| Summary: | 碩士 === 國立臺北藝術大學 === 科技藝術研究所媒體藝術組 === 96 === The human race today is a result of millions of years of evolution. The modern people not only can choose who they want to be, but also adjust themselves according to their wills. We can attach auxiliary functional equipment by means of plug-in, and develop non-fixed extrinsic features. Based on this concept, “body modification” attempts to propose an anti-thesis against the development that is out of the control by technology.
This proposition concerns the various possible states of the body that are pursued by oneself because one is not able to be experimented recklessly, so that machine simulation is adopted. When these machines approach as a supplementary tool – probed by the perspective of substitute, complicated mind is thus revealed. How flexible do we want these imitated organs to be? If its existence is superior to the human body, what are the values of the noumenon?
The discourse first dissects the skin surface of the decomposed corpse by “The Chemistry Of Death”, and unfolds the change of death relationship due to the change of physical shapes, in order to develop the equipment to start the body modification. It then focuses on precision tools for reversion, which are “Paleo–Future” and “Plug–in Transhuman”. The display strategy of the facilities in the museum composes an “independent universe” in the same nature as the encyclopedia as an imitation document for forms, in order to format the body into a simple image.
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