印像-賦予生命的設計
動畫影像裝置／3D列印、馬達、攝影機、顯示器
50cmX50cmX120cm, 2014
一次手術的意外從鬼門關走了一回，似乎是上天跟我開個玩笑，也賦予我談論生死的話語權。如今，該說些什麼或做些什麼，又該用什麼來表達？我利用拆解成分解動作的角色動畫，列印出連續姿式，置於轉盤上快速旋轉，眼睛直視為模糊狀態，經過攝影機每秒 25 格的捕捉後又可以在電視螢幕上看到正常的走路狀態。
Due to an accident of surgery, I was once at the door of death, as if God was joking with me, but also gives me the right to talk about life and death. Now, what should I say or do, and how to express? It occurred to me that I use animations of characters disassembled into decomposition actions, printing the continuous posture and putting it on a fast rotary plate. Images of the characters are blurred, but the viewer can see the normal walking state on the TV screen after they being captured by the camera in 25 frames per second.
物質性設計是動畫在電影媒體未出現前的特徵，連續的動態畫面需透過動畫裝置活過來，也就是一種視覺暫留裝置賦予生命（animate）的型式，再透過「觀看」方式獲得動態生命感。現在的動畫播放牽涉複雜的數位科技，讓觀者認為需有動畫工具與播放設備或攝影機才可行。如果動畫是賦予生命的設計，他的形式不應受限於電影媒體形式，可以形成動畫的方式應該是無所不在，只要能有視覺暫留的作用。
Materiality design is a feature of animation before the film media appears, animation devices are necessary for producing continuous moving pictures, which are refer to as visual persistence. Then, animation acquires a dynamic sense of life through “viewing”. However, today’s animation playback involves complex digital technology, making viewers to believe that digital devices or cameras are necessary. If animation is a life-giving design, the form shouldn’t be restricted to media, but should be anything that has the visual persistence effect.
我試圖恢復動畫的物質性設計，以動畫裝置方式來設計賦予生命的形式，從點鈔機的滾動，擴增影像與實體的連動，物件投影後的角色完形化，互動聲光對談角色與 3D 列印構成動作等都是對動畫的物質性加以探討，使其有別於一般動畫純影像形式。
I try to restore the materiality design of animation and design life-giving forms in an animated way. From the roll of the bill machine, the connection of the AR image to the entity, character completeness by projection, interactive talk between sound and light, and 3D printing composition actions, they are all investigation of the concept of materiality, making them differ from general animations.
