第三回合-沈聖博的隨機運行之無機世界

認識聖博是個偶然的契機，2009年7月在協助婦女救援基金會籌劃慰「月光-慰安婦生命故事影像展」時，聖博知道此策展計劃時，主動表示願意協助製作影像展中的互動裝置。他完成的《聽，阿嬤的收音機》透過手控旋鈕，調控聆聽阿嬤們敘說的悲傷往事，以老式收音機作為裝置主體，呈現出舊時代的情調氛圍，情緒在手的轉動尋找與聆聽中，漸漸被阿嬤們的故事引導並累積成傷。

此後，因合作漸漸地成為創作夥伴，合作中，才知道其藝術學習經驗，是因為因緣際會修習了交大應用藝術研究所張恬君老師的人文通識課程而開啟，之後又因為英國數位藝術家Paul Sermon的創作影響，於2006年退伍後，改變思維堅持理想，從交大資訊科學所轉向到數位藝術創作，至英國Creative technology, School of Art and Design, University of Salford留學並完成第二個碩士學位。2008年回國後，應聘到「微型樂園」上班。其創作歷程，如以2008年《曾經有一顆樹》為起點至2014年，雖僅短暫的6年，卻如彗星般，迸發出絢麗的光芒，在台灣的數位藝術史上有其重要地位。

2008年剛回國的聖博，爆發般地不斷地進行各種展演創作，此時期的他，一面上班進行公司專案創作如：Floating (Mona Lisa)，又同時與李駿一起成為展演夥伴，進行影像聲響(audiovisual)演出，如國美館「聲呼吸 - 實驗聲響2009」(2009)、西門町紅樓「吵年獸二零一零 - 立春音樂藝術季」(2010)、沉浸之境－加拿大SAT中心360度環景數位影像展。參與江振維、蔡敦仁舉辦的「共自然工作坊」，其後與李駿、鄭鴻旗主導推動自由軟體從事藝術創作(FLOSS+ART)，成立了OpenLab.Taipei，並受邀至各地教學講授數位藝術創作課程。此時期聖博發表《曾經有一顆樹》(2008)，此作品記錄與搜尋腦中一段逝去的記憶深處片斷，觀者透過作品裝置所形構的窗與空間，穿透了藝術家的腦，觀看其自2003年9月至2004年5月所記錄的，記憶裡的一棵櫻花樹，此狀態像是一個人的喃喃自語。

工作期間，聖博陸續與藝術家合作創作，2009年底，與曾鈺涓、黃怡鏡、陳威廷合作《你在哪裡？》，2010年發表於新樂園藝術空間，同年入圍台北數位藝術節。2010年一起與曾鈺涓與陳威廷挑戰了大型的戶外網路即時互動公共藝術作品《快樂噗》，2012年則協助郭慧禪完成《光點》互動程式，2013年參與李佩玲跨領域表演《義肢-外部連結》現場即時影像創作等。此時期，聖博挑戰以即時搜尋、影像即時處理、人臉辨識系統、體感即時互動，跨領域表演，戶外感應回饋裝置，網路社群平台的推播與訊息等複雜的系統程式整合創作。2009-2010年期間，他開始於台灣科技大學任駐校藝術家，並開始癌症治療，然而，即便忙碌奔波於學校與治療，他仍思考著創作，並且懷抱理想與熱情。2011年在台中成立了「有為空間」，邀請年輕藝術家辦理個展展演，受邀於工作坊授課，也於大學兼課，同時整理部落格，無私的分享課程檔案與原始碼，書寫對於自由軟體與數位藝術創作的心得、教學與體會。

2010年加入新樂園藝術空間後，聖博真正開啟獨立創作，有別於《曾經有一顆樹》(2008)的喃喃自語，「啾啾神功-評藝生華-新樂園第九期成員團．練．展」發表的《Should We Play? 》、《4分04秒》，開始流露出敏銳觀察的特質，並以帶有挑釁的幽默感，挑戰觀者的忍耐度與極限。《4分04秒》是一件放置於黑色長椅上的黑色長方盒，盒中崁入一條細縫，光在細縫中緩慢的移動，整個移動過程為4分04秒。《Should We Play? 》則是反諷了互動作品中，觀眾面對即時回饋反應的無意義矛盾。面對著一台架設有網路攝影機的螢幕，前面放置著一個魔術方塊的作品，觀眾在觀看與納悶的過程中提問「可以玩嗎？」並在拿起魔術方塊，搖換擺動卻得不到任何回饋反應的過程中，質疑「作品壞了？」、「不能玩嗎？」、「這是什麼東西?」的情緒中棄置放棄。然而觀者卻不知道，自己的行為被錄製記錄，並成為下週螢幕中的主角，成為不在場的他者，再現並成為下一個觀者的觀察與參照對象。《4分04秒》以光的移動速度再現時間的刻度，《Should We Play? 》則是以戲謔的態度，思考互動藝術中，何以「互動」的行為荒謬性。此兩件作品跳脫了《曾經有一顆樹》(2008)的詩意文本，將作品帶入省思與觀察科技的批判思維中

2010年聖博於有為空間與新樂園藝術空間舉辦個展「第二回合」，2012年則於田中間豬室繪社發表「規則rules」，同時也受邀參展於國美館數位方舟、數位藝術中心等，此時期發表的作品計有《frames》(2011) 、《life graffiti》(2012) 、《meta-》(2012) 、《texture》(2012) ，2012年以《pin shadow》(2012)入選台北數位藝術節。

「第二回合」的命名，是聖博面對病痛過程中，對生命的體驗與期待，其展覽創作自述，陳述與病魔的共存態度，並且認為每天的生活都必須活得精采，也對自己的夢想有著堅定的目標與期許：

人生如此美好，應該再來一遍。

人生進入第二回合，面對的東西變得不同。
學著面對死亡，每天都是嶄新的一天，每過一天，生命就向前伸展一些。很多事情變得容易放下與灑脫，想做的事情變得更加清晰與堅定，夢想不再遙不可及，只管去實踐就好。同時，周遭的一切都被放大，觀察細節變得有趣。讓休息變得比工作重要，讓熱情作為動力。第二回合何時結束？我不知道。我只管每天往前延伸一些，做想作的事情多一些。(沈聖博 2011個展「第二回合」創作自述，新樂園藝術空間)

資訊科技與藝術觀念的融合，造就聖博作品的美學思維，他將數位編碼帶入感知，透過邏輯思維重新觀看世界，以程式編碼重新描述了影像，生活與空間。

我將生活的體驗融入對數位藝術的觀察：數位媒材是生活的實踐，也是生活的仿效品。它們之間有很多相通處，例如：排隊、抽號碼牌、旅遊路線規劃、決策制定等日常事件，都可以用數位的語言與邏輯完整地重新描述一遍。也具有可複製性，例如：每台iPad裡面相同的電子書、粉絲手中同樣的專輯CD、每戶家庭在同一時間收看相同的電視新聞。以及生活中早已習慣的事，例如：捷運規律地發車、資訊透過網路恣意地流通、穩定地生產⋯等。生活已經跟數位媒材分不開，漸漸分不清彼此。(沈聖博 2011個展「第二回合」創作自述，新樂園藝術空間)

《frames》(2011)呈現的「作品的起點(程式碼)、簡單繪製規則(程式中的規則判斷)及輸出成果(影格相疊的立體呈現)三者間的緊密關係，他將輸出成品與程式碼並置展出，輸出成品是將影像自動衍生的延續影格，重疊裱框展示。此並置展出的策略，形成影像視覺與思維邏輯的參照，透過閱讀程式碼，觀者或者在心中重新描述影像，或者解譯並賦予程式碼意義，又或者將程式碼視為描寫的詩句。《life graffiti》(2012)則讓即時演算的數位衍生影像，任其自由衍生蔓延，如有生命的數位生命體，在空間中爬行流竄，此作品台中20號倉庫（「零山水與幻視野」展覽）的老舊倉庫空間，因數位生命體的介入而產生溫度。新樂園藝術空間（沈聖博 2011個展「第二回合」）則穿透正面玻璃窗，將數位生命體投射到對面屋舍牆面，如異型生命般的侵入掠奪佔領，《life graffiti》透過不同空間的呈現，展現出不同的生命強度，也將數位運算的自動衍生與隨機系統，帶入另種高度。《texts》(2012)則反之，以程式語言的文字語法，重新定義生活中的瑣碎行為，嘲弄的文字描述，將生活拆解成為一段一段語法，呈現出如詩般的生活無奈態度。如:

如果說《frames》、《life graffiti》、《texts》是以數位詮釋生命，《meta-》、《texture》，《pin shadow》則是賦與科技溫度，產生生命，此三件作品的形式特徵均是以多螢幕與投影呈現形式簡約，實則複雜運算的虛實界面。meta-的意義，在英文字首是個前綴詞，具有過度(over)、介於中間(between)、伴隨而來(with, after)、關於(about)、互為因果(reversely)、藏身於後(behind)...等意義，當「meta-」使用於程式語法中時，是一種標籤，做為搜尋引擎溝通的橋樑，「meta-」使用於資料庫時，Metadata(後設資料)，代表電子式目錄，為了達到收藏資料編製目錄與索引，所進行的資料描述。因此，meta-是描述資料的資料，《meta-》則是以資料描述環境資料的作品。以光敏感測器與麥克風，感測反映環境中的細微變化，並將其轉換成為數理運算的視覺影像，以幾何圖像構成詮釋空間，並成為一種空間標籤，也成為空間資料(data)的後設資料。

《texture》與《pin shadow》則是以程式演算，產生有機的隨機地衍生型態，並透過裝置形式，與實體物件產生共生的虛實風景。《texture》在螢幕上方安裝實體「實線」，交織於螢幕上方，螢幕中則有程式演算的虛擬影子「虛線」交織構成，「實線」與「虛線」透過介面交相呼應，「虛線」成為「實線」的影，進行緩慢移動的生命動態。同樣的邏輯，發生於《pin shadow》，「實立柱」與「虛擬影子」，以程式演算產生的虛擬影子，以實立柱為圓心，如日晷般，環繞「實立柱」進行緩慢移動的軌跡變化。在作品的世界中，存在著一個看不見的、消失的、消逝的【光源】，影響驅動影子的象。在此二件作品中，聖博呈現的似乎是科技空間的有機風景，然而卻又散發出一種對於生活的體悟與惆悵，【光源】存在與否不再重要，世界仍是自為的運行，創造隨機的無機風景。

聖博的作品中流露出一種科技人的人文氣質，以數理邏輯重新詮釋數位藝術創作的美學思維，是台灣當代數位藝術創作者，甚少觸及的美學態度。Bense(1971)認為衍生美學是透過數學構成與數學描述所處理的美學狀態之整體過程，聖博的作品涵蓋了程式語法、數學描述、程序結構與隨機偶發，創造了衍生過程，並在此過程中，呈現了清晰的、具條理指示的編碼程序，並透過有組織與邏輯的指示，將虛實物件的組合變化產生結果與程序。此概念將軟體視為數位藝術創作中的主體，其核心價值是來自於「數學」所構成的科技美學，此亦是Bense衍生美學(generative aesthetics)的精神。然而，另一方面，在程式編碼中，作品中所使用的元素、造型、裝置呈現，卻是攜帶觀念意義、具隱喻的象徵物。他使用構成世界的點、線、面的基本元素，玩弄虛實元素的相互關係，並以程式符號將點、線、面重新組構為具邏輯的程式運算，進而產生具結構性的視覺介面。

其作品也實踐了軟體藝術中的觀念思維。Cramer(2003)以La Monte Young《Composition 1961 1-29》利用一張紙書寫了指令「畫一條直線，並且跟隨這條線」(Draw a straight line and follow it)，提出編碼可以是一種觀念的、非以電腦操作的軟體藝術，這樣的指令具有電腦程式語法的概念，然而卻因身體與地域的限制，無法被真實實踐，僅能透過心靈執行。Cramer也認為軟體藝術是根源於觀念藝術，並具有兩個共同特點： 1. 記號與觀念的執行合而為一、2. 以語言為材料。軟體藝術需以「文字」撰寫指令編碼，觀念藝術以觀念為材料，並與「語言」緊密結合。此觀念創造的程序，在聖博的作品中，不斷的被提出，《meta-》以空間的變化元素，建構程序反饋的詮釋結構；《texts》則是以文字表現程序，將思維或行為分析成為程序指令；《frames》則直接將程式編碼視為一種可展示的文句表達，對著觀者下達指令，並要求觀者在閱讀中運算。

短暫的六年創作生涯，聖博創造了多件代表性作品，奠定他在台灣數位藝術創作的定位，即便他具有足以創造出絢麗影像的程式技術能力，但是他卻捨棄討好的作品，改以冷冽的，無色彩的影像構成，討論作品中的軟體與程序意義，同時也重新賦予軟體美學詮釋面貌，在冷硬的程式邏輯中，以科技人+藝術人的感性思維，建構出屬於聖博風格的數位溫度，「第二回合」雖然已經結束，但是沈聖博的「第三回合」即將展開。

 

後記

深夜書寫此文，在網路搜尋資料，從硬碟中挖出歷史照片，觀看臉書的[一人一信給聖博]社團中，眾人的思念短文，令人感傷。僅以此文獻給在天上的聖博，感謝你的無私分享，與你一起創作的美好經驗與成就，都是我一輩子的美好回憶。

參考資料

Bense, M. (1971). The projects of generative aesthetics. In J. Reichardt (Ed.), Cybernetics, art and ideas (pp. 207p.). London: Studio Vista.

Cramer, F. (2003a). Composition 1961 1-29 by LaMonte Young.   Retrieved Jan. 9, 2008, from http://runme.org/feature/read/+monteyoung1/+30/

 

 

Round 3: Sheng-Po Shen’s random organic world.

Yu-Chuan Tseng

Curator, Associate Professor, Department of Public Relations and Advertising, Shih Hsin University

 

It’s a total coincidence to know Sheng-Po Shen in 2009. Back to the time, it was the project of “Listen, Ah Ma's radio (Moonlight - film exhibition of Comfort Women's life story)”, and Sheng-Po was volunteering to help the interactive installation. He created the atmosphere with switching hand control knobs of the old-fashioned radio to listen to that these aged comfort women tried to narrate their sad histories.  

After the exhibition, we both have several cooperations and become exhibition partners. During working with him, then I knew that he was inspired by our mutual acquaintance – Ms. Tian-Chun Chang for his first humanities general education courses. Sheng-Po is with engineering background, so this course started his explore of the sentimental side and humanities thought. Later, he was inspired by Paul Sermon, a worldwide famous British digital artist. So Sheng-Po decided to change his career path, and went abroad to study Creative technology, School of Art and Design in University of Salford for his second master degrees. (He gained the first one in NCTU.) After graduation in 2008, he accepted the offer from the company-Micro-playground. From 2008, his first art work- “There was a tree” until 2014, there was only 6 years of his art career; although it’s short, his art contribution is like a meteor shining at the sky, leaving great influence and impact to this field.

After graduation, Sheng-Po showed unlimited and unexhausted talent and energy and creativity on his works. At daytime, he had a full time job, such as the project- “Floating (Mona Lisa)” ; meanwhile, he had Chun Lee as partner and explored many different living coding perfomance, such as “Phasing” (Breathing Sounds - Experimental Sound Performance 2009) (National Taiwan Museum of Fine Arts, Taichung, Taiwan) (November, 2009), and  “untitled” (audio-visual performance，with Chun Lee) (Chinese Year Music & Art Festival Project 2010) (Ximen Red House, Taipei, Taiwan) (February, 2010), and “Phasing No.2” (360° cyclorama projection，audio-visual performance，with Chun lee) (Dream|Mersion－Cyclorama Digital Art Creation Series from the Society of Art and Technology [SAT]) (National Taiwan Museum of Fine Arts, Taichung, Taiwan) (April, 2010). Sheng-Po founded OpenLab.Taipei after joining “Resonating with Nature workshop” with Chun Lee and Honki Cheng, who were alos engaging FLOSS+ART project. In 2008, Sheng-Po launched his work- “There was a tree” (2008), which recorded his memory, more close to a self-narration from Sep., 2003- May, 2004. 

In the end of 2009, Sheng-Po had more cooperation with other artists. He joined the project - “Where are you? “(Yu-Chuan Tseng＋Sheng-Po Shen、Yi-Ching Huang、Wei-Ting Chen) (SLY Art Space, Taipei, Taiwan) (May, 2010), and immediately another project- “Happy Plurk” (Yu-Chuan Tseng、Sheng-Po Shen、Wei-Ting Chen) (An Encounter is the Starting Point to Care – Chunghwa Telecom Public Art Installation)(December, 2010). In 2012, he assisted Hui-Chang Kuo’s programming of the project - “Light Spot” In 2013, he assisted Pei-ling Lee to perform a live coding during the performance of project “Prosthetic Limbs-External Links”.

In this period, Sheng-Po tries to use instant search, immediate process of videos, face recognition, real-time interactive somatosensory, cross-cutting performances, outdoor sensor feedback device, broadcast of internet community platform, and integration of message delivering system. In 2009-2010, while cancer treatment, he still starts to be village artist of NTUST. He never stops his art career. In 2011, he founded Action Space in Taichung, and started a blog for his tutorial of open source and experience on coding.

After joining the team of Shin Leh Yuan Art Space, Sheng-Po started to work independently. Different of self-narration in the work - “There was a tree” (2008), the works in this period show his keen observation with provocative sense of humor, and set up challenges to the audience’s patience, such as :Should we play?” and “4'04” (both were exhibited in「Chirp! Chirp!」) “4'04” is a black box located in a bench, and there is slim of light moving slowl for 4 minutes and 4 seconds. “Should we play?” is a work with sarcastic implication for the non-response of audience. It’s a monitor with webcam, with a magic box ahead. When the audience looked at the magic box, they will wonder if this can be played. In this period of time, they will try to move/knock/or shake the magic box and don’t know that their reaction was recorded and would be played on the screen when the next one played the magic box again. In these two works, there was a playful, prank attitude to represent the absurdity of the interaction art. These two works also revealed another level of critical thinking after the work-“There was a tree” (2008)

 

In 2010, Sheng-Po held another personal exhibition- “Round 2” in Action Space and Shin Leh Yuan Art Space. In 2012, he announced “Rules” at  Art Piglet House. Meanwhile, he also was invited to exhibit in Digital ArK of NTMOFA and DAC. In this period, the works include “frames” (2011), “life graffiti”(2012)

The name of “Round 2” comes from the retrospection and expectation of life during the ill. In this period of time, Sheng-Po chose to live optimistically and move toward to his dream every day.

When life gets into Round 2, things faced are different to before.

Learning to face the death, everyday is a new day and when day passed, the life is stretched a little bit. A lot of things are become free and easy to put down. The things that I want to do are more clear and robust. The dream is no longer out of reach, just do it anyway. At the meantime, the environment seems to be enlarged, to explore the details becomes more interesting. Let the rest is more important than the work and let enthusiasm as energy. When will the round 2 be time up? I don't know. I just only stretch the life and do more things I want to do. (Quoted from exhibition statement “Round 2,” Sheng-Po Shen, 2011)

Integration of information technology and art, Sheng-Po had a new interpretation of digital art. He input sentiment into program coding, and re the image

In this exhibition, I take my life experience into the perspective of digital art: the digital material is the practice of life, and also is the mimic of life. There are many commons between digital material and life, for example, queuing、taking ticket、travel planning and decision making etc. All of them can be totally described with digital language and logic. The digital material also owns duplicability, for example, the same e-book is in every iPad、the same album CD in every fans' hands、the same news program can be played in every home. And some things used to be in life, for instance, the MRT runs on its schedule、the information is transferred arbitrarily through the network and the stable manufacturing etc. Hence, the life and the digital material are integrated tightly and are difficult to be separated. (Quoted from exhibition statement “Round 2,” Sheng-Po Shen, 2011)

“Frames” (2011) displays that the all of images produced by computer are the result of series of frames. These series of works do paintings on every frames by using simple drawing rules, and then overlap all of frames to display the result image which is like the one shown on computer screen.

(These series of works are coded by Processing and the source codes are pasted beside works. According to these source codes and works, try to find out the digital derivatives with analog feeling.) "life graffiti" (2012) makes instant calculation and derives digital images, making it spread to its own derivative , just like an endless and unconscious flowing animation which seems to be an alive digital landscape. This work exhibited at Artstock20, Taichung. (The Digital Mapping of Inner landscape). “life graffiti " presented through different spaces , showing different life intensity; it will automatically derived and random digital computing system , and bring into another kind of height.

"Texts" (2012) on the contrary tries to use the text of the programming language to redefine life trivial behaviors , with mocking texts which have  life dismantling to programming grammar , showing a poetically helpless attitude toward the reality.

 

[High resolution]

With a paper of resolution of 1920*1080 grids

each grid is of 1cm*1cm range

I take the pencil

to paint the grid, one grid, in a minute

                               

To extend the length of the life

 

“frams”, “life graffiti” and “texts” all describe life in a digital way. “meta-”, “texture” and “pin shadow”give technology creation lives. These three pieces of works all interpret complicated calculation with some screens and projectors simply.

For the work- “meta-”, the prefix, meta-, owns following meanings: over, between, with, after, about, reversely, behind …, etc. which all locate at medium state. In short, the characteristic of “meta-”is intermediate and owns the meaning of inheriting the past and ushering in the future. It can be used to describe about something and another thing also can be derived from it. It is not the original and also not the last one. “meta-” in programming, is a tag and bridge for search engine. “meta-” in database, means a categorization way, and metadata means “data about the data”. Metadata was traditionally in the card catalogs of libraries. As information has become increasingly digital, metadata is also used to describe digital data using metadata standards specific to a particular discipline.  

In this work,  it represents that as long as this artwork is started, it is under the meta state by collecting data of the surrounding. It reacts to the slight changes of environment in real-time and transform them into the forms of light and sound. And then, we can re-observe the surroundings through the derivatives, such as light and sound.

 

 “texture” and “pin shadow” used programming algorithm to generate organical and random creation. The virtual and the reality interact with each other.  “Texture” work install a real thread (the solid line) above the screen and in the screen, it displays the virtual shadow (the dotted line) of program calculus. These two sides correspond each other. The dotted line is the shadow of the solid line which created a slow movement of life process. The same idea also applies in the work of “pin shadow.” Many physical cylinders will be on the projecting surface and each projection will create virtual shadows under the cylinders. According to the rules of code programming, these shadows will change randomly, organically and dynamically, similarly to a kind of life form that stretches backward and forward between illusion and reality. It seem to be natural scenery or an invisible light source which will change with the time. In these two pieces, Sheng-Po represented a so-called “organic”scenery with life and drive by itself, but still input the sentiment and melancholy toward life. For him, the existence of light source doesn’t matter, life will move on, and creates more random organic sceneries.

Sheng-Po Shen’s works are featured with human temperament, which hardly appears with engineering background. In an unique logical and rational style, he interprets a new idea of athletics of programming. Bense (1971) claims that “... Generative aesthetics is analogous to generative grammar, in so far as it helps to formulate the principles of a grammatical schema–realizations of an aesthetic structure.” Generative aesthetics is a reconstruction process of mathematics configurations and mathematical distribution of status of aesthetics. In this process, Sheng-Po’s work includes programming, mathematical distribution, ordering construction, and random incidents. These items all share the feature of generative process. Sheng-Po successfully represents a clear and well-organized coding program by logical and methodized reconstructing the orders and results of arbitrary and real objects. This concept occurs majorly in his works, and he adapts generative aesthetics as the essence of his works. But, the elements in his works including shape, form and installation always carry symbolic meanings as a metaphor of life. Point, line, surface that he used, the correlation between abstract and concrete elements that he reinterpreted, he incorporated these features and generated a whole new style of visual interface of highly organized structure.

 

Cramer (2003)’s favorite example from La Monte Young "....draw a straight line and follow it"《Composition 1961 1-29》indicates coding could be conceptual, not just limited by computer programming.  “...The instruction is unambiguous enough to be executed by a machine. At the same time, a thorough execution is physically impossible. So the reality of piece is mental, conceptual.”Cramer(2003). In addition, Carmer (2003) indicates… “software art as an art whose material is formal instruction code seem to have at least two things in common:  the collapsing of concept notation and execution into one piece;

the use of language; instructions in software art, concepts in concept art. Flynt observes: ``Since `concepts' are closely bound up with language, concept art is a kind of art of which the material is language''.” In Sheng-Po’s work, “meta-” use space as the factor to reinterpret  the feedback structure of the program; “texts” adopts word order to reanalyze thoughts and behaviors as programming orders; “frames” considers programming codes as sentences syntax, and gives commands to the audience and require their immediate feedback.

Sheng-Po is a diligent artist and created many outstanding works in his last 6 years of his life. He was seen as a rising star in the field with the work- nt artist and created many outstanding works in his last 6 years of his life. He chose to do the works which intrigue people to ponder the meaning of life with cold, colorless images,  while he had sufficient capabilities to do fancy works to follow the pop culture. Although it seems the “Round 2” (2011) ended with his passing away, his “Round 3” is about to start.

Afterthought

I finished this article in the midnight. While trying to dig more data from my hard drive and surfing in the internet on FB where there are lots of article about Sheng-Po, it reminded me of all the wonderful memories to work with him, and I felt deeply sorrow for his death. This article is in memory of Sheng-Po, thanks for his altruistic action and great works, which inspire many colleagues, partners, and family and his friends. He set up a wonderful model for us.

Reference

Bense, M. (1971). The projects of generative aesthetics. In J. Reichardt (Ed.), Cybernetics, art and ideas (pp. 207p.). London: Studio Vista.

Cramer, F. (2003a). Composition 1961 1-29 by LaMonte Young.   Retrieved Jan. 9, 2008, from http://runme.org/feature/read/+monteyoung1/+30/