means. However, Freud's later theory suggested that human instincts are divided into constructive survival instincts(Eros) and destructive death instincts(Thanatos). Humans always use these two instincts at the same time, but one gains while the other loses. For example, when chewing, the prototype of food is destroyed. Still, after entering the body, it is reassembled into a form that the body can absorb and provide energy for human growth. In a life that is constantly breaking and reorganizing, why not think and create new days in a more comfortable way?

In fact, not everyone makes every endeavour to maintain the status quo. After accepting the human death instinct in various places, the possibility of survival instinct is shown in another way. Kintsugi is a Japanese approach to repairing broken porcelain with gold; Fujian embedded porcelain cuts and polishes the shattered porcelain plate and reorganises it. Rather than extreme actions such as trampling on the shards or sweeping away and discarding pre-existing features, they readily accept them as a natural part of life and seek beauty in imperfection.

People have used addition to accelerate social progress through the development of technology, maximising their survival instincts. However, this has made the new generation unfamiliar with the instinct of death, leading them to feel sadness towards destruction and fragmentation and wander in regret and loss.

In this exhibition, 23 art students proposed 13 questions, including confronting cultural memory, questioning the essence of technology, and reflecting on the social system. In an era where thinking tends to be comfortable, false prosperity and deceptive lies are used to cover up different voices that are seen as wrong in society. With the continuous progress of society and technology, comfortable thinking gradually becomes knowledge and resources, subtly entering the subconscious. As a result, we gradually forget how to make mistakes, fear all cracks in the framework, and avoid breaking the routine of life.

"When  __day is Broken," the blank can be the weekdays you come to the exhibition, the day you are sad, or the day you leave your hometown. "Week" is an exceptional notion of time. Though it seems to be a seven-day cycle, it is in fact always walking on the linear path of time. Human death instinct divides time into seven groups, whereas the instinct for survival reorganises 52 cycles into a year with goals and regularity. In this exhibition, we hope audiences smash every day and reassemble it in their own way.

What would you do, when _day is broken?

Œuvres d'art