Work Description This is an interactive art installation of four motifs, "Plum", "Orchid", "Bamboo", and "Chrysanthemum". These flora are highly appreciated in Chinese culture for their represented characteristics that a civilized gentleman admire and value, thus earn them a special appellation, "the Four Gentlemen". Each of the motif has one touch screen as input device, and one PDP（or LCD）screen as display equipment. There are different themes for each touch screen that the viewers could play with . They are : plum buds in the snow, reflection on the water surface of the orchid flower, a virtual Chinese zither, and small chrysanthemums. By rubbing, stirring, and fiddling with the items on the touch screen, one could see the responsive reaction shown on the PDP screen. Some of them will make the plants grow, and some of them would lead the viewers walk through the scene. If the touch screens are not touched, the items inside the PDP monitor would still change slowly and follow the rules of natural, like wind and gravity.
「化境 Beyond the Frame」是鳥鳥成員一號－俊廷於2006年的代表大作。透過3d建模及程式撰寫等技術，表現國畫的花草山水之美，並傳達作品意境。目前於上海當代藝術館展出（2006年9月6日至10月22日），想要一賭為快的鳥迷們，可以先在這嚐嚐鮮。 創作理念 數位在另一個時間創造不同的世界，人工智慧常是現實世界中記憶的收集，而相反，我們也收集數位記憶。數位形象「具形」於實體空間，在真實與想像中建立起溝通的「對象」，彷如再現一個隱匿的世界，而我們的真實空間(身體)也正是另一類資訊傳遞的大本營，透過知覺使非線性的連結成為可能，新的媒材與動態的感知也為非物質的感覺與記憶留下存在於藝術中的精神性。 中國繪畫建構了獨特的透視理論，大膽而自由地打破時空限制，具有高度的情境想像。在這一系列的作品中，將古典的情境透過新媒體藝術的手法，將數位的現代視覺元素與古典脫俗的氣質連結，與作品互動的觀賞過程形成新的美感經驗，打破一般將古典書畫陳列的物化，藉由科技媒體的手法召喚出在現代人數位視覺經驗中，潛藏於內在的古典經驗。 "Digital," creates a different world in a different time. Artificial intelligence is often memories of the real world collected together, and, conversely, we also collect digital memories. Digital imagery (form) in substantive space, both in reality and in the imagination, creates a "target" of communication as though reproducing a hidden world, while our actual space (the body) is also, indeed, Chinese painting has established a unique visual theory to break through the limitations of time and space with highly sentimental imagery. In this series of works, using the techniques of new media, classical sentiments, elements of digital vision and the refined classical temperament are joined together. A new aesthetic experience is forged from the process of enjoying the works by interacting with them, surpassing the usual displays of classical painting and objects, and using the techniques afforded by scientific and tehnological media to invoke the classical experience lurking inside the digital visual experience of contemporary man.