未來媒體論壇（FMF）：「奇異點是否已來臨？」
在科技高速發展的今日，人工智慧（AI）不再是科幻小說中的幻想，而是真實地進入了我們的日常生活和創作世界。AI技術正以突破性的方式推動媒體藝術的變革，挑戰並重塑我們對創造力、藝術性以及人類智慧的理解。它從一個簡單的創作工具，逐漸演變為藝術的合作者，甚至可能成為自主的創造者，為我們帶來對於藝術認知上倫理與美學的顛覆及挑戰。
本屆的未來媒體藝術節展覽分為四個章節來呈現AI發展至今所帶來的多重議題挑戰，展期間同步舉辦的未來媒體論壇（FMF）深入探討AI如何改變藝術的創作生態系，以及當下各藝術機構、策展人、創作者及社會大眾如何應對這些轉變。論壇議題將涵蓋AI對藝術創作流程的影響，以及它對視覺文化的革新作用。AI生成藝術帶來的美學轉變與倫理議題等。此次論壇邀請了全球的科技藝術機構、藝術節的專家代表共同參與，通過多角度的對話與辯論，將深入探索AI在當代藝術和人類文化中所扮演的角色。
“關於AI浪潮下的數位落差與技術鴻溝創造出的新階級和非科技產業停滯不前的經濟難民，成為人類刻不容緩需要面對的議題。”
這不僅是一場圍繞技術的對話，更是一場重新定義未來創造力的思辨對話，期待通過此次論壇引發更多關於創新與技術融合的前瞻性討論。
時間：11/27 (WED) 10:00-12:30、14:00-17:00
地點：CREATORS 空間 102 共享吧
※全程中英逐步口譯
講題簡介
▌場次一
阿雍．杜納溫德 Arjon DUNNEWIND（荷蘭 IMPAKT媒體藝術節）
IMPAKT：置身其中
多麼幸運且榮幸，我們身處既非開端亦非終點的時刻。多麼誘人的是，我們無法確切知道自己在歷史洪流中的位置。介於科技愛好與科技恐懼之間，和諧冷漠、意識形態分裂與表面對立之間，IMPAKT 希望創造啟發對話、創新製作、創意研究、批判分析和跨文化合作的契機。
新技術和數位平台正在塑造我們的當下與未來，而科技與媒體的發展日新月異。社會、經濟、文化和政治的影響巨大，這些發展的潛在方向與影響更是難以預測。藝術如何幫助我們理解這個令人目不暇接的現實？我們如何能保持掌控，並提升對於數位存在的自主權？
▌場次二
第納．勞倫茲 Tina LORENZ（德國 ZKM 卡爾斯魯厄藝術與媒體中心）
當我們與AI結合，一切都會更好：藝術與科技樂觀主義、氣候的聯繫
將人類與電腦連結，形成終極科技生物思維機器的概念並非新想法，但 AI 發展速度的加快卻是前所未有的。1988 年，Hans Moravec 在撰寫《Mind Children》時僅能模糊地描繪這一願景，而如今它已步入可能實現的領域。未來學家如 Ray Kurzweil 預言，一旦我們的大腦與 AI 連結，人類將進入新的思維時代。人工智慧的潛力或將如 19 世紀末至 20 世紀初的工業革命般深遠且顛覆性，但如何塑造這個包含 AI 的世界，仍需由我們人類來決定。藝術，特別是藝術研究，能幫助我們構思並促進在社會中引起共鳴的討論，從而讓我們對未來的道路有更清晰的認識。
▌場次三
會田大也Daiya AIDA（日本 YCAM 山口媒體藝術中心）
作為環境的媒體：壓力與抵抗
今日現代人身處的日常環境充斥著各種資訊媒體，已不再是過去的自然環境或人工環境。過去十五年來，來自廣告業和商業界的影響力，更是不斷深入這個資訊媒體環境。有鑑於此，我們必須認識這些影響力機制如何運作，並在必要時起身抵抗，打造一個更健全的環境。此議題對成長於資訊媒體環境的新一代來說，更是倍加重要。如同過去我們曾成功因應並改善了受毒物汙染的環境，如今的我們也必須積極確保媒體環境能促進福祉，並帶來合理的成長。唯有憑藉著這些努力，我們才能迎來一個重視人類真實需求勝於商業利益的環境，並保障未來世代與資訊環境的互動不致失衡。
▌場次四
甘圖雅．巴丹嘎拉夫 Gantuya BADAMGARAV（蒙古 MCASA 當代藝術協進會）
蒙古的當代藝術：藝術家如何思考AI議題？
蒙古當代藝術儘管未獲國際重視，卻有著活躍、豐富而多元的藝術生態。縱使面臨政府補助不足等挑戰，卻依然持續發展至今。蒙古藝術界之所以能持續活躍，憑藉的是若干藝術家主持及其他小型NGO的不懈努力。蒙古藝術家選用科技媒材的比例雖相對有限，但媒體藝術界仍在不斷發展茁壯。
本次論壇中，我將介紹蒙古當代藝術支持協會及其最新藝術計畫「XAOS」。XAOS是一個聚焦於實驗音樂和視覺藝術的國際藝術節，邀集眾多以尖端科技開拓音樂及視覺藝術可能性的代表性藝術家來此呈現其作品。本次也將談及蒙古藝術家如何看待AI等新興科技。
▌場次五
穆哈德·本納塞爾 Mourad BENNACER（加拿大 SAT 科技藝術中心）
分散式集體記憶
隨著科技習慣的普及化，我們的集體記憶也從靜態紀錄，轉變為動態而便利的收藏庫，廣納來自世界各地的貢獻內容。延展實境和球形展演場地等沉浸式科技讓我們跳脫被動的框架、親身體驗作品，並以傳統媒體達不到的程度培養我們對多元立場的同理心。隨著互動式敘事及虛擬裝置藝術的崛起，藝術家逐漸將作品視為結合個人與集體的參與式旅程，能協助我們建立超越時空和文化的連結。面對工業數據收集的強勢主導，我們將探討同理心導向的創作方法，如何協助藝術家重塑集體記憶，想像數位典藏的另類可能。
講者簡介
▌阿雍．杜納溫德 Arjon DUNNEWIND
阿雍．杜納溫德為荷蘭烏特勒支媒體藝術中心IMPAKT與IMPAKT數位藝術節總監。杜納溫德享受具有建設性的辯論過程，並認為對於現今由媒體主導的社會而言，藝術乃是一種能夠提出早期提醒的重要機制。杜納溫德於1967年生於荷蘭奧門，並在1985至1991年間於烏特列茲藝術大學就讀藝術與媒體。1988年，杜納溫德籌劃了第一屆IMPAKT數位藝術節，並在1993年創辦了IMPAKT基金會。在2000年代早期，杜納溫德推出了呈現互動藝術計畫與串流影音的線上平台「IMPAKT Online」，以及幫助全球以錄像、數位媒體與新科技為媒材的藝術家投入全新創作的駐村計畫「IMPAKT Works」。其於2021年展開「CODE」共創計畫，邀請藝術家、政治家、決策者與大眾齊聚一堂進行交流，以期制定出更完善的立法流程與法律，為身為數位公民與消費者的眾人提供保障。
杜納溫德亦為其他單位策劃展覽與放映計畫，如布宜諾斯艾利斯國立美術館、莫斯科國立當代藝術中心、雅加達RURU畫廊、柏林跨媒體藝術節、林茲電子藝術節等，也曾擔任荷蘭電影基金會、荷蘭媒體基金會、荷蘭BKVB基金會及蒙德里安基金會等機構的顧問。
荷蘭 IMPAKT 媒體藝術節
荷蘭 IMPAKT媒體藝術節旨在呈現當代媒體文化的批判和原創觀點，從藝術、科學和政治等不同領域及視角，探討結合社會、數位文化、科技與媒體等領域之多元議題。每年定期舉辦展覽、專題討論、藝術家座談、成果發表、放映會、工作坊、共創和駐村計畫等藝文活動。
IMPAKT媒體藝術節創立於1988年，每年度的藝術節仍是我們的主計畫之一。在這場為期五天的多媒體盛會中，我們經由舉辦展覽、講座、表演和藝術家座談等活動，深入探索與藝術和科技相關的重大社會議題。藝術節展場與活動分散於荷蘭烏特勒支市各地，同時在Planet IMPAKT線上平台展出。
▌第納．勞倫茲 Tina Lorenz
第納．勞倫茲於「渾沌電腦俱樂部」環境中成長，隨後則到維也納與慕尼黑攻讀戲劇研究與美國文學史。在2020至2023年間於奧古斯堡國家劇院創立並主持「數位劇場」（Digital Theatre）部門之前，曾於巴伐利亞表演藝術學院擔任戲劇史講師，並曾擔任上法爾茲國家戲劇院的戲劇顧問與紐倫堡國家戲劇院的數位溝通顧問。
勞倫茲為位於維也納、雷根斯堡的駭客空間「metalab」及「Binary Kitchen」的創始成員，並自2024年1月起負責帶領卡爾斯魯厄藝術與媒體中心的藝術研究及發展部門「Hertzlab」。
德國 ZKM 卡爾斯魯厄藝術與媒體中心
德國卡爾斯魯厄藝術與媒體中心（簡稱ZKM）成立於1989年，是一間旨在開拓美術館可能性的文化機構，關注各類媒材及藝術類型，並致力於將古典藝術帶入數位時代，因其獨特定位而備受國際矚目。
ZKM涉足不同領域，廣納學術研究和藝術創作，展覽和表演，作品和檔案典藏，教育推廣和活動策畫等面向，並憑藉跨領域的多元整合，以靈活的組織架構呈現並積極推動二十及二十一世紀的藝術及媒體發展。此外，也透過籌辦研討會等不同形式的學術交流場合，促進藝術、哲學、科學、科技、商業和政治領域的跨界對話，深入檢視媒體化、數位化和全球化帶來的社會影響。
▌會田大也 Daiya AIDA
1976年生於東京，會田大也於情報科學藝術大學（IAMAS）完成學業，2003至2014年間在聚焦於媒體藝術的藝術機構──山口媒體藝術中心負責教育與推廣工作，包括電影放映的策畫與執行、社區參與計畫、媒體工作坊與戶外藝術裝置等。會田大也在山口媒體藝術中心的表現曾獲兒童設計大賞大獎、優良設計獎、日本文化廳媒體藝術祭評審獎等獎項肯定。2013年，會田大也加入了由來自七個國家的十三位策展人組成的團隊，共同策劃由日本國際交流基金會主辦、為紀念日本與東南亞國協締結友好關係四十週年，於日本及東南亞各地巡迴的媒體藝術展「媒體／藝術廚房」。自2014年起的五年間，會田大也於東京大學擔任專案助理教授，負責「社會資訊及通訊技術全球創意領導人才」研究所學程的工作坊設計課程。會田大也也是2019年與2022年愛知三年展的學習策展人（learning curator），並於2019年12月回到山口媒體藝術中心擔任藝術總監一職。
日本 YCAM 山口媒體藝術中心
山口媒體藝術中心（YCAM）成立於2003年，是位於日本山口市的公共文化中心，園區內設有450席的劇場、300平方公尺的藝廊及100席的影廳，並與山口中央圖書館共址。YCAM特設YCAM InterLab，由專業團隊組成，致力支援藝術家進行創作。
隨著媒體環境不斷演進，推動新文化發展的需求亦與日俱增。有鑑於此，YCAM秉持「共創共學」的理念，積極與在地市民及各領域專家攜手合作，深入探討媒體科技的運用手法、資訊所蘊含的文化潛力，以及其對人類的意義。透過這些計畫，YCAM不僅開拓創新的表現形式與學習模式，更致力培育具備創造力的新世代人才，與全球藝文人士一同思考如何與媒體環境互動，並為未來的媒體生態開創新猷。
▌盧建誌
盧建誌助理教授畢業於美國加州柏克萊大學法學院，取得法學博士(JSD)學位，研究成果曾獲ARCIALA & CUHK School of Law Asian IP Scholar Award、時代文化基金會青年學者獎、香港大學科技法中心優秀青年學者會議獎助與美國賓州大學當代中國研究中心青年學者論壇獎助等學術榮譽肯定。
近年主要著重於傳播法規與倫理、數位媒體與娛樂法、人工智慧與網路治理、新媒體創業的課程教授，除統籌政治大學傳播學院與理律文教基金會合辦的「新媒體與創業工作坊」計畫，並參與建構政治大學傳播學院與富邦文教基金會合作的「樂與音」系列活動與「創自由」平台。於實現創作自由與公共利益的精神下，盼藉由產官學取徑的跨領域教育推廣與研究，致力於媒體科技下電影、音樂、影視、新聞和廣告行銷的傳播整合與新授權模式的建構。
▌甘圖雅．巴丹嘎拉夫 Gantuya Badamgarav
巴丹嘎拉夫生於蒙古曼達勒戈壁市，具美國麻州威廉斯學院總體經濟政策碩士學位，是一位自學的策展人。追隨其熱情，巴丹嘎拉夫於2012年放棄其亮眼的職涯歷程，創辦了以支持並推廣蒙古當代藝術為宗旨的「976畫廊」和「蒙古當代藝術支持協會」。
考量到風險及資源有限，巴丹嘎拉夫為支持當代藝術而積極投入，將各機構與人們串連在一起，共享資源以及對藝術的熱情。她曾於海內外組織並策劃超過一百檔展覽，包括四屆的威尼斯雙年展蒙古館（2015、2017、2019、2022），並在2019和2022年的展覽中擔任策展人。她也支持蒙古藝術家參與其他國際知名展覽，如卡塞爾文件展、光州雙年展、亞太當代藝術三年展等。2021年，巴丹嘎拉夫推出了國際藝術駐村計畫「遊牧紅角」（Nomadic Red Corner），並於2024年與比古尼．圖甫辛博（Bilguun Tuvshinbold）一同策辦「XAOS國際實驗音樂與視覺藝術節」。
巴丹嘎拉夫為第十四屆卡塞爾文件展展覽手冊《Daybook》的作者之一，也曾於許多國際會議上擔任講者，包括2022年於奧地利舉行的薩爾斯堡全球論壇、韓國光州國立亞洲文化殿堂舉辦的亞洲藝文空間連線年會，2019年華沙GAAB高峰會，2018年第二屆阿布達比文化高峰會，以及2016年於馬爾他舉辦的第七屆世界文化與藝術高峰會。
蒙古當代藝術協進會
蒙古當代藝術協進會（MCASA）成立於2012年，是一個非政府組織，肩負支持與推廣蒙古當代藝術的使命。協會策劃執行多項具策略重要性的專案，致力提升蒙古藝術家在國內外平台的競爭力。協會於2015年首次促成並籌辦蒙古參與威尼斯雙年展，其後更陸續參與2017年、2019年及2022年展覽。此外，協會也與卡塞爾文件展、亞太當代藝術三年展、光州雙年展等備受肯定的國際大展合作，積極促進蒙古藝術家的參與。
協會轄下的976藝廊同樣成立於2012年，多年來積極舉辦跨領域展覽、表演及公開論壇，逐漸發展成為藝術家與觀眾交流的「藝術育成中心」。疫情爆發後，MCASA決定關閉976藝廊，轉而在烏蘭巴托市較貧困地區推動社區發展計畫。在此計畫的推動下，「游牧紅角」國際藝術家駐村計畫應運而生。2024年，更創辦了XAOS國際實驗音樂與視覺藝術節。
▌穆哈德·本納塞爾 Mourad Bennacer
穆哈德．本納塞爾於2016年加入致力於沉浸式創作的機構──SAT科技藝術中心，擔任專案經理、培訓師及音訊空間化技師。作為SAT科技藝術中心研究與創作團隊的一員，他在過去七年間投入了將近九十個專案，目前負責處理藝術開發計畫，比如支持國內外藝術家進行創作、研究與開發的SAT科技藝術中心駐村計畫。他也是「SAT fest國際穹頂藝術節」及展演計畫「Substrat」的策展人，後者乃是聚焦於為當地沉浸式與多聲道音樂人才提供舞台的系列沉浸式音樂演出。
本納塞爾的音像作品結合了合成與錄製的聲音，營造出層次豐富、視覺上亦相當震撼的聆聽取徑，並為北非文化遺產、科幻修辭與過時科技打造的音像作品之間創造了連結。以記憶稍縱即逝的概念作為靈感，其藝術研究探問人們在物理和虛擬空間中的存在、我們將空間檔案化的方式，以及這些空間所具備的文化意涵。其近作曾於數個藝術節中呈現，如加拿大MUTEK數位與電子音樂節、加拿大Akousma國際沉浸式數位音樂節、卡達Tasmeem Doha國際藝術與設計雙年會等。
加拿大 SAT 科技藝術中心
加拿大SAT科技藝術中心成立於1996年，是致力於推廣數位文化的非營利組織。作為創作、培訓及研究並重的藝術中心，SAT積極投入沉浸式創作、混合實境及遠距在場（telepresence）等領域之技術開發、並因此享有國際聲譽。其中，Satosphere 是世界首批專為藝術創作而設的數位球形展演場地之一。自 2012 年啟用以來，持續支持本地及國際人才，對推動球形展演作品創作有著深遠貢獻。
▌娜伊瑪·莫雷利 Naima Morelli
娜伊瑪．莫雷利為記者與藝術書寫者，關注區域包括亞太、中東及北非地區。現居於羅馬，奔走並致力於透過藝術、文化與文字塑造亞洲與歐洲間的溝通橋樑。其報導可定期見於《金融時報》、《藝術新聞》、《半島新聞》（Al-Jazeera）、《宣言報》（Il Manifesto）等，文章亦散見於諸多出版品及展覽專輯。曾出版過三本以東南亞當代藝術為主軸的著作。
莫雷利也是策展人，以創造亞洲、歐洲、澳洲及中東之間具有意義的交流與連結為策展實踐的核心。其相關經驗包括在義大利新堡藝術節為緬甸藝術家策劃雙個展、於威尼斯雙年展期間為藝術家艾迪．蘇山托在威尼斯策劃展覽、替新銳澳洲藝術家於羅馬規劃講座、為展覽「SHOUT！印尼當代藝術在羅馬當代美術館」統籌義大利物流，並於羅馬朱塞佩．圖奇國立東方藝術博物館策劃印尼藝術家作品的系列放映等。
▌吳達坤
現任臺灣當代文化實驗場當代藝術平台總監，長期以多元身份活躍於藝術創作、策展、教學、行政與寫作等領域。他曾擔任臺北｜寶藏巖國際藝術村總監，並創立臺灣藝文空間連線（TASA）擔任首任理事長，亦曾擔任關渡美術館首席策展人，積極推動臺灣當代藝術的發展。
在其漫長的藝術實踐中，專注於跨領域創新，將策展視為社會進用的橋梁，透過藝術、科技與社會的緊密結合，嘗試以創意作為杠桿，翻轉固有的思維方式。他探索當代藝術與科技如何深入介入社會，並致力於為台灣當代藝術開拓新的國際溝通與合作管道，促進藝術與社會的雙向交流與創新。
▶ 活動免費參加，名額有限，額滿為止。
▶ 活動前將再寄發提醒通知。因 C-LAB 信箱易被 Gmail 判定為垃圾郵件，若未收到請查看垃圾信箱。
▶ 主辦單位保有調整與變更活動之權利。
Future Media Forum (FMF): "Has the Singularity Arrived?"
In today’s era of rapid technological advancement, artificial intelligence (AI) is no longer just a fantasy from science fiction; it has become a reality in our daily lives and the world of creative arts. AI technology is driving transformative changes in media art in breakthrough ways, challenging and reshaping our understanding of creativity, artistry, and human intelligence. What began as a simple tool for creation is evolving into a collaborator in art, and may even become an autonomous creator, bringing disruptive challenges to the ethical and aesthetic perceptions of art.
This year's Future Media Art Festival exhibition is divided into four chapters, presenting the multiple challenges posed by AI development up to the present. In parallel, the Future Media Forum (FMF) will delve into how AI is transforming the creative ecosystem of art, and how various art institutions, curators, creators, and the general public are responding to these changes. The forum topics will cover AI’s impact on artistic creation processes, its revolutionary influence on visual culture, and the aesthetic shifts and ethical issues brought by AI-generated art. Experts and representatives from global technology art institutions and festivals will participate in multi-faceted discussions and debates, deeply exploring the role AI plays in contemporary art and human culture.
"The new class divisions created by the digital and technological gaps under the wave of AI, along with the economic refugees resulting from stagnation in non-technological industries, have become urgent issues that humanity must confront without delay."
This is not merely a dialogue about technology, but a thoughtful conversation about redefining creativity for the future. Through this forum, we hope to spark more forward-looking discussions on the intersection of innovation and technology.
Time: 11/27 (WED) 10:00-12:30、14:00-17:00
Venue: CREATORS’ Space R102 Coworking Space
*Consecutive Interpretation in Mandarin and English Provided.
PANEL INFO
▌PANEL 1
Arjon DUNNEWIND (IMPAKT)
IMPAKT: In Media Res
What a joy and privilege it is that we are not part of the beginning or of the end. How enticing it is that we have no clue where exactly we are in the maelstrom of history. In a place between technophilia and technophobia, between harmonious indifference, ideological segregation and superficial antagonism, IMPAKT wants to create moments for inspirational dialogue, innovative production, creative research, critical analysis and cross-cultural collaboration. Our presence and future is being shaped by new technologies and digital platforms. Developments in technology and media are happening fast. The social, economic, cultural and political stakes are high and the potential directions and impact of the developments are hard to fathom. How might art help us comprehend the overwhelming reality in which we live? How might we stay in control and increase our agency over our digital existence?
▌PANEL2
Tina LORENZ (ZKM | Center for Art and Media, Karlsruhe)
When We Merge With AI, Everything Will Be Better: Techno Optimism, Climate and What Art Has To Do With It
The idea of connecting humans to computers to form the ultimate techno-biological thinking machine is not new, but the accelerating rate of AI development is. What Hans Moravec could only vaguely dream about when he wrote “Mind Children” in 1988 has moved into the realm of the at least possible. Futurists like Ray Kurzweil predict that humanity will enter a new era of thinking once we link our brains to AI. While Artificial Intelligence has the potential to be as formative and disruptive as the industrial revolution at the end of the 19th and the beginning of the 20th century, it falls to us, the humans, to decide how we want to shape a world that has AI in it. Art and especially artistic research can help formulate ideas and support discourses that resonate into society, to help us form a clearer picture of the path ahead.
▌PANEL3
Daiya AIDA (Yamaguchi Center for Arts and Media)
Media as Environment: Pressure and Resistance
The environment that modern individuals engage with daily has shifted from natural and built environments to one saturated with information media. Over the past 15 years, this media environment has increasingly come under pressure from advertising and commercial influences. It is essential for us to understand these mechanisms and, when necessary, resist them in order to create a healthier environment. This issue is particularly significant for the generation of children growing up amidst these conditions. Just as societies once addressed and improved pollution-contaminated environments, we must now take proactive steps to ensure that the media landscape fosters well-being and supports thoughtful growth. By doing so, we can work towards an environment that prioritizes the genuine needs of people over pervasive commercial interests, protecting future generations and promoting a more balanced interaction with the information that surrounds them.
▌PANEL4
Gantuya BADAMGARAV (Mongolian Contemporary Art Support Association)
Contemporary Art Scene in Mongolia: Embrace or Not to Embrace AI – Perspective of Artists
Mongolian contemporary art is not well presented internationally, but it is vibrant, rich, and diverse. Despite various challenges such as lack of support from the government, contemporary art scene in Mongolia continues growing today. Some artist-run and other small-scale NGOs are playing important role for keeping scene active and vibrant. Although use of technology is relatively limited among Mongolian artists, media art scene is gradually expanding.
In my talk, I will introduce Mongolian Contemporary Art Support Association, and its latest initiative XAOS, international festival of experimental music and visual art, which aims to present works of prominent artists, who are pushing boundaries of music and visual art using technological advancements. The talk will also expand on the perspective of Mongolian artists on emerging technologies such as AI.
▌PANEL5
Mourad BENNACER（Society for Arts and Technology）
Distributed Collective Memories
With the rise of our digital habits, our collective memories are evolving from static records to dynamic, accessible collections inviting contributions from across the globe. Immersive technologies like XR and dome environments let us move beyond a passive experience; they enable us to embody experiences and foster empathy for diverse perspectives in ways traditional media cannot. As interactive storytelling and virtual installations gain ground, artists increasingly see their work as participatory journeys that blend the personal with the collective to connect us across time and cultures. In a landscape dominated by industrial data collection, we’ll explore how empathy-driven approaches can empower artists to reshape collective memory and reimagine digital archiving.
SPEAKER INFO
▌Arjon DUNNEWIND
Arjon DUNNEWIND is director of IMPAKT (Festival and Centre for Media Culture) in Utrecht, The Netherlands. He enjoys constructive controversy and sees art as the early warning mechanism that is essential to our current media-driven society. DUNNEWIND was born in Ommen, The Netherlands in 1967 and studied Fine Arts and Media at HKU University of Arts Utrecht from 1985 to 1991. In 1988 he organized the first IMPAKT Festival and in 1993 he established the IMPAKT Foundation. In the early 2000's he started IMPAKT Online, a platform for the presentation of interactive art projects and streaming video, and IMPAKT Works, a residency programme where international artists working with video, digital media and new technologies are facilitated to make new work. In 2021 he initiated CODE, a co-creation project that brings together artists, politicians, policymakers and the general audience in a dialogue aimed at better laws and legislation that will protect us as digital citizens and consumers.
DUNNEWIND has curated exhibitions and screening programmes for amongst others the Museo de Bellas Artes in Buenos Aires, the NCCA in Moscow, RURU Gallery in Jakarta, transmediale Berlin and Ars Electronica Linz, and he has worked as an advisor for the Dutch Film Fund, the Dutch Mediafonds, Fonds BKVB and the Mondrian Fund.
IMPAKT
IMPAKT [Centre for Media Culture] presents critical and creative views on contemporary media culture and explores issues at the intersection of society, digital culture, technology and media from different perspectives and disciplines, such as art, science and politics.
Throughout the year, we organise a variety of activities, such as exhibitions, panels, artist talks, presentations, screenings, workshops, co-creation projects and residencies.
IMPAKT started as a media arts festival in 1988 and the annual festival is still one of our main projects. It is a five-day multimedia event in which exhibitions, lectures, performances and artist talks are used to explore urgent societal topics related to art and technology. The festival is organized at various locations in Utrecht, the Netherlands and online at Planet IMPAKT.
▌Tina LORENZ
Tina LORENZ came of age in the Chaos Computer Club but went on to study theater studies and American literary history in Vienna and Munich. They were a lecturer for theater history at the Academy for Performing Arts Bavaria, later dramaturge at the Landestheater Oberpfalz and finally consultant for digital communication at the Staatstheater Nürnberg, before founding and leading the Digital Theatre department at the State Theatre of Augsburg from 2020 to 2023.
Tina LORENZ is a founding member of the hackspaces metalab Vienna and Binary Kitchen Regensburg; since January 2024, they head the department of artistic research and development »Hertzlab« at ZKM | Karlsruhe.
ZKM | Center for Art and Media, Karlsruhe
The ZKM | Center for Art and Media Karlsruhe is a unique cultural institution worldwide, because it is a place that expands the original tasks of the museum. It is a house of all media and genres, and was founded in 1989 with the mission of continuing the classical arts into the digital age.
In its work, ZKM combines research and production, exhibitions and performances, collections and archives, mediation and events. Through interdisciplinary connections of these fields of work, ZKM as an agile organization can present and produce the development of art and media of the 20th and 21st centuries. Symposia and other formats of theoretical discourse between art, philosophy, science, technology, business and politics complement the ZKM program to examine the effects of medialization, digitization and globalization on society.
▌Daiya AIDA
Daiya AIDA was born in Tokyo in 1976. He completed his studies at the Institute of Advanced Media Arts and Sciences (IAMAS), and worked at the Yamaguchi Center for Arts and Media (YCAM), an art institution with a focus on media art, from 2003 to 2014, where he was responsible for education and outreach, namely the planning and operation of film screenings, community participation programs, media workshops, and outdoor installations. His work at the YCAM earned him the Kids Design Award Grand Prize, Good Design Award, and Jury Selections for the Media Arts Festival Award. In 2013 AIDA joined the 13-member, seven-nation curatorial team for Media/Art Kitchen, a media art exhibition—organized by the Japan Foundation to mark the 40th anniversary of ASEAN—Japan friendship and cooperation—that toured Japan and Southeast Asia. For five years, since 2014, he held the position of Project Assistant Professor, teaching workshop design for the Graduate Program for Social ICT Global Creative Leaders at the University of Tokyo. He served as Curator (Learning) at Aichi Triennale 2019 and 2022. In Dec. of 2019, AIDA came back to YCAM as Artistic Director.
Yamaguchi Center for Arts and Media
YCAM, established in 2003 by Yamaguchi City in Japan, is a public cultural center featuring a 450-seat theater, a 300-square-meter gallery, and a 100-seat cinema, with the Yamaguchi Central Library on site. Tasked with creating new works alongside artists, YCAM operates the YCAM InterLab, a team of specialists dedicated to supporting artistic production.
As media environments evolve, the need for new cultural developments grows. In this context, YCAM embraces the philosophy of “creating and learning together” with local citizens and experts. The center explores approaches to media technology, the cultural potential of information, and its significance for humanity. Through these initiatives, YCAM not only develops new forms of expression and learning but also aims to nurture a new generation of creative thinkers. This approach contributes to a global dialogue on how to engage with and shape the media landscape for the future.
▌LU Chieh-Chih
As an assistant professor at National Chengchi University College of Communication with Doctor of Juridical Science (J.S.D.) degree from the University of California, Berkeley, School of Law, Chien-Chih is eager to bring to the academic filed his strong interest and experience in entertainment law and media governance. He was the chair of Karuk-Berkeley Indigenous Law Collaborative (Honor in Leadership Certificate) and received the UC Berkeley International and Comparative Law Certificate and UC Berkeley Public Interest and Social Justice Certificate when he finished several research projects concerning intellectual property and social justice issues. During Chien-Chih’s academic career, his research papers have won numerous scholarships and outstanding thesis awards including Asia Pacific Intellectual Property Association Research Award, UC Berkeley Institute of East Asian Studies Fellowship and China Times Cultural Foundation Young Scholar Award. These academic works were published in Mass Communication Research, Washington Journal of Law, Technology and Arts, Chinese Entertainment Law Review and Oxford Handbook of Music Law and Policy. Since 2012, he has been joining the Music Copyright Infringement Resource project supported by the George Washington University Law School and University Southern California School of Law. He was visiting researchers at Max Planck Institute for Innovation and Competition and Tübingen University European Research Center on Contemporary Taiwan. At these positions, his research focuses on topics of artistic freedom, music licensing, digital entrepreneurship, media regulation and platform liability, Internet and Artificial Intelligence governance and cultural policy.
▌Gantuya BADAMGARAV
Gantuya was bron in Mandalgobi, Mongolia, and is a self-made curator with a MA degree in macro-economic policy from Williams College, MA, USA. Following her passion, Gantuya quitted her successful career in 2012 and established 976 Art Gallery and Mongolian Contemporary Art Support Association, with the aim to support and promote contemporary art in Mongolia.
Given limited resources and risk, Gantuya worked actively to support contemporary art; united organizations and people to channel their resources and passion. She organized and curated over 100 exhibitions in her home country and abroad, including four editions of Mongolia participation in Venice Art Biennale (2015, 2017, 2019, 2022), curating latter two. She also supported Mongolian artists’ participation in other internationally known exhibitions such as Documenta, Gwangju Biennale, Asia Pacific Triennial. In 2021 Gantuya established Nomadic Red Corner, International Artist Residency and launched XAOS – International Festival of Experimental Music and Visual Art in 2024, together with Bilguun Tuvshinbold.
Gantuya is a one of the contributing authors of Daybook, published by Documenta 14 and speaker at numerous international conferences, including Salzburg Global Seminar 2022, Asia Art Network Forum 2022 by Asia Culture Center, Gwangju Korea, GAAB Warsaw Summit 2019, 2nd Culture Summit Abu Dhabi 2018 and 7th World Summit for Arts and Culture in Malta 2016.
Mongolian Contemporary Art Support Association
MCASA Mongolian Contemporary Art Support Association is an NGO established in 2012 with the aim to support and promote contemporary art in Mongolia. The Association implements strategically important projects to improve the competitive capacity of Mongolian artists at domestic and international platforms; initiated and organized the first ever Mongolia participation in the Venice Art Biennale in 2015 and subsequent editions in 2017, 2019 and 2022 and has collaborated with Documenta, Asia Pacific Triennial, Gwangju Biennale, and other highly regarded exhibitions, involving Mongolian artists.
Established in 2012, its affiliate 976 Art Gallery has been actively organizing multidisciplinary exhibitions, performances, and open discussions, becoming an “art incubator” like space for both artists and the audience. Right after COVID start, MCASA decided to close 976 Art Gallery, instead launched community development projects in poorer areas of Ulaanbaatar city. As a result of this initiative Nomadic Red Corner, international artist residency was established. In 2024, MCASA initiated XAOS, international festival of experimental music and visual art.
▌Mourad BENNACER
In 2016, Mourad BENNACER joined the Society for arts and technologies (SAT), an organization dedicated to immersive creation, as a project manager, trainer and all around “audio spatialist”. As part of SAT’s research & creation team, he contributed to the realization of close to 90 projects over the past 7 years. He now manages artistic development initiatives such SAT’s residencies program, which supports creation, research and development for local and international artists alike. He is also curator for the SAT Fest international fulldome festival and Substrat, an immersive concert series focused on the promotion of local musical talents in immersive and multichannel music.
Mourad Bncr’s audiovisual work incorporates both synthetic and recorded artifacts that cultivates a rich and visually compelling approach to music, establishing connections between his North African cultural heritage, science fiction tropes, and audiovisual artifacts from obsolete technologies. Inspired by the concept of memory transience, his artistic research questions our experience of physical and synthetic spaces, the way we archive these spaces and the cultural significance they hold. His recent works have been presented in festivals such as MUTEK (QC-CA), Akousma (QC-CA) or Tasmeem Doha (Qatar).
Society for Arts and Technology (SAT)
Founded in 1996, the Society for Arts and Technology (SAT) is a non-profit organization dedicated to digital culture. With its multiple mission as a center dedicated to the arts, training and research, it is recognized internationally for its active, leading role in developing technologies for immersive creation, mixed realities and telepresence. The Satosphere, one of the first digital domes dedicated to artistic creation, has consistently contributed to the development of dome artworks, supporting local and international talents since its opening in 2012.
▌Naima MORELLI
Naima MORELLI is a journalist and arts writer specialized in the Asia-Pacific and the MENA region. Currently based in Rome and constantly on the go, she has the mission of bridging Asia and Europe through art, culture and words. Her pieces regularly appear in The Financial Times, The Art Newspaper, Al-Jazeera and Il Manifesto, and she contributes texts to a number of publications and exhibitions catalogs. She is also the author of three books on Southeast Asian contemporary art.
MORELLI has also worked as a curator, with a practice revolving around creating meaningful exchanges and connections between Asia, Europe, Australia and the Middle East. Her relevant experience includes curating a double-solo of Burmese artists at the Castelnuovo Festival, Italy, an exhibition in Venice of artist Eddy Susanto during the Biennale, talks of emerging Australian artists in Rome, coordinating the Italian logistics for the exhibition SHOUT! Indonesian Contemporary Art at MACRO, curating a series of screenings of Indonesian artists for the Museum of Oriental Art G.Tucci in Rome and more.
▌WU Dar-Kuen
Currently serving as the Director of the Contemporary Art Platform at Taiwan Contemporary Culture Lab (C-LAB), Wu Dar-Kuen has long been active in various fields, including art creation, curation, teaching, administration, and writing. He previously held the position of Director at Taipei & Treasure Hill Artist Village and founded the Taiwan Art Space Alliance (TASA), where he served as its first chairman. Wu was also the chief curator at Kuandu Museum of Fine Arts, where he played a significant role in promoting the development of contemporary art in Taiwan.
Throughout his extensive artistic practice, Wu has focused on cross-disciplinary innovation, using curation as a bridge for social engagement. By integrating art, technology, and society, he leverages creativity to challenge and transform thinking. Wu explores how contemporary art and technology can deeply engage with society, and he is dedicated to opening new international channels for communication and collaboration in Taiwan’s contemporary art scene, fostering a dynamic exchange between art and society.
▶ Free Admission via Online Registration.
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▶ The organizer reserves the right to change, adjust, or cancel the event.
