本論文嘗試在現今物聯網及人工智慧技術蓬勃發展的時空背景下，以自身系列作品《Biosignal信釋》（2020）的創作過程回應「我們將去向何處？」之提問，並探討作品中作者、作品與觀者之間的互動關係。為詮釋人類所創造的技術本身或其「衍伸物/混生演化物」繼續發展至取代人類，甚至具有進行交流、群體決策的智能，用以演化自己的文明等猜想，自身以「賦權」(Empower)作品作為投身於展場的實驗，使作品具備「自主性」，進而衍生為「主體性」。使用不可預期、且本身擁有感知、反饋能力的生物作為媒材，結合機器創造新功能，使作品得以主動與觀者作出互動。另以不同的互動形式，提供觀者以「被觀看者」與「橋接者」的兩種視角來參與，使展覽現場呈現作品與觀者互為主體性的局面。在非人類主宰的場域中，僅有人類得以行使藝術行為的桎梏就此被打破，據此進一步提問:參與互動過程的觀者其能動性將如何運作？

　　This paper aims to discuss, in consideration of today’s blooming development in in technologies such as the Internet of Things and artificial intelligence, the creative process of the author’s own serial artwork Biosignal (2020) in terms of approaching the question of “Where are we going?” as well as the dynamics between the artwork’s artist, the artwork, and the audience. The author illustrates the conjecture of man-made technologies or their “derivatives/hybrid derivatives” continuing to evolve before finally replacing mankind and even developing the intelligence for communication and group decision-making to create their own civilization by taking artworks of “empowerment” as the experimental field in exhibitions to give the artworks “autonomy” that in turn derives into “subjectivity.” By choosing, for media, plants that are unpredictable, responsive, and perceptive in themselves, and integrating them with machines to create new features, the artwork is capable of actively interacting with its audience. Moreover, the different interaction modes provide the audience with two possible perspectives – “the beholden” or “bridge” – when they participate, so that the exhibition space becomes one in which the artwork and its audience serve as mutual subject for one another. The notion that, in a non-human-dominated space, only humans can engage in artistic behavior is thus challenged and raises a further question – How does a participating audience’s agency work in such interactive process?

摘要
誌謝
目錄

第一章 緒論 1
1-1 創造邊緣主體 4

第二章 作品構成主體 7
2-1生物媒材質性 7
2-1-1生物與機器的結合與歸類 8
2-1-2機器介入生物之於藝術應用 11
2-1-3小結16
2-2作者、作品、觀者，三個端點的權力關係 17
2-2-1互動藝術作品案例爬梳 17
2-2-2自身作品脈絡與互動模式 24

第三章 構成作品《Apercevoir》－建立賽博格物聯網 27
3-1作者藉由機器介入導向作品的構成 27
3-1-1創造賽博格-生物媒材與機器的結合 29
3-1-2賽博格生物體串聯 37
3-1-3作品－觀者互動介面 38
3-2觀者的角色決定視角 40
3-2-1旁觀者與橋接者-角色選擇之間 40
3-2-2兩種視角的互動流程 42
3-3小結 44

第四章 擴展新生態系統與展製 45
4-1賽博格體控制佔領區 45
4-2系列作品《Biosignal信釋》的構成 45
4-2-1構成作品《Pneuma》－以陽光作為源頭 47
4-2-2構成作品《Breathing》－空氣與存活 52
4-2-3構成《Cradle》－水源孕育地 56
4-3系列作品《Biosignal信釋》展演紀錄 59

第五章 結論 65
參考文獻及附錄 68

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