The Most Familiar Strangers: From Pey-Chwen Lin’s Wannsee Conference
最熟悉的陌生人：來自林珮淳的萬湖會議
作者：李美華
被從顯示28個陌生人面孔的視頻螢幕中傳來的嘈雜聲吸引，我們注意到他們全都在同時說話。奇怪的是，他們的面孔似乎很熟悉。經過仔細觀察，我們意識到這些「陌生人」實際上是來自世界各地的領導人和名人。在逐漸識別這些陌生人的身份後，觀眾通常會微笑或大笑，並對探索藝術背後的理念產生興趣。
在林珮淳的這件藝術作品中，這些名人的面孔與AI生成的夏娃克隆（Eve Clone）融合，形成扭曲和怪異的外貌。在今天這個被媒體充斥的世界中，我們經常在新聞頻道、脫口秀、政治訪談等節目中看到這些公眾人物。他們變得如此嵌入我們的意識中，以至於感覺像我們的鄰居、親戚或朋友，即使我們從未見過他們。
如果我們有機會親自遇到這些名人，可能會感到困惑、懷疑，甚至因為無法立即記起他們的名字而感到尷尬，但我們會確信我們應該認識他們。這種掙扎會讓人感到不安。當我們突然記起他們的身份時，會因為認識到那個在電視上頻繁出現的人實際上不是朋友而感到震驚。這種現象揭示了公眾人物對我們日常生活的深遠且常被忽視的影響。
萬湖會議上的28張面孔，以真實著名人物為模型，通過AI技術實現沉浸式呈現，強有力地展示了這些熟悉的陌生人如何佔據我們的思維。
人類與AI：從概念到現實的参訪者體驗
讓我們回到伊曼紐爾·康德所認為的核心問題：“什麼是人類？”這一普遍問題始終保持其相關性。部分答案是，人類意味著擁抱文化多樣性，同時重視個體。而且，即使面對出生的偶然，人類仍需堅持理想。另一個方面涉及對自然和社會系統的敬畏，這一點通過藝術話語來探索。正如蘇格拉底所指出的五大核心價值——仁慈、公正、正義、勇氣和愛——我們能否在未來追求這些理想？這些問題是否仍然相關，還是我們對人性的理解會在AI或克隆技術的時代被重新塑造？
預測我們的未來，甚至我們的現在，會越來越屬於高科技，如AI、VR和AR，已經成為時尚。在這種願景中，民族性和其他人文關懷似乎將融入一個烏托邦的未來。然而，斯蒂芬·弗萊（Stephen Fry）認為，我們生活在一個洪泛平原上，一場大風暴即將來臨。最迫切的，也許是逆向直觀的，為了準備一個充滿技術的未來，我們必須加倍努力理解什麼是人類，機器能做什麼和不能做什麼，以及它們可以支持我們哪些優先事項。
藝術和人性比以往任何時候都更加重要。我們需要理解我們的靈魂、精神、美感、愛、靈感、忠誠和同理心。機器的廣泛使用將給我們更多的時間，因此理解如何以及為什麼我們可以實現我們的真正命運變得至關重要。
這個概念讓我們想到AI生成的世界領導人和名人的形象——如萬湖會議中的形象——代表了那些被合併成名為夏娃克隆的創造物。正如先進技術和創造性科學能從電腦實驗室中生成夏娃克隆，一個單一的DNA啟用細胞也能發展成真正的人。雖然我們知道伊芙克隆的概念可能即將出現，但它可能不會以機器人的形式出現。相反，道德考量將決定我們允許這一進展的程度。真正的問題在於如何導航這些可能性：一個社區如何既假裝又保護，並且需要哪些策略來防止這些情境變成現實，如藝術家所引用的聖經章節？
在我們當前的世界中，跨政治地理和各地區的複雜性浮現。遺憾的是，以保護本國人民的名義，國家領導人經常做出聲明，導致衝突，結果是殺害或綁架其他民族群體的成員。這一循環促使戰爭，導致數以萬計的平民死亡。像美國或歐盟這樣的大國在表達對全球和平的關切的同時，卻提供高科技武器以促進暴力。因此，大國展示其軍事力量，並展示其主宰世界的能力。
林珮淳的萬湖會議對現實世界經濟論壇進行了諷刺，許多世界領導人會為參與討論和與其他名人見面而感到自豪，並獲得認可。該會議試圖招募來自全球的更多有影響力的領導人；這些人物共同控制著世界金融、政治、媒體、經濟和社會。然而，在這次會議中，沒有真正的溝通——只有如巴別塔的無意義喃喃自语。
我們見證了世界各地各種人民運動：阿拉伯之春、智利的人權鬥爭、台灣的太陽花運動，旨在保護該國的民主獨立免受中國的侵擾，以及最著名但失敗的香港雨傘運動，雖然涉及200萬人卻最終屈服於中國的力量。在林珮淳的藝術作品中，這些萬湖會議揭示了赋與的混種領導人的邪惡面孔，額頭上刻有「666」的符號。悲劇的是，這種社會腐敗繼續包圍我們，逐漸接管世界並剝奪我們的權利。
像林珮淳這樣的藝術家使用新媒體來揭露這一令人擔憂的趨勢並提高公眾意識。她的AI生成面孔，以中央女性形象夏娃克隆為起點，啟動了對話，接著其他人模仿各世界領導人。對話從一個人開始，然後是兩個，接著是三個，直到整個人群同時講話，每個人用自己的語言。這種混亂的場景象徵著缺乏真正的對話，每個人都表達自己的想法，而不考慮其他人。儘管看似這些領導人在會議上民主地討論重要問題，但實際上沒有真正的溝通意圖。這是否正是我們當前世界的反映？
在另一部新視頻作品中，巴別塔成為背景，一個藍色的、動作笨拙的伊芙克隆（Eve Clone）在塔頂彎曲著身體站立。根據藝術家的說法，這個伊芙克隆正在「跳舞」以展示自己。這個藍色的伊芙克隆繼續在世界著名的摩天大樓上搖擺，例如紐約的帝國大廈。「巴別塔」的一種解釋是無意義的嘟嚷，它也象徵著最後的巴比倫帝國的崩潰。在這種背景下，萬湖會議代表了世界領導人在他們自己的嘟嚷中，沒有任何有意義的溝通。這件作品與萬湖會議和其他符號協調，暗示了一個因高科技而走向崩潰的世界，以AI生成的夏娃克隆為例。這些AI世界領導人，像他們的人類對應者一樣，似乎將我們拖向全球災難。
雖然創新技術常用於探索外太空，但在這裡，它被用來創造一個沉浸式的互動藝術展覽。在其他背景下，AR和VR技術通過不同的時間空間連續體讓參觀者探索將可能被隕石撃毁和變化中的宇宙。林珮淳自2002年開始發展的伊芙克隆系列展示了包括VR、AR、AI和運動捕捉攝影等創新方法，將歷史、藝術、神學、數位參與和教育融為一體。她的作品反映了她致力於吸引和啟發社區的使命，呼應了當代藝術界類似於文藝復興的復興，其中形式、概念和技術無縫地交織在一起。
通過看似傳統的媒介，如繪畫、數學和寫作——無論是在紙上還是數位畫布上——這些藝術作品就像歷史上的尋寶遊戲，精心策劃以創造親密的觀展體驗。它們深入探討了人類與AI技術之間的關係。然而，創新的想法如果沒有負責實施的人來推動，則無法扎根。這些人充擔了各個領域的聯絡角色，促進實施，塑造想法，管理流程，並衡量結果以評估成功。
夏娃克隆系列及未來的人性
自2002年以來，藝術家林珮淳一直在發展她的伊芙克隆系列，最初探索克隆的概念——從簡單的機器人到現今的AI啟用機器。在技術進步的過程中，我們逐漸進入一個可能需要捍衛道德和美德原則的世界。在這個不斷演變的環境中，區分一個被迷戀的人類般的機械創造物和一具無生命的冰冷身體變得越來越困難。這些實體不僅存在於虛擬世界，它們逐漸成為我們現實的一部分。隨著它們取代人類勞動，我們不禁質疑人類存在的基本價值。
當我們忽視什麼是人類時，即使我們不與額頭上標記有「666」的伊芙克隆合併，我們的良知是否能夠覺醒並主張自己？每天都有新技術被開發，那些看似神秘或複雜的技能可能會分散或誤導我們的注意力。作為一名新媒體藝術家，林珮淳總是試圖在她的作品中提出有關人類價值的問題。機器和設備可以不斷改進，發展成為精緻的新技術。然而，更迫切的問題是：這些藝術作品背後的概念是什麼？
在一個技術進步模糊人類與機器界限的時代，夏娃克隆系列挑戰我們面對當前的倫理、道德和存在問題。當我們在一個越來越被AI和數位複製品主導的世界中前行時，重新評估我們對人類的理解變得至關重要。這些新技術的興起——無論是克隆生物、AI生成的面孔還是虛擬現實——迫使我們檢視人性的核心價值：良知、同理心和道德。通過提出這些關鍵問題，夏娃克隆系列促使觀眾考慮我們選擇對塑造未來的影響，在這個未來中，技術成為進步的工具，而非去人性的催化劑。這樣，該系列不僅僅是藝術；它成為了反思創新與保護我們基本人類價值之間微妙平衡的呼籲。
The Most Familiar Strangers: From Pey-Chwen Lin’s Wannsee Conference
by Luchia Meihua
Lee
The 28 faces at the Wannsee Conference, modeled after real
renowned individuals and made immersive through AI, are a powerful
representation of how these familiar strangers occupy our minds.
Let us turn to the question that
Immanuel Kant deemed central: "What is the human being?" This
universal question has never lost its relevance. Part of the answer is that
being human means embracing cultural diversity while valuing people as
individuals. It also means holding on to aspirations despite the accidents of
birth. Another aspect involves a reverence for natural and social systems, as
explored through artistic discourse. As Socrates identified five core
values—mercy, justice, righteousness, bravery, and love—will we be able to
pursue these ideals in the future? Are these questions still pertinent, or will
our understanding of humanity be reshaped in an era where AI or clones may
follow different standards?
It has become fashionable to predict
that our future—and increasingly, our present—belongs to high technologies such
as AI, VR, and AR. In this vision, ethnicity and other humanistic concerns seem
poised to dissolve into a utopian future. However, Stephen Fry argues that we
are living on a flood plain, and a great storm is coming. Most urgently, and
perhaps counter-intuitively, in order to prepare for a future brimming with
technology, we must intensify our efforts to understand what it means to be
human, what machines can and cannot do, and which of our priorities they can
support.
Art and humanity are more crucial than
ever. We need to comprehend our soul, spirit, sense of beauty, love,
inspiration, loyalty, and empathy. The widespread use of machines will afford
us much more time, making it vital to understand how and why we can fulfill our
true destiny.]
This concept reminds us that AI-generated images of world
leaders and celebrities—like those from the Wannsee Conference—represent real
people who have been merged into a created entity known as Eve Clone. Just as
advanced technology and creative science from computer labs can generate an Eve
Clone, a single DNA-enabled cell can develop into a real person. While we are
aware that the concept of an Eve Clone may be on the horizon, it might not
appear in the form of a robot. Instead, moral considerations will determine how
far we allow this to progress. The real question lies in navigating the
possibilities: how does a community both pretend and protect, and what
strategies are necessary to prevent such scenarios from becoming reality, as
the artist references from a Bible chapter?
In our current world, complexities arise across continents
and various regions. Sadly, in the name of protecting their own people,
national leaders often make claims that lead to conflict, resulting in the
killing or kidnapping of members of other ethnic groups. This cycle fuels wars,
leading to the deaths of thousands of civilians. Large countries like the
United States or those in the European Union express concern for global peace
while simultaneously providing high-tech weapons that contribute to violence.
Thus, the great powers showcase their military might and demonstrate their
capacity to dominate the world.
Pey-Chwen Lin's Wannsee Conference is a satire of a
real-world economic forum, where many world leaders would take pride in
participating in discussions and meeting other celebrities to gain recognition.
The conference attempts to recruit more influential leaders from around the
globe; together, these figures control world finance, politics, media,
economics, and society. But in this conference, there is no communication -
only babel.
We have witnessed various people's movements around the
world: the Arab Spring, the fight for human rights in Chile, Taiwan's Sunflower
Movement, which sought to preserve the country's democratic independence from
China, and the most renowned yet unsuccessful Hong Kong Umbrella Movement,
which involved 2 million people but ultimately succumbed to Chinese power. In Pey-Chwen Lin's artwork, these Wannsee
Conferences reveal the sinister faces of leaders with the symbol
"666" carved on their foreheads. Tragically, this societal decay
continues to surround us, gradually taking over the world and stripping us of
our rights.
Artists like Pey-Chwen Lin use new media to expose this
troubling trend and raise public awareness. Her AI-generated faces, starting
with the central female figure of Eve Clone, initiate a conversation, followed
by others who imitate world leaders. The conversation begins democratically,
with one person speaking, then two, then three, until the entire crowd is
speaking simultaneously, each in his or her own language. This chaotic scene
symbolizes a lack of genuine dialogue, where everyone expresses his or her
own ideas without regard for others. Although it appears that these leaders are
democratically discussing important issues at this conference, there is no real
intention to communicate.
Isn't this a reflection of our current world situation?]
In another new video piece, the Tower
of Babel serves as the backdrop where a blue, awkwardly moving Eve Clone bends
and stands atop the tower. According to the artist, this Eve Clone is “dancing”
to show off herself. The blue Eve Clone continues to swing on top of the
world's iconic skyscrapers, such as New York’s Empire State Building. One
interpretation of "babel" is meaningless mumbling, and it also
symbolizes the collapse of the last Babylonian empire. In this context, the
Wannsee Conference represents world leaders engaged in their own babble without
any meaningful communication. This piece aligns with the Wannsee Conference and
other semiotic symbols to suggest a world headed toward collapse due to high
technology, exemplified by the AI-generated Eve Clone. These AI world leaders,
much like their human counterparts, seem to drag us toward a global disaster.
While innovative technology is often
used to explore outer space, here it is employed to create an immersive,
interactive art exhibition. In other contexts, AR and VR technologies engage
visitors in a discovery of meteors and shifting universes through different
time-space continuums. Pey-Chwen Lin's Eve Clone series, which she began
developing in 2002, showcases innovative methods including VR, AR, AI, and
motion capture photography that blend history, art, theology, digital
engagement, and education. Her work reflects a mission to engage and inspire
the community, echoing a Renaissance-like revival in the contemporary art world
where form, concept, and technique are seamlessly intertwined.
Through seemingly traditional media
such as drawing, mathematics, and writing—whether on paper or digital canvas—the
artworks serve as a historical treasure hunt curated to create an intimate
viewing experience. They delve deep into the connection between human beings
and AI technology. However, innovative ideas cannot take root without the
individuals tasked with leading them. These people serve as liaisons across
various sectors, facilitating implementation, shaping ideas, managing
processes, and measuring outcomes to gauge success.]
Eve Clone Series and Humanity
Since 2002, artist Pey-Chwen Lin has been developing her Eve
Clone series, initially exploring the concept of clones—human-made beings
that range from simple robots to today’s AI-enabled machines. As technology
advances, we find ourselves gradually entering a world where we may need to
defend moral and virtuous principles. In this evolving landscape, it becomes
increasingly difficult to distinguish between a fetishized, human-like
mechanical creation and a lifeless, cold body. These entities are not confined
to the virtual world; they are gradually becoming part of our reality. As they
replace human labor, we are left questioning the fundamental value of being
human.
When we lose sight of what it means to be human, even if we
don't merge with an Eve Clone marked with "666" on its
forehead, can our conscience rise and assert itself? Each day, new technologies
are developed, and skills that seem mysterious or complex or kaleidoscopic can
distract or mislead us. As a new media artist, Lin always aims to raise
questions about human values in her work. Machines and equipment can
continuously improve and evolve into sophisticated new technologies. However,
the more pressing question is: What is the concept behind these artworks?
In an era where technological advancements blur the lines
between human and machine, the Eve Clone series challenges us to
confront the ethical, moral, and existential questions of our time. As we
navigate a world increasingly dominated by AI and digital replicas, it becomes
crucial to reassess our understanding of what it means to be human. The rise of
these new technologies—whether in the form of cloned beings, AI-generated
faces, or virtual realities—forces us to examine the core values of humanity:
conscience, empathy, and morality. By raising these critical issues, the Eve
Clone series compels viewers to consider the implications of our choices in
shaping a future where technology serves as a tool for progress rather than a
catalyst for dehumanization. In this way, the series becomes more than just
art; it becomes a call to reflect on the delicate balance between innovation
and the preservation of our fundamental human values.
Foot notes:
[1] (Louden n.d.), Louden, Robert. n.d. Kant’s
Human Being: essays on his theory of human nature. Oxford: Oxford
University Press. Accessed May 4, 2019.
https://pdfs.semanticscholar.org/f0e6/da6197978d213e17dc76dfa63448decff5b6.pdf.
[2] (Fry 2017), Fry, Stephen. 2017. Shannon
Luminary Lecture Series - Stephen Fry, actor, comedian, journalist, author.
Oct 3. https://www.youtube.com/watch?v=24F6C1KfbjM.
About the author: 有關作者
Luchia Meihua Lee, M.A., M. Phil.
Luchia Meihua Lee is a curator, cultural programming organizer,
and arts writer dedicated to supporting and promoting diverse artist and creators in the field , she
is the founding Executive Director of the Taiwanese American Arts Council.
Residing in New York City since 1995, she has successfully curated many
exhibitions and events along with a wide variety of lecture series in North
America and elsewhere. During a span of over twenty years in New York, she has
been curated many significant exhibitions at various museums, art organizations
and galleries, been deeply involved in the contemporary art scene in the
greater New York metropolitan area, and published catalogues and other written
works.
She was Director and Chief Curator of the Exhibition Department of the National Taiwan Museum of Art, Cultural Specialist at the Council for Cultural Affairs (Cultural Ministry) in Taiwan, and Curator at the Chinese Information and Cultural Center (CICC, TECO in NY), Taipei Gallery in New York City. Her exhibitions received international media attention, in the New York Times, Wall Street Journal and many other places. Luchia Lee received her M. Phil in the History of Art and Architecture at Trinity College Dublin, Ireland with a thesis on Insular art, with a focus on the use of new technology for the exhibition of Medieval manuscripts. She is committee member and art consultant for various organizations, and has served on many art juries for Queens Arts Council, LMCC, and several community art organizations.
Ms. Lee has been
Executive Director of the Taiwanese American Arts Council (TAAC) since its
founding in 2014, and continues to devote her professional efforts to support
this non-profit organization that builds bridges between communities, nationally
and internationally through art and culture to deepen our senses of beauty,
inspiration, and empathy.
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