迷莫‧阿克騰是來自土耳其伊斯坦堡的跨領域藝術家、實驗電影製作人、音樂家和電腦科學家。他以新興技術和電腦計算為媒介，創作圖像、聲音、電影、大型互動裝置和表演。他著醉心於探索自然的本質和人類處境，從生物和人工智能、計算機創造力、意識、神經科學、物理學、生物學、生態學、哲學、儀式和宗教等領域汲取靈感。他擁有倫敦金匠大學的人工智能和人機交互表現博士學位，並且是加州大學聖地亞哥分校 (UCSD) 的計算機藝術助理教授。 Akten 經常就藝術、科學、技術和文化等話題發表主題演講。作為博士學位的一部分，他專注於人機交互和人工智能表現的創造性探索，在這一領域，他被認為是世界領先的先驅之一。

迷莫‧阿克騰因其作品“Forms”於 2013 年獲得了 Prix Ars Electronica Golden Nica。他曾在大皇宮（法國，巴黎）、巴比肯藝術中心（英國，倫敦）、維多利亞與亞伯特博物館、莫斯科現代藝術館（俄羅斯，莫斯科）、McaM明當代美術館（中國，上海）等。他還與 Lenny Kravitz、U2、Depeche Mode 和 Richard Dawkins 教授等名人合作。


Memo Akten is a multi-disciplinary artist, experimental filmmaker, musician and computer scientist from Istanbul, Turkey. He works with emerging technologies and computation as a medium, to create images, sounds, films, large-scale responsive installations and performances. Fascinated by trying to understand the nature of nature and the human condition, he draws from fields such as biological and artificial intelligence, computational creativity, consciousness, neuroscience, physics, biology, ecology, philosophy, ritual and religion. He has a PhD in Artificial Intelligence and expressive human-machine interaction from Goldsmiths University of London, and is Assistant Professor of Computational Arts at University of California, San Diego (UCSD). Akten is a frequent keynote speaker on topics involving art, science, technology and culture. As part of his PhD, he specializes in expressive human-machine interaction and creative explorations of Artificial Intelligence, and in this field he is considered one of the world’s leading pioneers.

Akten received the Prix Ars Electronica Golden Nica for his work ‘Forms’ in 2013. He has exhibited and performed internationally at venues such as The Grand Palais (Paris FR), The Barbican (London UK), Victoria & Albert Museum, Moscow Museum of Modern Art (Moscow RU), Shanghai Ming Contemporary Art Museum (Shanghai CN) and many others. He has also collaborated with celebrities such as Lenny Kravitz, U2, Depeche Mode and Professor Richard Dawkins.

迷莫‧阿克騰 Memo Akten

Ganbrood本名巴斯‧烏特維克（Bas Uterwijk），居住在阿姆斯特丹，是一名自由攝影師，他使用 GAN（生成對抗式網絡）生成著名歷史人物的逼真肖像。經過數千張照片的AI訓練，這些深度學習的網絡能夠生成看起來（至少從表面上看）人眼真實的照片。從米開朗基羅的大衛和拿破崙到自由女神像，Ganbrood使用人工智能創建攝影類圖像，試著讓我們了解這些人的真實面貌。

based in Amsterdam, Ganbrood is a freelance photographer that uses GAN (generative adversarial network) to generate hyper-realistic portraits of famous historical figures. trained with thousands of photographs, these deep learning networks are able to generate photographs that look — at least superficially — genuine to the human eye. from michelangelo’s david and napoleon to the statue of liberty, uterwijk uses artificial intelligence to create photography-type images that might give us an idea of how these people really looked like.

Ganbrood

馬里奧‧克林格曼是一位德國藝術家，也是 Google 藝術與文化部門的常駐藝術家，以神經網絡、編碼和演算法方面的工作而聞名。他被認為是在藝術中使用計算機學習的先驅。他的作品通過機器學習和人工智能來檢驗創造力、文化和感知，並展出於奧地利電子藝術節、紐約現代美術館、紐約大都會美術館、倫敦Photographers’畫廊、巴黎龐畢度藝術中心和大英圖書館。

Mario Klingemann is a German artist and Google Arts and Culture resident known for his work involving neural networks, code, and algorithms. He is considered a pioneer in the use of computer learning in the arts. His works examine creativity, culture, and perception through machine learning and artificial intelligence, and have appeared at the Ars Electronica Festival, the Museum of Modern Art New York, the Metropolitan Museum of Art New York, the Photographers’ Gallery London, the Centre Pompidou Paris, and the British Library.

馬里奧‧克林格曼 Mario Klingemann

海蓮娜‧薩琳是一位運用尖端技術的視覺藝術家和軟體工程師。她首先在貝爾實驗室設計商業通信系統，並在過去幾年間擔任其深度學習開發計算機視覺軟體的獨立顧問。雖然她一直在科技行業工作，但她也兼職從事時尚、食品和飲料產品視覺設計和攝影等應用藝術。藝術和程式設計在她的生活中是平行的。除了偶爾通過處理和數位攝影涉足生成藝術之外，她所有的藝術都是類比（analog）式的，直到她發現了 GAN（生成對抗網絡）。

她發現使用GAN生成模型不僅具有挑戰性，而且最重要的是令人感到興奮。通過 GAN發現新的模型與數據延伸出的冒險。與任何其他數位工具不同並時刻帶來驚喜。有一定的不可預測性可以激發、開啟和創造一些特別的東西——遠遠超出 Instagram/Photoshop 濾鏡或簡單的風格轉換。最近，她創立了 Neural Bricolage Studio，以揭秘、推廣和展示 AI 輔助藝術作品。

Helena Sarin is a visual artist and software engineer who has always worked with cutting edge technologies. First at Bell Labs, designing commercial communication systems, and for the last few years as an independent consultant, developing computer vision software using deep learning. While she has always worked in tech, she has moonlighted in the applied arts like fashion, food and drink styling and photography. But art and software ran as parallel tracks in her life. Save for the occasional foray into generative art with Processing and computational photography, all her art was analog... until she discovered GANs (Generative Adversarial Networks).

She found that working with generative models is not only challenging but above all exhilarating. With GANs, there is the adventure of new models and new datasets. There is an element of surprise, unlike with any other digital tool. There is a certain unpredictability that inspires, unblocks, and creates something special — something that goes far beyond Instagram/ Photoshop filters or ordinary style transfer. Recently she founded Neural Bricolage Studio to demystify, promote and display AI assisted artwork.

海蓮娜‧薩琳 Helena Sarin

英國/哥倫比亞的藝術家馬修‧普魯默─斐南德斯對演算法系統、流行文化和當代問題的相互關係感興趣，形成了受生成藝術、批判性設計和互聯網藝術傳統影響的各種作品，他將其稱為「algopop」。

他的作品被廣泛的展出，並受到包括倫敦維多利亞與亞伯特美術館和薩默塞特宮、曼徹斯特 AND藝術節和卡爾斯魯爾（Karlsruhe） ZKM（Zentrum für Kunst und Medien）在內的機構的委託。他的作品 Digital Natives 和 Disarming Corruptor 被巴黎龐畢度藝術中心收藏，並於 2014 年在 Ars Electronica 獲得了傑出獎。他於 2009 年獲得倫敦皇家藝術學院的碩士學位，並於 2019 年在倫敦大學金匠學院完成了他的實踐博士學位。

馬修‧普魯默─斐南德斯目前是坎伯韋爾藝術學院美術學士：計算機藝術的課程負責人，以及倫敦藝術大學創意計算學院的高級講師。

British/Colombian artist Matthew Plummer-Fernández's interest in the interrelation of algorithmic systems, popular culture, and contemporary issues, forms a varied body of work influenced by the traditions of Generative Art, Critical Design, and Internet Art, that he describes as algopop.

Plummer-Fernández's work has been exhibited extensively, and commissioned by institutions including the Victoria & Albert Museum and Somerset House in London, AND Festival in Manchester, and ZKM in Karlruhe. His works Digital Natives and Disarming Corruptor are in the collection of Centre Pompidou in Paris, and in 2014 Disarming Corruptor received an award of distinction at Ars Electronica. He received an MA from London's Royal College of Art in 2009, and completed his practice-based doctorate at Goldsmiths, University of London, in 2019.

Plummer-Fernández is currently the course leader in BA Fine Art - Computational Arts at Camberwell College of Arts, as well as a senior lecturer at the Creative Computing Institute, University of Arts, London.

馬修‧普魯默 - 斐南德斯 Matthew Plummer-Fernández

伊里亞‧施基平（生於 1989 年）在舊金山藝術學院獲得插畫學士學位，目前在加利福尼亞州海沃德生活和工作。伊里亞使用行動繪畫應用程式，通過無序的意象來解釋情緒反應的光譜。在他的畫作中，他通過將痛苦的人物放置在如夢般空曠、扭曲的空間中來描繪現實。人物融入他們的環境，就像記憶遊走在遺忘的邊界一般。他探索與個體與特定對象之間的聯繫，從照片、電影劇照和想像中汲取靈感。再平凡不過的現實場景被消解和融化，人與物交互滲透，融入環境之中，被時間凝結，在情感空間中崩解。

Ilya Shkipin (b. 1989) holds a BFA in Illustration from the Academy of Art in San-Francisco and currently lives and works in Hayward, California. Ilya Shkipin employs gestural paint application to interpret the spectrum of emotional response through amorphous imagery. In his paintings, he depicts reality by placing anguished figures in dream-like empty, distorted spaces. Figures blend into their environments like the way memories spontaneously pass into and out of oblivion. He explores a personal connection with subject, taking inspiration from photos, movie stills and imagination. An ordinary scene in a journalistic sense dissolves and melts, figures bleed into each other, into the environment, frozen in time, breaking down by emotions of space.

伊里亞‧施基平 Ilya Shkipin

伊馮娜‧陶是來自立陶宛的 AI 藝術家和研究者，以人工智能作為視覺藝術的媒介。 其作品的核心建立在攝影藝術與機器學習新技術的交匯點。她的目標是藉由人工智能工具中發現並喚起情感，從而使它們更為人性化。通過創作藝術和與機器合作，她亦探索了其內心的情緒狀態。

伊馮娜擁有華沙大學的數學碩士學位。目前正攻讀Polish-Japanese Academy的信息技術學院計算機科學博士學位。

其創作的兩個計畫：《這些人類沒有感覺》（These humans did not feel）和《看不見的華沙》（Unseen Warsaw），於 2020 年 Digital Ars 競賽中獲得了最佳獎，該競賽致力於使用 AI 進行藝術創作。 Ivona 活躍於 NFT 藝術界，目前是環境友善的平台 Hic Et Nunc 上的前 50 名創作者之一，也是 Foundation 上炙手可熱的藝術家之一。她的 NFT 作品亦於世界上最負盛名的紐約蘇富比拍賣中售出。

Ivona Tau (Tautkute-Rustecka) is an AI artist and researcher from Lithuania who works with artificial intelligence as a medium in visual arts.  A core element of Ivona’s work lies in the intersection of arts and photography with the new technologies and machine learning. Her goal is to find and evoke emotions in the artificially intelligent tools, this way making them more human. By creating art and collaborating with the machine, she also explores her inner emotional states.

Ivona holds a Master's degree in Mathematics at Warsaw University. Currently, she pursues a Ph.D. in Computer Science at the Polish-Japanese Academy of Information Technology.

She has been awarded the best award in the Digital Ars 2020 contest dedicated to art creation with AI for her two projects: “These humans did not feel” and “Unseen Warsaw”.  Ivona is active on the NFT art scene and is currently one of the top-50 creators on the environmentally friendly Hic Et Nunc platform as well as one of the trending artists on Foundation. Her NFT work has been sold in the world's most prestigious Sotheby's auction house in New York.

伊馮娜‧陶 Ivona Tau

麥可‧堤卡在布里斯託大學學習生物化學和生物技術。他於 2007 年獲得生物物理學博士學位，隨後在華盛頓大學擔任研究員，研究蛋白質分子的結構和動力學。他一直對蛋白質折疊感興趣，並通過編寫計算機模擬程式以更好地理解這一迷人的過程。 他於 2012 年加入 Google，並致力於使用計算機視覺和機器學習創建蒼蠅和小鼠腦組織的神經元水平圖。

麥可‧堤卡使用人工神經網絡作為藝術媒介和工具。 2015 年，在與 Google 共同創立的藝術家和機器智能計畫 Iterative DeepDream， 創作了第一批大型藝術品。 2017 年他與 Refik Anadol 合作，使用名為「Archive Dreaming」的生成對抗式網絡（GAN）創建了一個開創性的沉浸式投影裝置。他的最新創作系列《想像人物肖像》已在林茨的 ARS Electronica、紐約的佳士得和日本輕井澤的新博物館展出。他的動態、人工智能驅動的雕塑作品《我們和他們》在 2018 年於首爾藝術博物館的媒體城市雙年展和 2019 年在東京的森美術館展出。

Mike Tyka studied Biochemistry and Biotechnology at the University of Bristol. He obtained his PhD in Biophysics in 2007 and went on to work as a research fellow at the University of Washington to study the structure and dynamics of protein molecules. In particular, he has been interested in protein folding and has been writing computer simulation software to better understand this fascinating process. Mike joined Google in 2012 and worked on creating a neuron-level map of fly and mouse brain tissue using computer vision and machine learning.

Mike also works with artificial neural networks as an artistic medium and tool. In 2015 created some of the first large-scale artworks using Iterative DeepDream and co-founded the Artists and Machine Intelligence program at Google. In 2017 he collaborated with Refik Anadol to create a pioneering immersive projection installation using Generative Adversarial Networks called "Archive Dreaming". His latest generative series "Portraits of Imaginary People" has been shown at ARS Electronica in Linz, Christie's in New York and at the New Museum in Karuizawa (Japan). His kinetic, AI-driven sculpture "Us and Them" was featured at the 2018 Mediacity Biennale at the Seoul Museum of Art and in 2019 at the Mori Art Museum in Tokyo.

麥可‧堤卡 Mike Tyka

法丁‧艾普斯坦是莫斯科的媒體藝術家、理論家和實踐者，同時也是位傑出的 VJ。他還是惠普的前顧問和理論物理學家。他曾在各個領域（網絡藝術、科學藝術、前衛藝術運動等）工作，現在主要專注於視覺媒體。

他為數百場演唱會、音樂節、商業活動和其他知名人士製作現場視覺效果。就個人而言，他更喜歡明亮可識別的美學，藉由自然與後工業文化的視覺語言，強烈的衝擊著感官。

自 2009 年 3 月起，他是 in[visible] studio 的創始人和創意總監。除了商業和個人項目之外，法丁‧艾普斯還舉辦了許多講座、研討會和培訓課程。近年來，他最感興趣的是生成圖形、新媒體藝術和創意程式編碼。

Vadim Epstein is a Moscow based media artist, theorist and practitioner as well as leading Russian VJ. He is also a former HP consultant and theoretical physicist. He worked at various areas (net.art, science art, avantgarde club events, etc.) and now mostly concentrates on visual media.

He produced live visuals for hundreds of concerts, festivals, commercial events and other big names. Personally he prefers bright recognizable aesthetics with high impact on the audience, natural to post-industrial culture.

Since March 2009 he is the founder and creative director of in[visible] studio. Besides commercial and personal projects Vadim Epstein delivered numerous lectures, workshops and training courses. In the recent years he was mostly interested in generative graphics, new media art and creative coding in general.

法丁‧艾普斯坦 Vadim Epstein

尼基塔‧潘寧的傳統藝術教育涵蓋油畫、陶瓷和各種數位藝術領域，作品種類繁多且令人印象深刻。在過去的幾年裡積累了相當多的經驗，他現在的主要研究集中在探索人工神經網絡中的創造性可能。

Nikita Panin's traditional art education spans oil painting, ceramics and various digital art fields with a varied and impressive portfolio. Having amassed considerable experience over the last few years, his main research now focuses on the exploration of creative possibilities within artificial neural networks.

尼基塔‧潘寧 Nikita Panin

賴宗昀，1988年出生，現為「失聲祭」聲音藝術活動策展人。創作以音像為始,對於生命狀態意義的追尋。近年來，因大量接觸聲響表演後也開始了個人的演出計劃。自行摸索混音器反饋噪音與環境錄音，進行影像與聲音結合的表演。影像取材不少民俗宗教祭儀，配上噪音音牆更顯神秘性。2019 策劃亞熱帶振盪-失聲祭歐洲巡迴演出、2018年於倫敦Somerset House Studio策劃倫敦失聲祭，2017年受邀於兩廳院30週年紀念活動-眾聲之所戶外公演，並曾在西班牙巴塞隆納Transonic、JOLT台北澳洲聲響連線演出、日本東京Super Deluxe、上海NOISHANGHAI、香港藝術中心Sonic Anchor…等等國際演出。作品曾獲2015年臺北美術獎入選、2015年全國美術展新媒體藝術類首獎，入選台灣國際錄像藝術節及高雄電影節短片單元⋯⋯等。

2013年起擔任台灣最具代表性聲音藝術活動之一 失聲祭活動策展人。失聲祭始於 2007年,至今舉辦聲響演出活動超過上百場。今年邁入第十年,旨在推廣台灣聲音 藝術演出平台,同時也積極的與國外聲音藝術組織進行合作交流。

Lai Tsung-yun, curator of Lacking Sound Festival, presenting a sampling of audiovisual interactive praxis, piecing together largely formless images and field recordings of eccentricity and frenzy. Chaining altogether mixed noises and oversampling test tones, his sound experiment provides listener a profound dip into the enigmatic soundscape.

Lai Tsung-Yun has curated the Lacking Sound Festival since 2013, which is Taiwan’s most renowned sound art performance festival. Now in its tenth year, the Lacking Sound Festival has organized over a hundred different sound art performances since 2007. The Festival promotes sound art events in Taiwan and actively works with sound artist groups from abroad.

賴宗昀 Tsung-Yun Lai

張明曜，生於1987年，彰化人。畢業於台北藝術大學美術系，藝術跨領域研究所。其創作受到漫畫的分鏡及電影、電視影響，將不同的影框、分鏡視作繪畫中的不同空間。除此以外，亦有部分創作與遊戲相關。

Chang Ming yao, born in 1987, lives in Changhua city . He has a bachelor degree of fine art from Taipei national University of the Arts, and a master degree of trans-disciplinary art. His creation is inspired by the storyboards of comics, movies and TV, and in his art works, he regards different frames and different shots of storyboards as individual spaces. In addition, some of his works are related to the game.

張明曜 Ming-Yao Chang

VolDAO，成立於 2021 年底，台灣第一個立基在 Tezos 鏈的 NFT 藏家群體。Vol 是 Volume 的簡稱，除了有「音量」或「聲量」的意思，更是藏品的單位名稱，如「卷」、「冊」或「輯」。在收藏值得投資的、能夠開拓未來藝術史的作品之餘，我們也策畫展覽，嘗試為元宇宙打造良善的公領域。讓我們追求值得收藏的作品，成為敢於行動的藏家。

VolDAO, established at the end of 2021, is the first NFT collector community in Taiwan on the basis of Tezos. “Vol” is the abbreviation of “Volume”. Aside from “volume” or the extended meaning of “buzz” in the context of social media, it is also a unit for collection, like “volume,” “book,” or “part.” We collect works worthy of investment and able to make history of art in the future. Meanwhile, we curate events and endeavor to build a better public sphere for the metaverse. Let us pursue artworks worthy of collecting and be collectors of action.

VolumeDAO

〈觸手怪物們，172號〉  Tentacular Critter #172

〈觸手怪物們，57號〉 Tentacular Critter #57

〈觸手怪物們，96號〉  Tentacular Critter #96

〈觸手怪物們，102號〉  Tentacular Critter #102

〈觸手怪物們，111號〉  Tentacular Critter #111

〈觸手怪物們，161號〉  Tentacular Critter #161

〈心層行旅〉 Journey through the layers of the mind

〈最後的晚餐〉 Last Supper

〈最後的晚餐：修復〉 Last Supper: Restored

〈先祖：形式22號〉 The Ancestors: forms #22

〈先祖：形式10號〉 The Ancestors: forms #10

〈鮮紅可口的栽培物：冬作〉 Red Delicious Cultivar: The Winter Crop

〈大量生產下從未料到的GAN高功率突變〉 High-Powered Mutants of Some GAN Never Even Considered for Mass Production

〈綠色的承諾〉 Green promise

〈抽象的水果〉 Abstracted fruit

〈氣泡〉 The Bubbles

〈移形換位 004〉 Deposed 004

〈潛藏空間的岸上軍旅〉 Militaires sur un Quai à l'Espace Latent

〈朝生暮死〉 ἐφήμερος

〈銀河皮條客〉 Le Souteneur Galactique

〈邊界之屋〉 A House by the Edge

〈意識的地平線 - 冬晚〉 Consciousness Horizon: Winter Evening

〈意識的地平線 - 超新星〉 Consciousness Horizon: Supernova

〈晶肉廟〉 Temple of Crystal Meat

〈美善之物皆拾壹〉 All Good Things are Eleven

〈金髮銀聲〉 The Golden Hair with a Voice of Silver

〈林木之中與我所發現〉 In the Heart of the Wood and What I Found There

〈小禱〉 Prayer Minor

〈大禱〉 Prayer Majer

〈洞穴彩繪〉 (15/08/2021 GENAI FIRST)  Cave Painting (15/08/2021 GENAI FIRST)

〈洞穴彩繪〉(26/07/2021 SQ-A) Cave Painting (26/07/2021 SQ-A)

〈洞穴彩繪〉(07/07/2021 GOLD) Cave Painting (07/07/2021 GOLD)

〈洞穴彩繪〉 (03/08/2021 SPIRAL) Cave Painting (03/08/2021 SPIRAL)

藝術GAN什麼？ ──《機器會夢見NFT嗎？》展序

自伊恩‧古德菲婁（Ian Goodfellow）2014年提出「生成對抗網路」（Generative Adversarial Network，簡稱GAN）起，這項技術已經在遊戲設計、天文研究和廣告影像等領域獲得眾多目光，視覺藝術也不例外。

生成對抗網路屬於「機器學習」（Machine Learning）中的「深度學習」（Deep Learning）。機器學習是人工智慧（Artificial Intelligence）的根本課題，著重模擬神經網路，試圖辨識、產出和精進資訊。在「生成對抗網路」這個冗長的名詞中，「對抗」是最大特點：設立「生成器」（generator）和「辨識器」（discriminator）的雙重機制，讓它們相互抗拮，共同成長。

首先，生成器自資訊的「潛藏空間」（latent space）中獲取素材，編造幾可亂真的成品；其次，辨識器根據現實中的本真對象或資料庫標的，指認生成器編造資訊之真偽。若為真，則通過檢驗，資訊確立；若為假，則再次生成，直到「瞞天過海」。我們不妨將它們的關係比作偽鈔製作者和刑事局或贗畫家和檢驗者，就算不以真偽二分，兩者的互動亦可被想成藝術家和藝評家，資訊或作品的方方面面得以更加完善。

把上述邏輯和技術應用在視覺藝術，觀者不只見到寫實卻不存在的人事物，還能欣賞生產和校正的往返歷程。我們再次玩味「觀看的方式」：判斷真與假，捕捉變與常，想像萬物之間的連結及其外觀互換的可能。此外，若機器能夠繪畫，它們「想到」和「看到」的又是什麼？這麼問或許太誇張，畢竟這一切不仍是人類的創作嗎？諸多爭議或許正是重解人機關係的契機。

「生成對抗網路」剛起步時，「非同質化代幣」（Non-Fungible Token，即NFT）的技術尚未出現。如今，隨著區塊鏈和加密貨幣的普及，越來越多藝術家以「生成對抗網路」創作，並將作品鑄成NFT。本展選品多半出自泰卓鏈（Tezos）非同質化代幣平台「Hic et Nunc」（已更名為「TEIA」），如果機器在學習過程中逐步向人趨近，那麼「他／她們」是否也會發現作品正以NFT的形式販售，甚至在午夜夢迴時若有所思？

機器會夢見NFT嗎？這個問題交給步入展間的您──和周邊越發聰明的所有手機、電腦和電子儀器──來回答。

Since Ian Goodfellow proposed the Generative Adversarial Network (GAN) in 2014, this technology has attracted a lot of attention in fields like game design, astronomical research and advertising image, and visual art is no exception.

A GAN is a Deep Learning in Machine Learning, which is an essential topic of Artificial Intelligence that focuses on the neural network simulation to identify, produce, and improve information. Of the lengthy term “Generative Adversarial Network,” “Adversarial” is the core feature: setting up the duo models of “generator” and “discriminator” for both to fight and grow with each other.

First of all, the generator acquires materials from the latent space and creates seemingly genuine products. Secondly, the discriminator identifies these products as true or false on the basis of objects in reality or targets in the database. If a product is identified as true, the product passes the test, and the information is verified. Otherwise, the generator will generate information again until they cheat the discriminator. The relation between the generator and discriminator is like the one between counterfeit money makers and criminal affairs bureau or that between art forgers and art forensic investigators. Even if we do not treat it as such, their interaction can be understood as that between artists and critics, which improves information or artworks in various aspects.

Applying this logic and technology mentioned above to visual art, viewers can not only see something or someone that does not exist, but also appreciate the repeated process of production and correction. By distinguishing true from false, grasping the variable and the constant, and imaging the links among all and the possibilities in appearance change, we play with “ways of viewing” yet again. Besides, if machines can paint, what do they “think of” and “see”? This question may be exaggerated. After all, aren’t all these products creation of humans? These controversies may be chances to the reinterpretation of human-machine relationship.

At the onset of GAN, the technology of Non-Fungible Token (NFT) was not born yet. Nowadays, along with the popularization of blockchain and cryptocurrency, there is an increasing number of artists creating and turning works into NFTs with GANs. Most of the exhibits in this exhibition are from Hic et Nunc (now TEIA), a Tezos NFT platform. If machines are approximating humans in the process of learning, will they also discover that their works are on sale in the form of NFTs, and have some thoughts to ponder over at midnight?

Do machines dream of NFT? This question is left for everyone stepping into the exhibition, as well as the ever-smarter mobile phones, computers, and electronic devices around us, to answer.

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馬修‧普魯默─斐南德斯是倫敦藝術大學電腦藝術中心的課程主任。在Objkt平台上，從2021年開始創作的「洞穴彩繪」系列至今已累積74件。在〈洞穴彩繪〉（15/08/2021 GENAI FIRST）中，普魯默─斐南德斯用人工智慧為洞穴編碼，結合2012至15年自己開發的生成式技術，創造出引人入勝的風格。其他作品皆由機器模擬神經網路，將觀者視線投射在想像的洞穴上，配合藝術家對機器的若干提示所繪出。除了近景與遠景的區分外，洞穴的配色和輪廓也是一大看點。

The “Cave Painting” series created since 2021 at objkt.com has amounted to 74 pieces to date. In Cave Painting (15/08/2021 GENAI FIRST), Plummer-Fernandez encodes caves with AI and creates magnificent styles with his generative technology developed between 2012 and 2015. The other works in this series are created by the machine-simulated neural networks through projection of viewers’ gazes onto the imaginary caves, along with the prompts given by the artist to the machines. In addition to the distinction between the foreground and background, the colors and contours of the caves are also a feature one cannot miss.

objkt.com

馬里奧‧克林格曼是當代藝術中率先以機器學習創作的著名先驅，相關討論幾乎都無法繞過他。「移形換位」是以機器神經網路偵測人類動作和姿勢所生產的系列作品，本展選擇其中第四號。人形從海量照片中被抽取出來，僅存輪廓和不斷游動的點狀與網格。在機器的眼中，具體之人走下台階，留下純粹的幾何動態。

“Deposed” is a series of works produced by a machine simulated neural network through detection of human motions and gestures. The work 004 in the series is exhibited in this exhibition. Human forms are extracted from a plethora of pictures, but only the contours and flowing dots and grids remained. In the eyes of machines, the figurative human forms are deposed. What remains is the pure geometric dynamics.

本名巴斯‧烏特維克（Bas Uterwijk），自比為「後攝影師」和資訊「潛藏空間」的駕馭者，作如其名，以「生成對抗網路」融合攝影和繪畫，創造風格各異的作品。〈潛藏空間的岸上軍旅〉是向法國風光畫家保羅‧亞歷山大‧普羅塔〈土倫港的岸上軍旅〉的致敬作，也是特別鑄造給忠實藏家們的聖誕禮物；原畫中的清明色塊在此彼此交織，內裏呈現更多機器模擬神經網路創作時的橫紋。

Militaires sur un Quai à l'Espace Latent is a tribute to Militaires sur un quai à Toulon created by Paul Alexandre Protais, a French historical scene painter. This piece is also a Christmas present minted for his royal collectors. Chunks of colors with clear contours in the original image are now ambiguous and full of curious stripes created by machines via neural network simulation.

本名巴斯‧烏特維克（Bas Uterwijk），自比為「後攝影師」和資訊「潛藏空間」的駕馭者，作如其名，以「生成對抗網路」融合攝影和繪畫，創造風格各異的作品。不無戲謔的〈銀河皮條客〉擁有外星人形貌並身著一席太空裝，從古畫汲取元素，也以人工智慧的視角投射出對未來的想像。

Le Souteneur Galactique, a humorous piece, portrays an alien in a space suit. It derives elements from ancient paintings and casts an imagination of the future from a viewpoint of AI.

本名巴斯‧烏特維克（Bas Uterwijk），自比為「後攝影師」和資訊「潛藏空間」的駕馭者，作如其名，以「生成對抗網路」融合攝影和繪畫，創造風格各異的作品。〈朝生暮死〉融合女體與類似藤蔓及岩石的紋理，刻劃生命在時間洪流下的轉瞬即逝。

ἐφήμερος combines a female body with textures close to those of vines and rocks, depicting the ephemeral states of life in the long river of time.

法丁‧艾普斯坦來自俄羅斯，為各大知名派對和音樂會執行現場影像製作，其程式代碼受人工智慧藝術家們推崇，本身也是理論物理學者。〈主禱文〉系列以專門的文字轉影像工具創作，分〈大禱〉和〈小禱〉兩部。畫面中的立體事物（如人臉、城堡、雲層、教堂和麵包等）似乎被刻意安排成平面事物，但隨著視野推進，平面又轉為立體；在這兩端之間，觀者意識迷濛，漸感聖性。〈小禱〉較〈大禱〉的色彩豐富而溫暖，使用的元素更具趣味。

The “Prayer” series include Prayer Major and Prayer Minor, produced with text-to-video tools. The 3D objects, like human faces, castles, layers of cloud, churches, and breads, seem to be purposefully transformed into 2D. However, as the scene is zoomed in, the 2D objects become 3D instead. viewers have to change their points of view constantly between the two. Prayer Minor is richer and warmer in terms of palette compared with Prayer Major.

尼基塔‧潘寧是來自聖彼得堡的新銳加密藝術家，有時也以「星體浩劫」（astraldisaster）為名創作，主題從肖像、景觀到人物群像皆有。這次展出的四件作品〈晶肉廟〉、〈美善之物皆拾壹〉、〈金髮銀聲〉和〈林木之中與我所發現〉風格一貫，帶有幽暗和異端的特質，部分素材來自經典畫作中的聖者肖像和森林景觀。在調校機器的過程中，對象的重複出現和彼此互滲──從花朵和樹木到人形和動物皮質──被刻意強調，加之遠觀的鏡框，神聖性和詭譎感一體併生。

Temple of Crystal Meat, All Good Things are Eleven, The Golden Hair with a Voice of Silver, and In the Heart of the Wood and What I Found There are consistent in terms of style with traits of obscurity and heresy. Some materials are derived from forest landscapes and saints’ portraits in the classical paintings. In the process of machine tuning, the repeated emergence and interpenetration of objects - from flowers and trees to human forms and animal skins - are deliberately emphasized. Along with the frames of distant view, they present senses of divinity and oddity altogether.

土耳其裔新媒體藝術家迷莫‧阿克騰的〈心層行旅〉，是2015年使用Google甫開發成的機器學習技術「深度夢境」（Deep Dream）所完成之作品。作者現身面對鏡頭，人臉及其背景接著轉變成特定動植物乃至礦物之紋理，過程中景深不斷加強，畫面不斷拉進，觀者隨著視角的深化和變化一同目眩神迷，猶如進入機器的意識，換成機器的雙眼。

Journey through the Layers of the Mind used “Deep Dream,” a machine learning technology developed by Google in 2015. At first, the artist faces the camera. Later, his countenance and the background are melting into textures of certain animals, plants, and even minerals. The depth of field is enhanced constantly, while the frames are zooming in. Viewers are dazzled by all the changing and deepening processes, as if they entered the consciousness of machines and saw things through the eyes of machines.

〈觸手怪物們〉共256件，「怪物們」的身影藉由人工智慧融合了其他生物、礦物和不同背景，如海底、岸邊甚或星塵，創造出五彩繽紛的「章魚宇宙」。

There are a total of 256 pieces in Tentacular Critter. With AI, these monsters’ shapes are fused with many creatures, minerals, and various backgrounds, including seabed, shores, and even stardust, giving birth to a colorful “universe of octopus.”

張明曜是台灣視覺藝術家，過去以實體創作為主，現在積極投身非同質化代幣的鑄造，在人工智慧生成網站Pixray的協助下，完成大量作品。「最後的晚餐」為其著力甚深的系列，以特殊身段活動的經典人物在此被重新扭曲，賦予鮮豔的紋路。〈最後的晚餐：修復〉則呈現反覆調校、以原作為依歸而不可得的過程，在機器的凝視和佈署下，新世紀的門徒改頭換面，恐怖又瑰麗。

“Last Supper” is a series in which he invested much of his efforts. The classical figures in special postures are reorganized and bestowed with colorful patterns in the series. Last Supper: Restored demonstrates the failed process of repeated correction based on the original painting. Under the gaze of and through the deployment of machines, the disciples of the new century are transformed horribly yet gorgeously.

張明曜是台灣視覺藝術家，過去以實體創作為主，現在積極投身非同質化代幣的鑄造，在人工智慧生成網站Pixray的協助下，完成大量作品。「最後的晚餐」為其著力甚深的系列，以特殊身段活動的經典人物在此被重新扭曲，賦予鮮豔的紋路。〈最後的晚餐〉空無一人，徒留桌椅和餐具，不只在意義上回應了古典文本，更在視覺上凸顯了機器生成的可能。

“Last Supper” is a series in which he invested much of his efforts. The classical figures in special postures are reorganized and bestowed with colorful patterns in the series. Last Supper is presented with no one but the table, chairs, and tableware. It serves not just a meaningful response to the classical text but also a highlight on the machine generated possibilities visually.

新媒體藝術家賴宗昀，也是台灣聲響演出長青平台「失聲祭」的主理人，去年沉浸於非同質化代幣的收藏、交易和生產。「先祖」是他在Hic et Nunc（TEIA）平台上以「LTY」名義創作之外的系列作品，主要用StyleGAN為工具。同其他系列作品一樣，〈先祖：形式22號〉取材自人類學紀實攝影下的泰雅族黥面長者，「觀看的方式」從相機到機器，體現了百年多來的變化。在感官上，除了遠看頗具繪畫風格，近看更似不均質的金屬雕版。

The Ancestors, mainly created with the help of StyleGAN, is a series he released at Hic et Nunc (now TEIA) not in the name of LTY he often uses. Like the other works of the series, The Ancestors: forms #10 and #22 were inspired by the face tattoos on the Atayal elders. Viewed from a distance, they appear rich in a painterly style; viewed at close, they resemble more the uneven engraved metal plates via the GAN modulation.

新媒體藝術家賴宗昀，也是台灣聲響演出長青平台「失聲祭」的主理人，去年沉浸於非同質化代幣的收藏、交易和生產。「先祖」是他在Hic et Nunc（TEIA）平台上以「LTY」名義創作之外的系列作品，主要用StyleGAN為工具。同其他系列作品一樣，〈先祖：形式10號〉取材自人類學紀實攝影下的泰雅族黥面長者，「觀看的方式」從相機到機器，體現了百年多來的變化。在感官上，除了遠看頗具繪畫風格，近看更似不均質的金屬雕版。

The Ancestors, mainly created with the help of StyleGAN, is a series he released at Hic et Nunc (now TEIA) not in the name of LTY he often uses. Like the other works of the series, The Ancestors: forms #10 and #22 were inspired by the face tattoos on the Atayal elders. Viewed from a distance, they appear rich in a painterly style; viewed at close, they resemble more the uneven engraved metal plates via the GAN modulation.

立陶宛藝術家伊馮娜‧陶，擅長攝影和人工智慧創作，至今已獲得多項國際大獎；通過「機器學習」，作品融合了大量照片，主題多為建物與景觀。她試圖鑿開事物之間的隱密連繫，當此關係浮現，所見對象則如夢境場景般可相互轉化，超越意識的邊界。2021年8月發表的〈邊界之屋〉呈現凜冽低限的色調，在幻化過程中佐以炙熱的紅光。

A House by the Edge, released in August 2021, presents a cold and minimalist hue, accompanied by the hot red lights in the process of transformation.

立陶宛藝術家伊馮娜‧陶，擅長攝影和人工智慧創作，至今已獲得多項國際大獎；通過「機器學習」，作品融合了大量照片，主題多為建物與景觀。她試圖鑿開事物之間的隱密連繫，當此關係浮現，所見對象則如夢境場景般可相互轉化，超越意識的邊界。〈意識的地平線〉系列目前分〈冬晚〉和〈超新星〉兩部，皆致力捕捉都市形貌在觀者記憶和不同情感狀態下的模糊、混亂與交融。

The “Consciousness Horizon” series includes Winter Evening and Supernova. Both of them attempt to grasp the ambiguity, chaos, and ambivalence of city landscapes in memories and diverse emotions of viewers.

海蓮娜‧薩琳，以「神經拼裝」（Neural Bricolage）為名（工作室名稱）的視覺藝術家及軟體工程師，曾在貝爾實驗室工作長達二十年，嫻熟使用人工智慧創作，深深著迷於人工智慧的不可預測性，也是相關領域活躍的演說者。〈鮮紅可口的栽培物：冬作〉和〈大量生產下從未料到的GAN高功率突變〉皆用生菜葉訓練人工智慧，並以「生成對抗網路」在形狀、顏色、光線和各種元素之橋接等方面模擬植物的質地。兩件作品同屬「維根（veGAN）」計畫的一部份品，紋理細緻、色彩豐富。

Both Red Delicious Cultivar: The Winter Crop and High-Powered Mutants of Some GAN Never Even Considered for Mass Production trained AI with lettuce leaves and simulate the textures of plants in the aspects of shape, color, lighting, and the bridging of various elements with GANs. As part of “veGAN” PRJKT, these two works are exquisite in texture and rich in color.

伊里亞‧施基平現居美國，畫作多表現人體動作和姿勢，主題集中描繪鬱悶的情緒，佐以如夢似幻的背景。他在Hic et Nunc（TEIA）平台上，擁有相當多系列的作品。〈綠色的承諾〉和〈抽象的水果〉屬於「霧霾勃發」系列，皆在人工智慧的協助下破壞人類形體；雖然如此，其中還是大量融入了伊里亞作品中常見的情色場景。

Green Promise and Abstracted Fruit belong to the “Burgeons Haze” series, which is to deconstruct human forms with the help of AI. Nevertheless, we can still find the erotic scenes in these works, which are commonly seen in Shkipin’s practices.

麥可‧堤卡在西雅圖工作，專業領域相當多元，關注雕塑、人工智慧、氣候研究，因運用「生成對抗網路」提高人像解析度及面部各類細節而著名。〈氣泡〉是「生成對抗網路」的動態影像，技術上屬於BigGAN，採用大規模學習和訓練之手法，完成氣泡上光澤及映像的反射，同時掌握了複雜的水中紋理和背景。

The Bubbles is a moving image work created with the GAN named BigGAN. Through the approach of massive learning and training, the artist completed the lusters and reflections on the bubbles and commanded the complex watery texture and background.