Yu-Chuang Tseng

Digital + interactive + Art

Here, not here- Yu-Chuan Tseng Solo exhibition 在,也不在-曾鈺涓個展

Here, not here- Yu-Chuan Tseng Solo exhibition

Date: March 7- April 5, 2020

Opening: 3:00-5:00 pm, March 7, 2020

Venue: Waley art

Adress: No. 6, Ln. 322, Wanda Rd., Wanhua Dist., Taipei City 108, Taiwan

Opening hours: Mon.-Sun., 12:00-19:30 , closed on April 4

Technical team: Kuan-Ying Wu, Chi-Ping Chin, Sheng-Po Shen , Yi-Ching Huang, Chia-Chun Chang, Achi Cheng

Special thanks to: Prof. Hao-Chiang Lin, Prof. Yong-bo Ma, Laboratory of Fragrance & Perfume


Here, not here” is constructed upon the idea of the name “Jane” and its digital presence. The exhibition presents publically available data of “Jane” materialised in the form of text, still images, moving images, perfume, sound showing an existence of “Jane” as an entity. “Jane” is the English name given to me by a teacher in the first day of English class when I was a child. “My name is Jane” is how I introduce myself in international settings. However, an online search of “Jane” brings up information with the tag #Jane that is symbol shared with everyone who has that name.

This series originated in 2009 with “where are you?” (1), a digital portrait of beings. The work invited viewers to key in the name they wanted to search. It reconstructed the portrait by activating photo search, and face recognition system to automatically recognize and capture the eye, nose, and mouth in the photographs. Originally the portrait was a confirmation of existence, but in the process it became a digital code and the reorganization of beings. The individual portrait lost its uniqueness and became a constructed whole of others. In 2013, I started the “Digital Portraits” series. Using the same process, the program automatically generated portraits of the top 10 most popular English names of men and women in Taiwan every day. Thus “Jane” became a key subject.

In 2016 “Jane” had a Facebook account and published fictional travel photos and poems titled “Traveling to”. In 2017 “Jane’s Diary” was launched as an automated program, which creates sentences by fetching the posts of accounts with ID #Jane on Twitter. The program collects, edits and recreates the texts into an English diary. The texts and images are record of life and emotion of “Jane”. They also contain the personalities of “Jane” and the issues that “Jane” is concerned about. In 2018 I launched “What is your scent today?” project. There are 31 bottles of perfume produced. Each is based on the emotional/aroma ratio determined by the emotional computing classifier of “Jane’s Diary”. “Flowing Jane 2018”and “Digital Portraits–Jane 2019” present the portraits of Jane each day in these two year. “Garden of Portraits” is a flower forming continuously spiraling petals by using the portraits. They show the constant features of digital portraits in flowing and disappearing forms. “My name is Jane” constructs an environment with portraits and voices of Jane. Viewers can also learn about the personality and preferences of “Jane” through the conversation of three intelligent assistants (chat robots) in “Chitchat” 2020. The conversations are produced thought the process of machine learning and artificial intelligence from the PTT, a BBS of Taiwan.

In the digital age, we live in a cyber space that can be regarded as a self-definable state of existence. We define our identity and daily life through texts and images. We extend the mode of personal existence in digital form to build our own identity. The world is becoming an “infosphere”. Physical and virtual experiences intertwine. Our world is entering the fourth industrial transformation. What we do online and offline is already “onlife” and has created an onlife personality. (Floridi, 2016) In the digital coding and cloud platforms, through the process of signal compilation and recombination, individuals gather into a whole new set of existence. However, this existence is a process of the viewer’s imagination. In the superimposed database, in the synchronicity of multi-stack signals, it becomes the other of being—“here and not here”.


弗洛里迪(2016)。第四次革命:人工智能如何重塑人類現實。浙江:浙江人民出版社。Luciano Floridi(2016), The Fourth Revolution : How the Infosphere is Reshaping Human Reality  (Chinese version)

1. The program of portrait was written by Sheng-Po Shen in  “where are you? “2009, In memory of Sheng-bo, , Huang Yijing continued to maintain and continue to use it to this day since 2013.


開幕:2020年3月7日,3:00-5:00 pm



開放時間:一~日, 12:00-19:30, 4月4日休館



『在,也不在-曾鈺涓個展』,以英文名字「Jane」為創作主題,以網路的眾多「Jane」的資料(Data)為創作材料,透過以「Jane」為名的書寫、影像、肖像、味道等,作為「Jane」在也不在的存在證實。「Jane」 是藝術家小時候去英文補習班上課的第一天,英文老師給的英文名字,長大後,「My name is Jane」成為與外國友人初次見面時,自我介紹的字詞。然而,網路上搜尋出的「Jane」,是「Jane」也非「Jane」,是以「Jane」為標籤(tag)的個體,是一種與眾人共享的網路分身。


2016年Jane申請了臉書帳號刊登虛構的旅遊照片與詩〈偽旅行記事〉;2017年以Twitter的文本為內容,Jane開始自動產生〈珍的日記〉;文本與影像都是網路眾人的生活紀錄與情感生活,同時也蘊含著Jane所關切的事務、情緒與個性。2018〈你今天的味道是?〉以情感運算挖掘文字資料中的情緒特質,分析集合眾人的情感情緒,創造出2018年8月31瓶「Jane」的情緒香味;〈流動的珍 2018〉與〈珍的肖像2019〉呈現出每一天的肖像的不同樣貌,2020〈肖像花園〉以肖像形成不斷螺旋狀旋卷花瓣的花朵,顯示不斷流動與消逝的數位肖像特質。2020〈我是珍〉以肖像與聲音創造出「Jane」無所不在的空間,2020〈絮語〉觀者更可透過三個智慧助理們(聊天機器人)的對話中,認識「Jane」的個性、喜好與行蹤,在空間與語音的情境中,感受「Jane」的存在,對話內容來自於機器學習與人工智慧透過分析臺灣電子布告欄-批踢踢而產製。

數位時代的我們,生活於被視為可自我定義存在狀態的網路虛擬空間中,透過文本、圖像定義自己的身份與生活日常,以數位形式延伸個人存在的模式,同時構築塑造自我的身份與定義。世界成為一個訊息空間(infosphere),實體和虛擬經驗混在一起,我們的世界正在進入第四個轉變,我們在線與離線的所作所為已經併為線上生活(onlife),並創出線上生活性格(onlife personality) (弗洛里迪, 2016)。個體在數位編碼與雲端平台中,透過訊號編譯與重組的過程中,集合成為一個存在的整體,然而,此存在,卻是在觀者想像的過程中,呈現的存在,也在與他人共同生產與疊加的資料庫中,在多重堆疊訊號的共時性中,成為「在,也不在」的他者。


弗洛里迪(2016)。第四次革命:人工智能如何重塑人類現實。浙江:浙江人民出版社。Luciano Floridi(2016), The Fourth Revolution : How the Infosphere is Reshaping Human Reality  (Chinese version)

註1. 2009年〈你在那裡?〉由沈聖博撰寫的肖像程式,為紀念聖博,2013年由黃怡靜繼續維護並持續使用至今。


Related Posts