病毒馴獸師|對待病毒的另一種選擇 Tame is to tame|Alternative Attitude Towards Viruses

November 1, 2017

 未來實驗室」是玩味旅舍今年度一個全新的嘗試。以「思辨設計」為主軸,邀請三位專研此領域的設計藝術家,以各自視角出發,遙想可能的未來。其中,林沛瑩因著本身的生物科學背景,創作了「病毒馴獸師」計畫。「病毒馴獸師」是一系列的養成計畫,透過不同階段的任務,沛瑩想跟客人討論的是人跟病毒之間的依存關係。

 

Future lab” is the first attempt for Play Design Hotel to invite three design artists to envision the possible future from their own perspective. An artist we want to introduce is Pei-Ying Lin. From her background of life science, “Tame is to tame” has a series of training for audiences which is designed to evoke the discussion of the interdependence of people and viruses.

 

 

設計藝術家林沛瑩於未來實驗室受訪 Pei-Ying Lin in interview in the Future Lab.

 

 

多元背景的兼容並蓄  An Eclectic Mix of Science and Art

沛瑩大學時主修生命科學、輔系資訊工程與人文社會。多元的背景,讓她的作品兼顧科學研究的嚴謹與藝術創作帶來的討論空間。沛瑩將自己定位為有設計師魂的藝術家,用設計的呈現手法,卻像藝術家般思考著各種有趣的問題。專注於生物藝術的她,從觀察人與生物間互動的模式,思考著人類對於這個充滿生物的世界的既有價值觀。對沛瑩來說,每個作品都像是一個探索世界的媒介,去挖掘隱藏在事物表面下的答案。

 

Pei-Ying was major in Life Science in university and minored in Computer Science and Humanities and Social Sciences. The diversity of her background contributes to both rigorousness and flexibility of her artworks. Pei-Ying considers herself as an artist with the soul of a designer who uses the technique of design and thinks as an artist. Focusing on the Bioart, Pei-Ying continues to review the existing social values by observing the interaction between people and creatures. For her, every artwork is like a medium to discover the world.  

 

 

病毒馴獸師  Tame is to tame

 

談到「病毒馴獸師」的靈感,沛瑩點出現在社會對於疾病的恐懼是很不理性的,這導致疾病管理變成一個巨大的問題。像是 SARS 期間,封院所造成的恐慌,可能會讓疾病傳播的更遠。而民眾缺少對疾病的認識更加深恐慌的程度。這樣的恐慌隨著疾病的爆發一次又一次的塑造了整個社會對疾病的態度。在西方醫學價值觀為主流的社會中,強調有病症就必須投藥。但其實現行的藥物是無法殺死病毒的,只能讓他停止複製。此外,不是所有的病毒都會造成疾病。如果,把人類放回到生物演化中,那人與病毒的關係又會是什麼,會不會有共存的可能?

 

Speaking of the inspiration of “Tame is to tame”, Pei-Ying points out that the fear people have towards diseases is irrational which would lead to an enormous problem of disease control. For example, SARS in 2003, the fears caused by closing down hospital might give rise to the wider spread of viruses. Moreover, a lack of knowledge of diseases increases the level of fears. All of these fears constitute the social attitude towards diseases. In the society with the mainstream values of western medical science, once people get symptoms, they must take a treatment. However, those medicines can only stop viruses from replicating instead of killing them. Then, what would be the relationship between viruses and human beings if we see human beings as also a kind of creatures? Is there any possibility of coexistence?

 

設計藝術家林沛瑩於未來實驗室受訪 Pei-Ying Lin in interview in the Future Lab.

 

 

沛瑩在這件作品中提出的反思就如作品宣言所說「人類面對病毒的態度應該是可以選擇的, 而不是預設病毒就只能是敵人。」而作為病毒馴獸師的觀眾,面對這些議題時,也必須要開始有意識地去選擇。這件作品橫跨的領域非常廣,除了有紮實的學理基礎外,沛瑩也巧妙地運用藝術的特性,在科學絕對的是非中拉出一個討論空間,在既有的價值觀中,討論不同的可能性。

 

As Pei-Ying emphasized, the manifesto of this project is “The attitude of the human beings towards the viruses should be able to alter, rather than presuming that the virus can only be the enemy”, the audiences as virus tamers are expected to be aware when making this kind of choices. This project involves a variety of fields. Aside from the solid academic theories, Pei-Ying draws a discussion space out of the absoluteness in sciences to explore another possibility under the existing social values.  

  

林沛瑩設計師在未來實驗室主題房內的「小宇宙溫室」燈具裝置。客人入住時,客人可以在空白的培養皿上按壓指紋,留下自己身上的細菌,並將培養皿留在大圓盤上,參與其中,成為「小宇宙溫室」創作者的一份子。

 

Microcosm Conservatory Light designed by Pei-Ying Lin. It is a lighting device assembled in a large acrylic disc with petri dishes that contains bacteria collected from the guests of different countries. 

 

沛瑩認為,這次用旅舍房間做展示給作品呈現很大的彈性,房門關起來後,觀眾可以對作品上下其手,不用在乎作者到底要表達什麼。即使當作一個擺設,在房間裡美美的也很具藝術性。這就是藝術跟設計最核心的價值 - 給人靈感。在這裡,藝術家與觀眾雙方都可以卸下壓力,依照自己的方法去詮釋、去想像。

 

Pei-Ying thinks the room as an exhibition space offers the flexibility of artworks displaying.  After closing the door, audiences can touch and feel the artworks without concerning what designer wants to express. Even as a decoration, it is very aesthetic to just place it. This is exactly the core value of design and art – inspiring. Here in the “Future Lab”, both artists and audiences can be released from the stress and use their own manner to interpret the artworks.

 

 

想像未來的超能力  Superpower of imagining the future

 

未來實驗室主題房內的桌遊:病毒馴獸師計畫 - 病毒馴獸師行動決策模擬遊戲

Simulation Game of Actions on Decisions - Part of the Project: Tame is to Tame by Pei-Ying Lin

 

對沛瑩來說,思辨設計著重在設計手法,而生物藝術則較偏向感官層面,從情感上的衝擊引發深入思考。兩者互有重疊,依據不同展覽性質,則用不同的切入角度去詮釋。這次「未來實驗室」的策展中,除了三個主要的計劃外還穿插了許多不同元素的設計品,像是東海醫院的設計品。如果從思辨設計的角度切入,這三個主題與其他的設計品間,會更有關聯性。也讓觀眾以另一個層次的角度去討論人與醫療的關係。然而,思辨設計的概念起源於英國,這讓檯面上的作品趨向單一白人中產價值觀。怎麼讓思辨設計為不同價值觀的人所用是很重要的課題。在台灣,我們有多元的文化,但卻沒有想像未來的傳統,因此當務之急是要去建構一個想像未來的方式。相信未來台灣在思辨設計的領域中可以發展出很不一樣的東西。

 

For Pei-Ying, the speculative design focuses on the technique of design, while the Bioart is rather sensory which is to trigger deep thinking through the emotional punch. In “Future Lab”, there are other designers’ products aside from the three main projects. Through the perspective of speculative design, all the artworks are connected more closely and integrated to a bigger subject “Future”. This also leads the audiences to review the relationship between human and medical care from a different level. However, the concept of speculative design is originally from the UK which causes the single values of the white middle-class in this field. It is crucial that speculative design is used by people with different values. In Taiwan, we have quite a diverse culture, but lack of imagination of future. Hence, it is imperative that we find our own way to imagine the future. We believe the field of speculative design in Taiwan will form its uniqueness in the near future.

 

 

> Book the Future Lab Now <

 

 


Further Links:
Tame is to Tame project website 病毒馴獸師專案網站
Pei-Ying Lin's Personal Website 林沛瑩個人網站

Ouroboros Organic Organisms of O 㗊機體

Future Lab Project Intro Page 未來實驗室 房間介紹

 

 

 

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