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Immersive Video Installation, Plastic 3D Printing | Dimensions variable | 2023


Commission by National Taiwan Museum of Fine Art, U-108 Space project

Apr 15 - Jun 25. 2023

U-108 Immersive Technological Application Experimental Space

In an interview with a botanist, LIU Yu and WU Sih-Chin asked out of curiosity about what sort of experiences or methods would be applied when identifying a particular plant out in the wild. Expecting the answer to be along the lines of the organs of the flower, the shape of the leaf, or some kind of biology term, to their surprise, the botanist replied, “I would identify it by its aura.”

The Loves of the Plants written by naturalist and poet, Erasmus Darwin (1731-1802), in the 18 th century is a set of nature observation poetry based on a proposal made by Carl Linnaeus (1707 -1778) at the time, which classified plants based on their sexual characteristics. In the early stage of this plant taxonomy system established by Linnaeus, it was still quite controversial to compare plant organs to human sex organs, and needless to say, it caused quite a commotion to use highly sexualized language to apply the understanding of human sex in describing various features of plants. However, this anthropomorphic way of imagining plants has become the foundation of today’s plant taxonomy, even though results gathered with the advent of DNA technology have proven to be quite different from the system proposed by Linnaeus. In addition to agreeing with Linnaeus’ method of classification, Darwin also accepted the approach of using sexual metaphors. Through intricate biology observations, The Loves of the Plants presented the characteristics, senses, and desires of plants using anthropomorphic expressions, and female subjectivity was emphasized. To a certain degree, the poetry reflected Darwin’s atheist view: Compared to theology, human emotions are more rooted in physiology, and such a perspective also inadvertently classifies humans into the scope of nature.

The artwork, Ladies, presents a script adapted from three poems/three plants (Mimosa, Arum, and Cuscuta) written by Darwin and explores how humans perceived nature when this particular knowledge system was initially established. The content of this exploration is not intended as a response to the age-old question of anthropocentrism; rather, emphasis is placed on tracing the driving force behind humans’ initial perception of the world. In the process of “seeing/perceiving/understanding”, human beings also carry out some kind of inner perceptual production, with imagination thereby evoked. Knowledge is then simultaneously developed along with the acts of “receiving” and “producing”. It is hard to discuss this act of intrinsic production, and to convey it in any form would reduce it to some kind of translation. The artists have pondered on
the converging point of this driving force and the production of art, and they seek to use the three themes of senses, shapes, and narratives to construct Darwin’s imagination of plants, translating the poetic verses into visual expressions, converting the images and spaces into a milieu, with the intention of contemplating further on: How do people see. “Anthropomorphism” is based on an awareness that exploits all things, but it is also a biological instinct that empathizes with all things.

Production Team

Editing | WU Sih-Chin, LIU Yu    Animation | WU Sih-Chin    Research Support | WANG Jing-Jing    Music / Vocal | CHEN Hsien-Ching 

Music / Drums | CHEN Kuan-Fu    Music / Piano | LIN Liang-Yu    Producer |  Nelly YANG    Costume | CHEN Kayn-Ken

Model CHEN Po-Yu    Vocal Post-Production/ Spatial Mixing | Mothra Productions    Voiceover | WANG Jing-Jing, Lori TSENG 

Translation | WANG Jing-Jing    Documentary | Chang Neng Chen    3D Scanning & Imaging | Long Hao Optical Technology

3D Model Printing | Daddy Studio    Special Thanks | HUNG Shih-Hui, CHANG Chi-Shan, TSOU Ting

























沈浸式影像裝置、塑料3D列印 | 尺寸依場地而定 | 2023




U-108 沈浸式科技應用實驗場域


在十八世紀,身兼博物學家與詩人身份的伊拉斯謨斯.達爾文(Erasmus Darwin,1731-1802)撰寫了一本自然觀察詩集《植物之愛/The loves of the plants》,詩詞的內容奠基於當時卡爾.林奈(Carl Linnaeus,1707 -1778)提出;植物以辨識「性徵」作為分類方法。在林奈的植物分類系統成形之初,將植物的花器比喻成人類的性器官仍是極具爭議的詮釋,更遑論在當時使用高度性化的語言來解釋這套系統,將人類對於性的理解渲染在植物的各種特徵上。但如此擬人的想像卻奠定了今日植物分類系統的基礎,即使後來DNA技術的發現,所驗證的結果仍與林奈系統大相徑庭。達爾文不僅認同林奈的分類方法,更接受了對性的隱喻,詩集《植物之愛》透過細緻的生物觀察,以擬人的文辭描寫了植物的性格、感官與慾望,並且側重於女性作為主體。詩的內容也映射了達爾文在某種程度上的無神論觀點;人類的情感相較於神學更根植於生理學上,這樣的視角也意外地將人類劃入了自然界的範疇之中。





.影像剪輯 | 吳思嶔、劉玗.動畫製作 | 吳思嶔.聲音後製 / 空間混音 | 複耳工作室.口白配音 | 王菁菁、曾湘雲.前期研究協力 | 王菁菁.音樂製作 人聲 | 陳嫻靜.音樂製作 爵士鼓 | 陳冠甫.音樂製作 鋼琴 | 林亮宇.服裝 | 陳楷恩.製片 | 楊佑嘉.翻譯 | 王菁菁.作品紀實紀錄 | 張能禎.3D掃描成像 | 龍顯光學科技有限公司.3D模型列印 | 創意老爹股份有限公司.特別感謝 | 洪詩慧、張致善、鄒婷

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