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Florence To，1985年生于苏格兰，致力于设计、创造声音和灯光装置，主要是与特定场域建筑空间有关的动态图像和灯光项目。

Florence To将已掌握的技巧与数字技术融合，发展出利用地下废弃空间的装置作品，将地下空间的不足之处转化为优势。通过在各种不同建筑空间环境的创作，她更加深入地探索了认知和情感触发，以及空间内体现的不同感知编排。

Florence To目前在柏林工作和生活，她利用了心理声学、神经科学的研究成果，进一步理解视觉化过程的计算方法。2015年，她开发了一种声学装置，与多通道视频产生高度共鸣，并将其运用与现场表演当中。

Florence To, born in Scotland in 1985, designs and creates sound and light installations, primarily moving image and light projects related to site-specific architectural spaces.
Florence To fuses acquired skills with digital technology to develop installations that utilise abandoned underground spaces, transforming their deficiencies into strengths. Through her work in a variety of different architectural environments, she explores in greater depth the cognitive and emotional triggers and the different perceptual orchestrations embodied within the space.
Florence To currently lives and works in Berlin, where she draws on the findings of psychoacoustics and neuroscience to further her understanding of computational approaches to visualisation processes, and in 2015 she developed an acoustic installation that resonates highly with multi-channel video and uses it in live performances.

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ART DIRECTOR | INSTALLATION ARTIST | Designing / Producing Spatial Light and Sound Installations

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The University of Political Science in Paris offers the Experimental Political Arts Programme (SPEAP)

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Since the early 1990s his artwork has addressed complex issues raised by varied new techno-sciences using these very techno-sciences as a medium. His artworks have included data collection devices that examine the ramifications of polling and categorization, genetic experiments that undermine scientific constructions of race and identity, and temporary organizations that playfully critique institutionalization and corporatization. These "Operational Fictions" are hybrid entities--simultaneously real things and fanciful representations--intended to resonate in the equally hyper-real context of the contemporary electronic landscape.

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Since the early 1990s his artwork has addressed complex issues raised by varied new techno-sciences using these very techno-sciences as a medium. His artworks have included data collection devices that examine the ramifications of polling and categorization, genetic experiments that undermine scientific constructions of race and identity, and temporary organizations that playfully critique institutionalization and corporatization.

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AUDIO TOOTH IMPLANT. - www.subdogmatic.com

Audio Tooth Implant 是个人交流中的一个全新概念。在常规牙科手术期间，微型音频输出设备和接收器被植入牙齿。当声音信息直接与意识产生共鸣时，这些提供了一种电子心灵感应。

牙种植体由 3 个独立的元件组成。
• 低频接收器（150kHz）。
• 压电微振动装置。
• 一个电磁微型发电机。

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来自日本的teamLab应该算这些年全球

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来自日本的teamLab应该算这些年全球风头最劲的新媒体艺术团队，他们目前在全球展出过、正在展出和即将展出的展览已经累计440场。他们的作品以用数字技术打造大型沉浸、互动式数码幻境著称，不只是大量运用花鸟、流水、森林等意象给人带来视觉上的享受，teamLab创始人猪子寿之也有一套自己完整的对自然、技术、社会与人类共生关系的哲学观、世界观，teamLab的作品中处处体现着他想要传递的感知和信念，他试图在都市之中用这种沉浸式、可体感、可互动的空间艺术作品重新唤起人们对万物之间和谐共生关系的认知。

apan-based teamLab is probably the most popular new media art group in the world these days, with a combined total of 440 exhibitions that have been shown, are being shown and will be shown globally. Their works are known for their use of digital technology to create large scale digital illusions of a digital nature that are truly immersive and interactive, not only do they make extensive use of imagery such as flowers, birds, flowing water and forests to bring visual enjoyment, but teamLab's founder, Inoko Shuyuki, also has his own complete philosophical and worldview on the symbiotic relationship between nature, technology, society and humans. The works of teamLab reflect the perceptions and beliefs that he wants to convey, as he tries to revive people's awareness of the harmonious symbiosis between all things in the city through such immersive, physical and interactive spatial artworks.

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teamLab (f. 2001) is an art collective, interdisciplinary group of ultratechnologists whose collaborative practice seeks to navigate the confluence of art, science, technology, design and the natural world.

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《人造的地狱：参与性艺术和观看者的政治》

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《人造的地狱：参与性艺术和观看者的政治》

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艺术史学家莱尔·毕晓普（Claire Bishop）

“艺术家不再是某一物件的唯一生产者，而是情境的合作者和策划者；有限的、可移动的、可商品化的艺术作品不再存在，取而代之的是一些没有时间起点，不知何时结束的不间断或长期项目；观众从‘观看者’或‘旁观者’转变为‘合作者’和‘参与者’”

'the artist is no longer the sole producer of an object, but a cooperator and planner of the context; limited, mobile and commodifiable artworks no longer exist, but are being replaced by nonstop 'watcher' or 'spectator' to 'collaborator' and 'participant' "

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Topic：A future world invaded by new media art

Keywords： technology、visual sensory、future、digital media art、new media art