The Most Familiar Strangers: From Pey-Chwen Lin’s Wannsee Conference

The Most Familiar Strangers: From Pey-Chwen Lin’s Wannsee Conference

by Luchia Meihua Lee

Drawn in by the loud noise emanating from a video screen displaying the faces of 28 strangers, we notice that they are all speaking at once. In a strange way, their faces seem familiar. Upon closer inspection, we realize that these "strangers" are, in fact, leaders and celebrities from around the world. Upon gradually figuring out who these strangers are, viewers typically smile or laugh out loud, sparking an interest in exploring the ideas behind the artwork.

In this artwork by Pey-Chwen Lin, the faces of these celebrities merge with the AI-generated face of Eve Clone, resulting in distorted and grotesque appearances. In today's media-saturated world, we frequently see these public figures on news channels, talk shows, political interviews, and more. They become so embedded in our consciousness that they feel as familiar as our neighbors, relatives, or friends—even though we've never met them.

If we were to meet one of these celebrities in person, we might feel confused, doubtful, or even embarrassed for not immediately recalling their name, yet we'd be convinced that we should know them. This struggle can be unsettling. When we suddenly remember who they are, we're startled by the realization that the person we see so often on TV isn't actually a friend. This phenomenon reveals the deep and often unnoticed impact of public figures on our daily lives.

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.


Human vs. AI: Visitor Experience from Concept to Reality

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.]


A Conversation with No Talk

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?


Eve on the Tower of Babel

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.

 

published on: https://today.line.me/tw/v3/article/8nN1KxV

最熟悉的陌生人：來自林珮淳的萬湖會議

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。

 無言的對話

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？

 巴別塔上的夏娃

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

 Drawn in by the loud noise emanating from a video screen displaying the faces of 28 strangers, we notice that they are all speaking at once. In a strange way, their faces seem familiar. Upon closer inspection, we realize that these "strangers" are, in fact, leaders and celebrities from around the world. Upon gradually figuring out who these strangers are, viewers typically smile or laugh out loud, sparking an interest in exploring the ideas behind the artwork.

 In this artwork by Pey-Chwen Lin, the faces of these celebrities merge with the AI-generated face of Eve Clone, resulting in distorted and grotesque appearances. In today's media-saturated world, we frequently see these public figures on news channels, talk shows, political interviews, and more. They become so embedded in our consciousness that they feel as familiar as our neighbors, relatives, or friends—even though we've never met them.

 If we were to meet one of these celebrities in person, we might feel confused, doubtful, or even embarrassed for not immediately recalling their name, yet we'd be convinced that we should know them. This struggle can be unsettling. When we suddenly remember who they are, we're startled by the realization that the person we see so often on TV isn't actually a friend. This phenomenon reveals the deep and often unnoticed impact of public figures on our daily lives. 

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.

 Human vs. AI: Visitor Experience from Concept to Reality

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.]

 A Conversation with No Talk

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?]

 Eve on the Tower of Babel

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:

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[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.

 

From Sunflower 2014 of the 10th Year before and after

 From Sunflower 2014 of the 10th Year before and after

By Luchia Meihua Lee

Island Sunrise team

Taking a stand on contentious issues may result in a particular chamber of peoples whom play as a whole, by refusing to compromise the statement or action. In this people’s movement exhibition, As James Davison Hunter indicated that signals solidarity and support if we explore to a culture wars, we have observed the whole points of civil society, …is to provide mediating institutions to stand between the individual and the state, or the individual and the economy. and a value of the benefit to remeasure and volatile future, and leave a felling of empowered and make a difference. on the other hand, cultural and art influencers can offer their communities a place to decompress, it is a brake, might play a role of anti-inclusive values segment. [2] The people's movements explore the cultural, political, and economic challenges facing society and devise strategies to shape better tomorrow. It is might change the boundary to serve society and foresight, we can provide a window and spotlight on current challenge of efficiency into the world of volatility connotation.

In March 2014, young people led Taiwan’s Sunflower Movement which in time completely reversed the course of Taiwan’s foreign and domestic policy. On the 10th anniversary of the movement, we would point out that social and political change is won through the brave spirit and effort of the movement leaders and the people - not awarded as a lucky accident. This program will involve artists celebrating peoples’ political movements – largely youth-led – that took place around the world circa 2014. We select 5 movements: the Sunflower Movement, the Arab Spring, the Chilean Winter, the Ukrainian Euromaidan movement, and Hong Kong’s umbrella movement – all of approximately the same era as Taiwan’s Sunflower movement – to which artists will respond. 

First among them, of course, is Taiwan’s Sunflower Movement in which students and other youth occupied Taiwan’s legislative body in protest of the plan by ruling government (that of Ma Ying-Jeou) to strengthen trade ties with China. The Sunflower Movement was successful in blocking the proposed legislation, and led to many of its participants eventually entering formal political life and thus rejuvenating Taiwan’s political culture.  It’s tenth anniversary will be on March 18, 2024. 

Other movements to be celebrated will be Hong Kong’s Umbrella Movement, which took place between 26 September and 15 December 2014 – so 2024 will also mark the 10th anniversary of this movement.  Led by Hong Kong youth, this movement was sparked by China’s proposed changes to Hong Kong’s electoral system – changes that the movement unsuccessfully opposed and were later imposed unilaterally by the government in Beijing.  However, this movement was resurrected on its fifth anniversary in 2019 to protest the bill enabling extradition to China – and trial there – of residents of Hong Kong. Beijing eventually imposed this bill on Hong Kong, further eroding the special status of Hong Kong in violation of the 50-year special administrative status of Hong Kong negotiated by the United Kingdom and China in 1997. However, this exhibition will glorify the spirit of public self-sacrifice exemplified in Taiwan’s Sunflower Movement, and in evidence in each of these popular movements.

Some element of the Arab Spring will be included in this exhibition. While that movement took place in several Arab countries – with varying degrees of success – in the early 2010’s. The Arab Spring started in Tunisia, and then spread to Egypt, Libya, Yemen, Syria, and Bahrain. In Egypt, Libya, Yemen, and Tunisia, rulers were deposed. Protests took place across the Arab world, most particularly in Morocco, Iraq, Algeria, Lebanon, Jordan, Kuwait, Oman and Sudan. All these were movements by youth in opposition to authoritarianism and in pursuit of democracy as well as a brighter economic future, and so fit the theme of this exhibition. While 2024 will be the 12th or 13th anniversary of this movement (depending on which country one looks at), it deserves to be included in this exhibition because of its aims.  It is hoped to examine more carefully the Arab Spring as it took place in Tunisia (where it was successful).

Numerous political movements in South and Central America were youth-led protests. Perhaps one of the most notable was that in Chile in 2011 to 2013. Known as the Chilean Winter, it was a student-led protest against the poor for-profit educational system – especially the post-secondary educational system - extant in Chile at that time which tended to perpetuate Chilean class structure because the children of the very rich had adequate educational choices, but not the children of middle-class families. This system dated to the dictatorship of General Augusto Pinochet, who was not more benign than General Chiang Kai-Shek in Taiwan. In both Taiwan and Chile, the transition to democracy took place peacefully – without a revolution – while political movements such as those discussed herewith fine-tuned that democracy.

The youth movements in Ukraine were known as the Euromaidan or Pomvrancheva revolution. The movement is named after Maidan Nezalezhnosti (Independence Square) in Kiev, one of the first sites of demonstration on 18 February 2014; the protestors at one point also attempted to occupy the legislative branch. Unlike with the Sunflower Movement in Taiwan, armed police stymied this move, killing, wounding or arresting numerous protestors. The achieved aim of the Euromaidan movement was to topple President Yanukovych whom the protestors considered too close to Russia. Yanukovych had negotiated an agreement for Ukraine to join the EU, then declined to do so in favor of closer ties with Russia – an echo of the closer ties with China advocated by Ma Ying-Jeou in Taiwan.

Ultimately, the success of the Euromaidan revolution, which was supported by speakers of Ukrainian and opposed by Ukrainian speakers of Russian, emboldened Russia to seize the Crimean Peninsula, a Russian-speaking area of Ukraine. A variety of artists from the region will make and display art commenting on the Euromaidan revolution in Ukraine.

This exhibition thus celebrates youth-led popular movements of approximately 10 years vintage and simultaneously highlights both the similarities and differences between them. Social and political change is never straightforward and compartmentalized, let alone complete – which is why we have chosen a variety of such movements.

The participating artists in Taiwan Sunflower Movement, first is 

Tsung-Jung Liu 劉宗榮 , Sunflower Movement frontline artist, Liu involve the social movement with art work from Taiwan Dapo issue(大埔事件), In June 2010, Miaoli County Magistrate Liu Zhenghong deployed crane entered the rice fields and destroyed the rice husks that were about to be harvested shocked the country. The issue of land expropriation spread. The forced demolition incident in Da po triggered 20,000 people to take to the streets in Taipei to protest, and they occupied the Ministry of Interior for an all-night sit-in, demanding an apology and compensation, return of the land to its original owner, a thorough investigation of the abuses, and immediate amendment of the law. Many of Sunflower main protecters are also the key supporters.

from 2012 to 2014,  large mural , portraits was completed, symbolizing the determination of Ta Pu residents to protect their home. On July 2014, artist Liu Tsung-Jung started wall painting at the original site of demolition Cheung Pharmacy to create the "Four Evil Men" paintings. The paintings included portraits of Ma Ying-jeou, Wu Dunyi, Jiang Yihua, Liu Zhenghong, and many young people who caused the Da Pou Incident. Take the initiative to join. In following many social justices event, he participated and walking into the frontline to hold the strong will protect the justice of the society. in his studio, numerous archives are collected to show the historical records. The large painting ‘Illuminating Darkness“ he painted in 2014, is a spirit symbol of Sunflower, he use skillful painting other portraits such as Lee Deng Hui, in mingle with Jad mountain. Also the pioneer of Taiwan Independent leader Shi-Min, he catch the shape eye in this leaders. As an passionate in care about country, he not only with humble humanity personality with love from what he deep involved in christin believe.

Enbion Micah Aan洪延平, is a New York human rights activist photographer, he care all the people’s movement, from the photography he taken, about the animal right, environmental subject, to the education pursue, also

Island Sunrise Team島嶼天光團隊, Sunflower Movement frontline art team, although the portrait artist would like to be anonymous, while people known he has painted over 12 paintings during the occupying legislative Yuan, all these portraits can be any of people who participating the protect, and unknown the name. the group also made a documentary video to records the demonstration.

Hsin Yi Liu 劉欣怡, Artists who participated in the Sunflower Movement protests,  as she always soft middle tone color to paint two large abstract paintings to reveal the chaotic of Taiwan, China and the world situation. Chia H. Kuo (The social activist sculptor who made the portrait of Dr. Lai Ching The, who been elected to be the President in 2024. Consider the project which include two of the pioneer influence Taiwan’s democracy, as former President Lee Teng-Hui, been call the Father of Taiwan Democracy. Who ended the ariscratic of Chiang Family dynasty in Taiwan, and return the vote right to Taiwanese People. Two portrait of Shi Ming, also by Liu Tsung-Jung, which been very much represent Taiwan’s democratic transition.

In Ukrainian Euromaidan revolution

Oleksii Koval , an Ukrainian artist in exile, he is familiar enamel skill in making large size of the crafts, lithograph, and painting. Her work are details ornament which present a type of royal and metallic surface atmosphere which even two dimensional print or the silk fabric, in this time a large stripe fabric print in similar a queen or king’s wear rope, and a imperial motifs on the fabric. While also in some way compare to the current Ukraine-Russia War, will it showing the past of the classical splendor are gone with the wind, and two palm hold that pray the future unknown, and unpredictable. Consider an Ukranin artist in exile in US. 

Taiwanese American artist Shih-Pao Lin 林世寶 (Artists with themes of humanitarianism in the Ukraine-Russia war), who are walking to the Was Zone in person. In 2023, he started a drawing series of “One painting, one prayer”, he first paint the blue and yellow background on the paper, the start his drawings, the small painting only 8 by 10 size, and he start to do fund raising for the Ukraine artists.

In the exhibit, we can see a 5,000-kilometer road map that Shih Pao Lin traveled in Ukraine with Ukrainian NGOs members in two weeks. They pass by various towns when getting further and get closer to the the front line, along the way, many cemeteries, we can see the statue and soldiers with wings along the way, these soldiers who sacrificed their lives for the country. As long as we see the cemeteries, we are all asked to get out of the car to pay tribute to the soldiers. He said, I cannot remember in that town that tens of thousands of soldiers and civilians sacrificed too much.

To talk about the catastrophic of Chilean Winter, the revolution are not successful, the country is still under the dictatorship, for an female artist, María Verónica San Martín, a Chilean human rights artist, a multi-talent and very bravely choose to use her art work to present and to memorized the people who has scarified during the revolution. She use woodcut print, silk print making a fantastic  subject, she is also taking mixed media in reveal her beautiful country in a sublime beauty landscape, byt while cover in the suffering of the people. A performance she choose the stick to …

Arab Spring, to the country in the middle east, I might include artist from Yemen, or Tunisians , I choose Kevork Mourad, Armenian caravan artist whose family was exiled due to genocide）, in all period human history, genocide has occurred in the prominent in 20 century, while the Turk and Amenia that killing million Armenians that might be almost forgotten, artists Kevork “four fact” video piece that follow his black and while fabric cutting and illustration style, that in a historical lyric sorrow phenomena, in a  sorrow exotic music lead to this whisper background animation open the preface, enter to a no people empty abandon splendor pathetic bundles to reveal, a death, ruin, slaughter exposure, a utterness view that in both staging, and factual grief stress. In the exhibit, sailing nowhere, a sail boat that carry a three panel wings with all disposing of the faces of the bodies blood stain.    

Many of artists unlike Hong Kong’s Umbrella Movement, artist Tracy Wong 黄國才, Hong Kong social activist artist in exile in Taiwan, who has been mentally, physically suffered in Hong Kong’s movements, although now he exile and living in Taiwan, while the shadow, are still make him tremble, and nightmare, not only direct walking to the street, he act, performed, documented, a studio that been neatly arranged and documented, all the performance large mask, toyed human, the cocktail can be transfer to be a visually beautiful sculpture. His under the yellow umbrella drawings, sketches and people that unknown, a studio that open to the people, and the people form this ideology protect. Helping people find common ground. 

A people’s movement often provide a spotlight on timely perils and exposures thus to help the potential clues about how the government to modify risk management to better serve the community people. The  movements, as a whole in common ground, in Hunter’s words “they are mediating, educating." by launch these movements as echo of society, people’s movements which engaging in hard conversations, in their society, country and with communities. People are continuing to fill a critical role in each century.

References:

1. https://www.civilmedia.tw/archives/20038

大埔強拆周年》歷史不能忘記 大埔事件公庫全紀錄 | 公民行動影音紀錄資料庫 (civilmedia.tw)

2. Culture Wars: The Struggle to Control The Family, Art, Education, Law, And Politics In America Paperback – October 14, 1992

3. Culture War 2.0, Museum, January/February 2024. American Alliance of Museums. P. 12

4. The Activist Legacy of Taiwan’s Sunflower Movement, Ming-sho Ho, AUGUST 02, 2018. ARTICLE Source: Getty

5. Bi-khim Hsiao, A letter to the public （蕭美琴立委草擬了一封英文公開信, 主要是要向國際友人說明這次學生運動的主要訴求以及馬政府的無理）蕭美琴 Bi-khim Hsiao , March 25, 2014  ·

https://www.facebook.com/100044353752888/posts/10152034392490687/

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In this special project, we have Panelists: from us, whom all in some way, exile from their country and lives and works in US. They are:

 Wei-Ting Chen, Sunflower Movement frontline activist陳為廷(當年運動參與者,现在DC)

 Lin Jie, Sunflower Movement frontline activist林倢（當年運動參與者, 現在在National Democratic Institute）

 Yu-Lun Shih, Sunflower Movement frontline activist施懿倫 (當年運動參與者, 現在芝加哥)

 Kun-Yang Chang, Hong Kong political movements frontline activist張崑陽（香港政治運動領袖，現在流亡美國，在DC智庫上班）

 Jenny Wang, Sunflower Movement in New York activist. Jenny Wang（太陽花台灣年輕人在紐約的行動）

 Island sunrise team

 Maria Veronica San Martin

 Kevork Mourad

 Island Sunrise team

Island Sunrise team

 Kacey Wong

 Tsung-Jung Liu

 Tsung-Jung Liu