About HsienYu Cheng (鄭先喻)

HsienYu Cheng (鄭先喻) is a Taiwanese artist and software developer born in 1984 in Kaohsiung. He creates artworks, software, and experimental bio-electronic devices that examine human behaviour, emotion, software, and human-machine relationships. Awards include the 2014 Taipei Digital Art Award First Prize, 2017 Kaohsiung Art Award New Media Art First Prize, 2019 Tung Chung Art Award, 2021 19th Taishin Arts Award Visual Art Award, and a 2023 S+T+ARTS Nomination / Honorary Mention at ARS Electronica. Recent exhibitions include ARS Electronica 2023 and Sónar 2025 Barcelona, with further shows in the Netherlands, Slovenia, Norway, Italy, Germany, France, Austria, and Korea.

鄭先喻,1984年生於台灣高雄,藝術家兼軟體開發人員。創作藝術作品、軟體及結合電子設備的實驗性生物電子裝置。透過專注於人類行為、情感、軟體以及人機關係的作品,以幽默的方式傳達對社會與環境的獨特見解。曾獲2014年台北數位藝術獎首獎、2017年高雄獎新媒體藝術首獎、2019年銅鐘藝術獎、2021年第十九屆台新藝術獎視覺藝術獎,並於2023年獲得奧地利電子藝術節S+T+ARTS提名/榮譽獎。

  • Review & News
  • About
    • CV.
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  • Solo Exhibitions ⬅︎
    • [.user ] - 2023
      • Info.
      • Works
    • % Consumption of Computing - 2023
    • Eyes、Ears、Nose, Tongues...those parts - 2023
      • Info.
    • Revenge Scenes - 2021
    • Injector After Null - 2020
      • Info.
      • Works
    • Assimilator - 2019
      • Info.
      • Works
    • Injector before Null - 2017
    • Secondlife: habitat - 2016
    • 1ed6318fc5481dda3ded... - 2016
    • Collector - 2014
  • Works
    • 2025
      • Traced
    • 2024
      • ThereWillBeWorks
      • Credit Make You Free
      • todayisnotwhatyoulike
    • 2023
      • Around 7 Meters is more fun
      • A slightly different browser
      • % consumption of computing
      • There is Another Capital Beneath the Waves
    • 2022
      • Happens To Be Performing
      • It Could Be You
      • Annoyanony
      • Minimal Input @ C-lab
      • don't know... what do you think?
    • 2021
      • Photo of ID
      • Revenge Scenes
      • Game of Life
      • Crystal Seeding
    • 2020
      • discharge what you charged: room edition
      • invariable variation
      • de centralize
      • We are saying what you are ruling
      • T.R.M 2.0 :Infodemic
    • 2019
      • Hijacker:{,}
      • Discharge what you charged
      • Others
    • 2016
      • Sandbox
      • Second Life: Habitat
      • Untitled: The result
    • 2015
      • Hobo
      • Artist's daily job
      • We all love F & D
      • isISis
      • The terminal is
    • 2014
      • Rc_bOAT
      • Dish on Fish
      • portrait 2014
      • MissionFail
    • 2013
      • portrait 2013
      • Afterlife ver.2.0
    • 2011
      • Afterlife
      • portrait 2011
      • heartcoke
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Traced

Traced 光蹤

2025

moving lights, computer vision, custom machine learning algorithm and software

Size variable 尺⼨可變

(圖:北藝中心提供)

存在與顯現,或者說被看見——日常中總有許多我們不曾察覺的瞬間。

透過 AI 及機器學習驅動的影像系統引導電腦控制的燈光,裝置創造出類似自動跟隨舞台聚光燈(follow-spot)的效果,在指定區域內追隨行人。當觀眾進入特定區域,一束光線即會鎖定他們並開始跟隨其軌跡。這種互動將每位參與者轉化為表演者,讓那些平常隱沒於人群中的身影,突然之間被賦予了重量與意義。

作品運作的核心在於即時 AI 分析與動態照明的結合。系統捕捉並處理空間資料,AI 演算法將此轉換為燈光的運動參數,達成流暢精準的追蹤效果。光在這裡成為一種見證——它不評判、不定義,只是單純地追隨。這個看似簡單的動作,卻在提醒我們:存在本身,或許就足夠了。

這種體驗極為個人且直接,將觀眾從人群中溫和地提升出來,使其成為瞬間的主角。有些人會感到驚喜,有些人會感到自在,也有些人會突然意識到——原來被看見可以是這樣的感覺。它帶來像走上舞台般的趣味感,讓平凡的移動變得非凡。而當光束隨著離去漸漸消失,那個被照亮的瞬間會留在記憶裡,像一個短暫的提醒。

在這個充滿感知系統的時代,作品邀請人們思考「被看見」意味著什麼——是確認、是賦予意義,還是失去匿名的庇護?被看見不僅是存在的確認,更可能是存在的完成。它可以是認同、是對話的開始、是我們與世界建立連結的方式,也是我們宣告「我在此」的時刻。當我們離開光束、重回陰影之後,對自己的理解或許已有所改變。

(圖:北藝中心提供)

 

Existence and emergence, or being seen—there are many moments in daily life we never notice.

By using an AI and machine learning-driven imaging system to guide computer-controlled lights, the installation creates an effect akin to an automated follow-spot that tracks pedestrians within a designated area. As viewers enter the active zone, a beam of light locks onto them and begins following their trajectory. This interaction transforms each participant into a performer, allowing figures usually hidden in the crowd to suddenly be given weight and meaning.

The work's core lies in the integration of real-time AI analysis and dynamic lighting. The system captures and processes spatial data, while the AI algorithm translates this into motion parameters for the lights, achieving fluid and precise tracking. Here, light becomes a form of witnessing—it doesn't judge or define, it simply follows. This seemingly simple act reminds us: perhaps existence itself is enough.

The experience is personal and direct, gently elevating viewers from the crowd, making them the momentary protagonist. Some feel surprised, some feel at ease, and some suddenly realize—this is what being seen can feel like. This feels playful, like being on stage, transforming ordinary movement into something extraordinary. And as the beam gradually fades with their departure, that illuminated moment remains in memory, like a brief reminder.

In this era filled with sensing systems, the work invites contemplation on what "being seen" means—is it affirmation, the bestowal of meaning, or the loss of anonymity's shelter? Being seen is not merely confirmation of existence, but may be the completion of existence itself. It can be recognition, the beginning of dialogue, our way of connecting with the world, and the moment we declare "I am here." When we leave the beam and return to shadow, our understanding of ourselves may have already changed.

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HsienYu Cheng | 鄭 先喻

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