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Digitized Traditional Artistry (Review) Appreciation
Exhibition Banner - Digitized Traditional Artistry
Exhibition Dates: 2019/12/01 ~ 2020/01/12
Place: 201 Gallery
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  With rapid development of technology, digital culture has become an inevitable element in social, cultural, artistic, and economic dimensions. The application of “digitization” transforms the existed achievement of traditional arts through various digital technologies for the purposes of archiving or exhibiting. In recent years, art galleries, museums, and private institutions around the world have all strived for digital archiving, exhibition and promotion; regardless of formats, the interdisciplinary integration of traditional arts and contemporary digital technologies has made media technology a unique creative medium, which utilizes the interactive and participatory nature of digitalization for production, exhibition, archiving, and display. From the perspectives of technology, aesthetics, and related concepts, digital media technologies have become kinds of “visual interpretive programs.” As for how to represent the images of traditional cultural arts? In what formats? How do the chosen formats of representation connect with exhibition designs of museums? What hidden meanings are added to important information and images? When creators integrate technological images into existing formats of works, how do they give traditional cultural products deeper meanings, so that the cultural products and other elements of exhibitions fuse to create perfect proportions? These are all important topics in contemporary digital translation.


The combination of contemporary arts and culture and the development of digital technology brings transcending changes to the originally one-on-one relationship of artistic creation between “the creator and created.” “Re-creation” is the reinterpretation of existing works of art; in addition to manifesting the transformation of traditional cultural arts into contemporary cultural spirit, re-creation is really the self-actualizing process from perception, interpretation, to creation of art. In Taiwan, in terms of technological translation, the Ministry of Science and Technology (MOST) has allocated significant R&D budget to focus on the execution of digital humanities projects, and achieved great results. Furthermore, in the area of cultural conservation, the MOST has also invested substantial resources to promote the conservation of works of traditional art, and strives to consolidate two major domains of culture and technology to build the foundation of social education and promotion. Thus, traditional artworks are converted through digital technology for display, archiving, and value-added utilization, bringing closer learners (viewers) and artworks in the age of technology, enhancing co-participation and social interaction, and conducting participatory “content delivery” through the expansion of interactive information. Domestic and overseas digital archiving and display, as well as means of presentation where digital technologies are applied on archived works, can be categorized into eight major types: archived works as techno-arts, online display of archived works, interactive display, augmented reality, virtual reality, mixed reality, 3D scanning combined with 3D printing, and immersive projection. Applying different display technologies on different cultural artifacts signify the unique characteristics of diverse display technologies and applications. In light of the rapid development of digital technologies, the MOST has supported domestic innovative R&D and research projects of digital technology through research programs and digital humanities programs over the years, hoping to demonstrate the expressiveness of converting traditional culture and folk arts through contemporary technologies, and to explore the textual meaning and temporal significance of these creative practices of techno-arts through related studies.


Therefore, the focus of this curatorial project is on the interwoven dimensions of “research projects of the MOST” and “achievements of display technologies and applications,” in order to depict “the co-constructed and fused picture through intervention of contemporary digital technologies in traditional folk arts” under the theme of “Digitized Traditional Artistry.” In other words, this exhibition targets relative research projects funded by the MOST to focus on research outcomes and related discussions, and sets representation of “traditional folk arts” through different digital technologies as the motif to re-examine how artists in recent years have enhanced Taiwan’s contemporary digital humanities and pluralistic looks of techno-culture through research and practical-based projects.
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