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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260418T080911
CREATED:20241107T065903Z
LAST-MODIFIED:20241107T065903Z
UID:10000642-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:不眠山 Seeking for Absent Forms in Forests —蔡昱廷個展 Yu Ting Tsai Solo Exhibition
DESCRIPTION:展覽介紹 Exhibition Introduction \n夜晚的靜謐是登山者出發的時刻，像是夢遊一般地闖進黑暗的森林中。 \n約莫七年的時間，藝術家作為高山嚮導在臺灣廣袤的山林中持續攀爬，見證過生命的殞落、攀登的迷戀、光怪陸離的故事又或是在山林中看見臺灣複雜歷史的感嘆，那長時間住在山中與外界斷聯的日子，總能有許多體悟。 \n\n山林不僅隱藏文明發展的遺忘痕跡，也創造了某種中介地帶，被時間掩蓋的歷史、記憶、人類的慾望與失蹤的人彷彿化作幽魂，徘徊在蒼翠的樹影中。 \n展覽試圖聚焦於『失蹤』作為一種存在的狀態，山中聚落遺址難以接近的失蹤、黑夜山林攀爬身體與意識解離的失蹤狀態以及日治時期至民國初期，威權轉移下文化銜接的模糊地帶，它們同樣位於中介地帶之中。觀者與藝術家，身在其中，失蹤的存在狀態，一切都在巨大的循環中息息相關。同時展覽探索觀者觀看的出神狀態，意識跨越時間線，關於日本殖民、山林產業與臺灣人民之間逐漸消散的集體記憶，被山林的異質空間所包覆。 \nThe silence of night marks the hour when mountain-climbers depart. Like sleepwalking\, they intrude into the darkened forests. \nFor seven years\, having witnessed the final moments in life\, a mountain guide as an artist is climbing continuously in the thick and dense forests in Taiwan. There exists the allure of ascending and the bizarre tales and the sighs of history through the dense woodlands. In those long days\, being isolated from the world outside\, the artist found countless revelations. \nThe mountains not only hide the forgotten traces of civilization but also forge an “Liminal Zone”. Time-buried history\, faded memories\, human desires\, and the missing humans being specters have drifted in the shadows of ancient trees. \nThis exhibition makes a focus of “disappearance” as a state of existence: the elusive disappearance of inaccessible mountain ruins\, the dissociative state of body and mind while climbing through the nocturnal forest\, and the ambiguous zones of cultural transition from the Japanese colonial era to the early Republic period. All reside within this liminal zone. The artist and the observer dwell in this state of absence\, where all things are bound within a grand cycle. \nThe exhibition also explores the entranced state of the viewer\, in which consciousness transcends the boundaries of time\, enveloped by different space of forests in the mountains. It reflects on the gradually fading collective memories of Japanese colonization\, forest industries\, and Taiwanese people shrouded within the ethereal woods. \n藝術家簡介 About the Artist \n蔡昱廷 Yu Ting Tsai \n1999年生，目前於北藝大新媒體藝術碩士進修。曾獲2025桃源國際藝術獎、2024臺灣美術新貌獎、2024西班牙馬德里錄像藝術節放映等。 \n創作語彙多結合自然、科技、歷史等不同知識領域，以此建構多重角度的觀看。媒材跨及裝置、錄像、與攝影。 \n創作核心源自於生命經驗，自我、精神、地方、歷史的挖掘與辨認，以拓墣學觀點觀看個體，藝術家走入作品之中，再相性不同的歷程中觀看經驗在個體作用的狀態以及多重主體性的形塑過程。 \nYu Ting Tsai(b.1999\, Taipei\, Taiwan) is an artist who lives and works in Taipei\, currently pursuing a master’s degree in New Media Art at Taipei National University of the Arts. His major awards include the 2025 Taoyuan International Art Award (TW)\, 2024 Taiwan Emerging Art Awards (TW)\, Festival PROYECTOR 2024(ES)\, etc. \nThe vocabulary words used in the work consists of various fields of knowledge\, such as nature\, technology\, and history to construct a multi-perspective viewing. The mediums include installations\, videos\, and photographs. \nThe core of the work stems from life experiences\, exploring and identifying self\, spirits\, places\, and histories. The individual is viewed from a topological perspective\, and the ideas are generated by navigating through different systems and coordinates to interweave a common location in points. The artist enters the work\, through different processes\, the purposes are to view how these experiences have impacts on the individual and shape multiple subjectivities.
URL:https://events.mcu.edu.tw/event/%e4%b8%8d%e7%9c%a0%e5%b1%b1-seeking-for-absent-forms-in-forests-%e8%94%a1%e6%98%b1%e5%bb%b7%e5%80%8b%e5%b1%95-yu-ting-tsai-solo-exhibition/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/3.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260418T080911
CREATED:20241107T072839Z
LAST-MODIFIED:20241107T072839Z
UID:10000643-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:遲來菩薩 Belated Bosal —朴贊景個展 Park Chan-kyong Solo Exhibition
DESCRIPTION:展覽論述 Exhibition Introduction \n朴贊景是一位跨足電影的當代藝術家，長年關注冷戰課題，以及韓國傳統文化與殖民現代性支配關係，特別關於西方強權勢力對於韓國歷史的介入，和薩滿信仰對於韓國人精神結構的影響，這種文化政治的政治性更是他作品持續延展的主要動力。因而思考、批判、對抗殖民關係成為他創作中表露無遺的「態度」。 \n2000年的《Set》到2007年《權力通道》（Power Passage）與2009年的《停電》（Black Out）以一種在全球冷戰角力的錯視下進行一種南北韓的交互觀看，於2004年獲得韓國愛馬仕藝術獎，而2008年的「新都內」計畫可以視為奠基朴贊景創作軸線的複雜計畫，一方面追索雞籠山的跨教派文化，另一方面則揭露這些經驗和政治抗爭史之間的密切關係，連結萬物有靈、宇宙論、殖民史和創傷療癒等課題。2011年和哥哥朴贊郁（合組Parking CHANce）合作iphone影片《夜釣》獲柏林影展金熊獎，於2014年擔任「媒體城市：首爾雙年展」的藝術總監，提出「鬼魂、間諜與祖母們」為主題，將亞洲的殖民現代性開展為一個即為廣褒的光譜，技術、女性、儀式與跨國翻譯是這一屆雙年展極具特色的主題。2019年的「匯聚」（Gathering）展覽是一個非常龐大而完整的創作計畫，呈現了藝術家對於殖民現代性與解殖的精神道路，《遲來菩薩》是這個展覽計畫的核心作品，可以視為是《市民森林》與「安寧」展覽（2017）課題的延伸。 \n《遲來菩薩》以福島核災作為一個關鍵時刻，而與摩訶迦葉從靈鷲山趕到拘尸那羅追悼佛陀葬禮的遲到時刻，發生了一種跨時空、跨文化認知的強力交會，影片中利用負片效果與輻射光透視效果的連結，提示出人類的精神所需必須面對越來越顯得無形的暴力與支配力，當摩訶迦葉趕到卻無法開棺瞻仰時，卻見到佛陀伸「腳」行最後的告別，阿難才得進行荼毘（火化）。「遲來」造就了一個深刻的交會時刻：積累了溯往之情、命運的轉折（災難），以及輕輕的一個動作成就一道重重的安慰與傳承。當「遲來」被放回災難與倖存的脈絡時，藝術家讓我們領略到修復作為延續的深度時刻。在朴贊景的創作脈絡中來看待《遲來菩薩》與《小藝術史》的並置，我們將會置身於殖民與衰變的時間迭異，殖性的時間就如同衰變期的時間，都遠超出人們以「遺忘」生成出的樂觀想像。 \nPark Chan-kyong is a contemporary artist whose work spans film and visual art\, focusing on the themes of the Cold War\, Korean traditional culture\, and the dynamics of colonial modernity. His art critically examines Western powers’ interventions in Korean history and the influence of shamanism on Korean spiritual structures. These cultural-political forces serve as the primary motivators for his continued exploration of colonial relationships through critical analysis and resistance. \nFrom Set in 2000 to Power Passage in 2007 and Black Out in 2009\, Park’s works have depicted inter-Korean perspectives under the illusions of the global Cold War. He was awarded the Korean Hermes Prize in 2004. His 2008 Sindoan project represents a foundationally complex endeavor within his artistic trajectory: it both investigates the cross-denominational culture of Mt. Gyejok and reveals the close ties between these experiences and Korea’s political struggles. Through this work\, he bridges animism\, cosmology\, colonial history\, and the healing of trauma. \nIn 2011\, Park collaborated with his brother Park Chan-wook under the collective name Parking CHANce to create the iPhone film Night Fishing\, which won the Golden Bear at the Berlin Film Festival. He later served as the artistic director for the Media City: Seoul Biennale in 2014\, where he introduced the theme “Ghosts\, Spies\, and Grandmothers”\, expanding on the concept of colonial modernity in Asia. The Biennale explored themes of technology\, women\, ritual\, and transnational interpretation. \nPark’s 2019 exhibition Gathering was an extensive and cohesive project focused on colonial modernity and decolonial spiritual pathways. At the center of this exhibition was the artwork Late Arriving Bodhisattva\, which is viewed as a continuation of his previous works Citizen’s Forest and the 2017 Tranquility exhibition. \nLate Arriving Bodhisattva takes the Fukushima nuclear disaster as a pivotal moment\, connecting it to the myth of Mahakasyapa’s “late arrival” at Buddha’s funeral in Kusinagara after traveling from Vulture Peak. This cross-temporal\, cross-cultural event is highlighted in the film through the juxtaposition of negative images and radiative visual effects\, symbolizing the intangible violence and dominance humanity faces. In the narrative\, Mahakasyapa arrives too late to view Buddha’s body but witnesses Buddha’s “foot” gesture in a final farewell\, allowing Ananda to proceed with the cremation rites. This “late arrival” is thus a profound moment of convergence\, embodying yearning\, fate’s shifts (disasters)\, and a comforting legacy passed down through a simple act. \nBy contextualizing Late Arriving Bodhisattva within disaster and survival\, Park invites us to perceive restoration as a deep\, continuing moment. Viewing Late Arriving Bodhisattva alongside A Small Art History\, we experience the layered temporality of colonialism and decay\, where the time of colonial modernity parallels that of radioactive decay\, exceeding any optimistic notion of “forgetting”.
URL:https://events.mcu.edu.tw/event/%e9%81%b2%e4%be%86%e8%8f%a9%e8%96%a9-belated-bosal-%e6%9c%b4%e8%b4%8a%e6%99%af%e5%80%8b%e5%b1%95-park-chan-kyong-solo-exhibition/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/4.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260418T080911
CREATED:20241107T073652Z
LAST-MODIFIED:20241107T073652Z
UID:10000644-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:凡是過往，皆為序章 Past Is Prologue —何翔宇個展 He Xiangyu Solo Exhibition
DESCRIPTION:在展廳內，有平滑石頭組成的金屬裝置，牆上有幾幅照片，有水彩一般薄薄塗抹於牆面之上的橄欖油。在這裡，虛無也適時的扮演了重要的角色。 \n除了我們所製造的聲音外，展廳裡安靜無聲。人會製造噪音，石頭不會。 \n展廳內有著不同層次的結構變化。有些人可能會稱之為「和諧」。和諧的概念一如天氣，隨緯度高低而變化，或許在某個地方靜止停滯，在其他地方卻徐徐移動。多年以來，何翔宇曾四處遷徙，至今仍然如此－－他生於中國，寓居美國，又遷往柏林。他常感覺自己困於不同型態的和諧之間，而試圖為這樣的緊張賦予形體。 \n他常聆聽種種不同的聲音，聆聽彼此相異的文字，而有時，他試圖用藝術來創造新的聲音。 \n這些靜止不動的石頭也曾長途跋涉。我們並不知道它們來自何方，流浪了多久，也無從得知是什麼環境將它們打磨得如此光滑圓潤。人們藉由欣賞讚嘆它們的形狀，來表達對它們不明身世的敬意。 \n在進入展廳之前，你我或許對它們的瞭解並不多（也可能是一無所知），在離開展廳之後，可能依然對它們所知甚少。 \n或許有些觀者會想計算它們的數量，數字能使我們彷彿略知一二。這麼做也許能帶來寬慰，畢竟秩序使人心安。但也可能乏味無趣，或引人深思。另一些人光是凝神觀看便滿足了，注視著被挽救出且近乎飄浮的完美形體是一種樂趣。 \n那些被撿回並懸起的事物中蘊含著慰藉，因為人生有時重量深沉，會將我們壓垮在地。 \n展廳內除了石頭和金屬勾勒出的線條，還伴隨著一些象徵性的符號。部分的牆面被鉛筆標記出界線，線內再塗上了層層的橄欖油。 \n在過去的某個時刻，某處所曾存在著壓力，因為油的製程需要壓力，橄欖需要經過壓榨。而在久遠以前，在與這裡相距遙遠的國度裡，壓榨這些果實的滾輪也是用石頭製成的。其中許多滾輪如今已不再使用，只是安靜地躺在某處，如同古老的寺廟，恆久不變，僅有微微的磨損、小小的缺口。至今，人們並無法透過肉眼察覺它們的腐朽。 \n橄欖油滲入牆壁的時刻同樣不會為人所注意，牆壁吸收油的過程也模糊了鉛筆的印記。鉛筆痕跡消失的那一刻也不被輕易察覺。 \n很快的，這個展廳將重新粉刷，這些場域的變化不會留下任何可見的痕跡。但它們仍然存在，只不過隱入了建築之中。 \n這一切都發生在光陰荏苒之間。石頭的磨光需要時間－－極漫長的時間。橄欖油的消失也需要時間－－極短暫的時間。人們存在於這兩種時間狀態，為處理這兩種狀態而忙碌－－我們保存並高懸歷經歲月淘洗的事物，同時又不停修補已經開始在我們身旁崩解的事物。 \n這是我們的日常練習。 \n展廳牆上的照片也同樣傳遞著一股壓力，講述著擠壓與修補的故事，塑膠布和膠帶儼然已成為圖像的一部分，試圖修補破碎的窗戶。此外還存在著努力，個體的努力。 \nHere\, in these rooms\, there are things within the space: a metal garland of smoothed-down stones\, a few pictures on the walls\, olive oil applied very thinly\, like watercolor. Occasionally\, the void will play some role. \nThere will be no noise in these rooms\, other than those that we might make. People can be noisy\, stones are not. \nThere is structure here\, a level of composition. Some might say ‘harmony.’\nAt different latitudes\, the idea of harmony changes\, just like the weather: in one place it may stand still\, while elsewhere it gently moves. Over the years\, He Xiangyu has also moved from place to place\, and he still does: he was born in China\, lived in the US and then in Berlin\, too. Often\, he finds himself caught between different versions of harmony and tries to give some sort of shape to this tension. \nHe has listened to various sounds––words that differ from each other––and at times\, with his art\, he seeks to make new ones. \nThese stones that stand so still\, so carefully spaced\, have themselves traveled widely. You and I don’t know how long for\, or from where; which waters and winds have smoothed them down so finely. We pay respect to their untold origins by expressing admiration for their shapes. \nYou and I may have known very little about them before entering these rooms (perhaps we knew nothing at all); we may still know very little about them after leaving these rooms. \nSome of us might consider counting them: numbers can at least give the feeling of knowing something. This could be comforting ––there’s relief in order\, after all––or boring\, or even meditative. Others will be happy just to contemplate them\, the joy of seeing such perfect forms\, salvaged and almost levitating. \nThere is solace in things that have been retrieved and lifted\, for life can be heavy\, a thing of such weight that\, at times\, it crushes us to the ground. \nAlong with composition\, there is decoration in these rooms\, too\, with portions of the walls having been painted with olive oil\, more than once. Pencil was used to mark the limits of the areas. \nThere was pressure at a certain moment\, somewhere\, some time back\, since pressure is what is needed for the oil to be made; the olives must be crushed. And in the olden days\, in countries far away from these rooms\, the wheels that would have crushed the fruits were made of stone. Many of those wheels now lie somewhere\, no longer in use\, like ancient temples\, perpetual\, only slightly worn\, chipped––their erosion\, so far\, imperceptible to the eye. \nUnnoticed will go too the oil while it sinks into the wall\, unseen will be the moment when the process of assimilation will start blurring the pencil lines. \nSoon\, these rooms will be repainted\, no visible trace left of this moving field. But the field will stay alive\, recessed into the building. \nAll this happens over time. The stones have been smoothed over time––a great deal of it––and the olive oil will disappear over time\, a very small amount of it. You and I exist in between these two scales of events\, and we keep ourselves busy by dealing with them: we preserve and elevate things that have survived a magnitude of time\, while constantly repairing things that start falling apart around us. \nThis is a daily exercise. \nThere is pressure\, crushing and repair in these pictures too\, the ones on the walls. Windows got smashed; plastic and tape came into play. And then the effort\, the individual effort.
URL:https://events.mcu.edu.tw/event/%e5%87%a1%e6%98%af%e9%81%8e%e5%be%80%ef%bc%8c%e7%9a%86%e7%82%ba%e5%ba%8f%e7%ab%a0-past-is-prologue-%e4%bd%95%e7%bf%94%e5%ae%87%e5%80%8b%e5%b1%95-he-xiangyu-solo-exhibition/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/5-scaled.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260418T080911
CREATED:20241107T074246Z
LAST-MODIFIED:20241107T074246Z
UID:10000645-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:轉生成火鍋料的我，今天也在鍋底徘徊 In the Reincarnation as Hot Pot Ingredients\, I Find Myself Lingering at the Bottom of the Pot Today
DESCRIPTION:在台灣錄像藝術史的發展過程中，復興漢工作室具有時代轉折的代表性意義。二十一世紀的第一個十年，藝術家們持續著上個世紀九零年代末期對於電影、電視的影像敘事，與觀眾觀影習慣的探索，與此同時，網際網路的普及與行動裝置的生活化，大幅改變了影像在社會中的角色，漫畫、動畫、遊戲與影音串流之間的界線開始變得模糊。在這個媒介史的背景下，復興漢工作室的作品大幅反映了這樣的轉折，直到現在，陳亮璇、張曉書、李承亮、陳敬元、吳其育與致穎等這些藝術家們仍以不同的創作型態持續推移這樣的邊界。 \n這個展覽在文化部推動博物館及藝術5G科技跨域應用之基礎上，希望延續在地實驗團隊長期以來對於技術變遷之於藝術與創作的影響的關注，另一方面也希望確實回應5G技術的特色，以機器人、VR與APP這些當下的技術條件，透過遊戲化的策略與虛實整合展演形式支撐藝術家們對於媒介互涉與藝術發展的思考。 \nThe Fuxinghan Studio holds significant importance in the development of video art history in Taiwan. In the first decade of the 21st century\, artists continued to explore the narrative techniques of film and television\, as well as the viewing habits of audiences from the late 1990s. Simultaneously\, the widespread use of the internet and the integration of mobile devices into daily life drastically altered the role of images in society. The boundaries between comics\, animation\, games\, and video streaming began to blur. Against this backdrop of media history\, the works of Fuxinghan Studio significantly reflect this transition. To this day\, artists such as Chen Liang-Hsuan\, Zhang Hsiao-Shu\, Li Cheng-Liang\, Chen Ching-Yuan\, Wu Chi-Yu\, Musquiqui Chihying\, and others continue to push these boundaries through various forms of creation. \nThis exhibition\, based on the Ministry of Culture’s “Museum and Art 5G Technology Cross-Domain Application Project”\, aims to continue the long-term focus of ET@T on the impact of technological changes on art and creation. It also seeks to respond to artists’ reflections on media interaction and artistic development through current technological conditions like robotics\, VR\, and apps\, employing gamification strategies and an integration of virtual and physical exhibition forms.
URL:https://events.mcu.edu.tw/event/%e8%bd%89%e7%94%9f%e6%88%90%e7%81%ab%e9%8d%8b%e6%96%99%e7%9a%84%e6%88%91%ef%bc%8c%e4%bb%8a%e5%a4%a9%e4%b9%9f%e5%9c%a8%e9%8d%8b%e5%ba%95%e5%be%98%e5%be%8a-in-the-reincarnation-as-hot-pot-ingredients-i/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/6-scaled.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260418T080911
CREATED:20241107T074704Z
LAST-MODIFIED:20241107T074704Z
UID:10000646-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:全域代議 Universal Deputies
DESCRIPTION:展覽介紹 Exhibition Introduction \n《全域代議》計劃旨在構建一個三維掃描系統，並結合人工智慧虛擬人格，探索未來監控技術及其與現實世界的連結。類似於醫學診斷從X射線到磁共振成像（MRI）的發展，使醫生能夠全面掌握病人資訊，該計劃探討是否能將監控技術提升至全面且三維的空間監控。 \n通過數學演算法創建即時同步的三維虛擬空間，讓人工智慧在其中生活。隨著科技的快速發展，未來或將進入人工智慧實體超過人類的時代，這些人工智慧可能從輔助角色轉變為社會主體。這一轉變引發了對人工智慧的地位和權利的思考，若它們獲得法律主體性或公民身份，將會對現有民主制度構成挑戰。計算機運算能力的提升也可能改變我們對人口和代表的認知，這需要人類建立新的信任機制來應對這一哲學上的轉變。 \nThe “Universal Deputies” project aims to construct a 3D scanning system combined with AI-generated virtual personas to explore the future of surveillance technology and its connection to the real world. Similar to how medical diagnostics evolved from X-rays to Magnetic Resonance Imaging (MRI)\, enabling doctors to fully understand patient information\, this project investigates whether surveillance technology can be advanced to achieve comprehensive and three-dimensional spatial monitoring. \nBy using mathematical algorithms to create a real-time synchronized 3D virtual space\, AI entities can exist and operate within it. As technology rapidly advances\, we may soon enter an era where AI entities outnumber humans and transition from auxiliary roles to becoming social subjects. This shift raises important questions about the status and rights of AI\, and if they were to gain legal personhood or citizenship\, it would pose significant challenges to existing democratic systems. The increase in computational power might also change our perception of population and representation\, necessitating the development of new trust mechanisms to address this philosophical shift.
URL:https://events.mcu.edu.tw/event/%e5%85%a8%e5%9f%9f%e4%bb%a3%e8%ad%b0-universal-deputies/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/7.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241120T143000
DTEND;TZID=Asia/Taipei:20241120T163000
DTSTAMP:20260418T080911
CREATED:20241107T064036Z
LAST-MODIFIED:20241107T064036Z
UID:10000641-1732113000-1732120200@events.mcu.edu.tw
SUMMARY:【藝術下午茶】講座 Art Tea Lecture｜古蹟中「修舊如舊如新」的「如」 As in 'As Old as New': The Interpretation of 'As' in Heritage Conservation
DESCRIPTION:臺灣古蹟保存歷經近30年「如舊」、「如新」的爭論，至今仍然沒有明確的共識，導致每年都有古蹟在修護的工程中產生負面的社會爭議與討論，使社會大眾對與古蹟的保存逐漸失去信心。 \n本次將從脈絡去思考「如」字在參與施工的匠師、專業技術者、委員、建築師中的定義，是否與文化資產價值本身產生衝突。才能避免古蹟死在手術臺上的憾事不斷發生。 \nFor nearly 30 years\, Taiwan has grappled with defining conservation standards between “as old as old” and “as old as new\,” yet a clear consensus remains elusive. Each year\, controversies arise during heritage restoration projects\, causing growing public skepticism around heritage preservation practices. \nThis lecture will explore the contextual meanings of the word “as” among craftspeople\, technical experts\, committee members\, and architects involved in these projects. It will examine whether their interpretations align or conflict with the intrinsic values of cultural assets. Only through this reflection can we hope to prevent the repeated tragedy of heritage sites being “lost on the operating table”. \n票價 Fee：免費 Free
URL:https://events.mcu.edu.tw/event/%e3%80%90%e8%97%9d%e8%a1%93%e4%b8%8b%e5%8d%88%e8%8c%b6%e3%80%91%e8%ac%9b%e5%ba%a7-art-tea-lecture%ef%bd%9c%e5%8f%a4%e8%b9%9f%e4%b8%ad%e3%80%8c%e4%bf%ae%e8%88%8a%e5%a6%82%e8%88%8a%e5%a6%82%e6%96%b0/
LOCATION:藝文大樓\, 松山區八德路三段25號\, 台北市\, Taiwan
CATEGORIES:臺北市藝文推廣處,藝文大樓
ATTACH;FMTTYPE=image/png:https://events.mcu.edu.tw/wp-content/uploads/2024/11/10.png
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241120T180000
DTEND;TZID=Asia/Taipei:20241122T200000
DTSTAMP:20260418T080911
CREATED:20241107T021244Z
LAST-MODIFIED:20241107T021244Z
UID:10000639-1732125600-1732305600@events.mcu.edu.tw
SUMMARY:2024 艋舺青山宮暗訪暨遶境活動 Monga Qingshan Temple Night Patrol and Procession
DESCRIPTION:「艋舺青山宮暗訪暨遶境」俗稱「艋舺大拜拜」，為臺北三大重要祭典活動之一，農曆10月20、21日分別於南、北萬華進行暗訪，22日則為盛大的「正日遶境」，於99年登錄為臺北市民俗文化資產。 \n艋舺青山宮於每年靈安尊王聖誕前夕辦理一系列演唱會、音樂會及萬華大熱鬧市集活動，吸引民眾前往參觀。萬華區公所亦於遶境期間，舉辦走讀艋舺青山宮暗訪暨遶境活動、艋舺青山宮打卡換好禮、艋舺青山王祭艋舺公園藝文展演等活動，希冀透過一系列活動讓民眾了解傳統祭典的文化意義。 \nThe “Monga Qingshan Temple Night Patrol and Procession”\, commonly known as “Monga Grand Pilgrimage” is one of Taipei’s three major religious festivals. The event includes night patrols in South and North Wanhua on the 20th and 21st days of the 10th lunar month\, followed by a grand procession on the 22nd. This significant event was registered as a Taipei City Folk Cultural Asset in 2010. \nIn the days leading up to the birthday of the temple’s deity\, Ling’an Zunwang\, Qingshan Temple organizes a series of events\, including concerts\, musical performances\, and a bustling market\, drawing crowds to celebrate. During the procession\, the Wanhua District Office also hosts a variety of events\, including guided tours of the night patrol and procession\, a social media check-in activity with prizes\, and the Monga Qingshan King Arts and Culture Exhibition at Monga Park. These activities aim to enhance public understanding of the cultural significance of this traditional festival. \n連絡電話、聯絡人 Contact Point：02-23822296、陳玉敏\n網站連結 Website：https://www.facebook.com/qingshantemple/
URL:https://events.mcu.edu.tw/event/2024-%e8%89%8b%e8%88%ba%e9%9d%92%e5%b1%b1%e5%ae%ae%e6%9a%97%e8%a8%aa%e6%9a%a8%e9%81%b6%e5%a2%83%e6%b4%bb%e5%8b%95-monga-qingshan-temple-night-patrol-and-procession/
LOCATION:艋舺青山宮\, 萬華區貴陽街2段218號\, 台北市\, Taiwan
CATEGORIES:艋舺青山宮
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/1.jpg
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END:VCALENDAR