國際講座/ 文化數據 簡介與小冊｜International Forum/ Introduction and Booklet to Cultural Data
「負育群帶聚落」作為一項實驗建築計畫，其基進性絕非僅是關於某種物理性的空間或地景構築工作，而是如何通過操演多樣性的探測、採集、搜羅資料的方法，來在「空總－臺北盆地」的尺度變化中重新閱讀乃至界定事物之間的「相關性」，進而實踐所謂內部與外部的「關係性」的創造。
我們從「建築之外」破題，描繪躍出框架後的種種風景，再以「棲居之事」進入到風景中，思考各種事物之間的生態關係。本場講座「文化數據」將著重於面對「數據」特別是「資料化」的方法論，來尋求重新界定事物之相關性的實踐以及文化風景的造動。
說到「數據」，許多人可能會想到谷歌搜尋引擎及至公民科學運動所仰賴的「巨量資料」（俗稱「大數據」）及至「富數據」的龐大影響力。這也意味著，數據不僅是某種「中性」的資料，而是驅動著開放性的知識生產以及文化造形的要角。巨量資料的時代，要求我們必須重新檢討「採樣」的簡化分析邏輯，並且容忍「不精確性」以及創造性地運用「相關性」來多面向地開展事物的潛在可能性。
本場講座之講者，將共同針對其學科領域的資料採集與資料化的工作方法，以及這些資料在「創作」層面上的「轉化」實踐和驅動性，來進行分享與研討。任職於波士頓伯克利音樂學院歷史與人類學的施永德長期投入聲音景觀、原住民族媒體以及地方倫理的研究，並將之運用於聲音藝術的創作。任職於國立高雄師範大學跨領域藝術研究所的蔡佩桂，將從「譜普市」計畫如何通過虛擬城市與桌遊的概念，來回應高雄八一氣爆後的種種議題。藝術家理羅．紐熱衷運用協作來發展創作計畫，這次將針對他與都市規劃師茱莉亞．內布里佳自2016年開始的巴卡旺浮島計畫，來闡述跨域數據行動的價值。此外， 採集研究成員吳燦政會以2011年持續至今的《台灣聲音地圖計畫》，辯證地探討聲響記錄的價值以及對聽覺文化的反思。最後，「雜草稍慢」煮茶人林芝宇作為採集研究串連，將以她在城南以及蟾蜍山的實踐，來闡述城市採集作為探索生命、將數據帶回生態循環的棲居內涵。我們不僅活在數據驅動文化的時代，更朝向創意驅動數據的未來。
Introduction of “Cultural Data” International Forum
As an experimental architecture project, the radicality of “Collective Negative Space Village” is by no means restricted within the scope of physical space or landscape construction. Hence, the project seeks for diverse methods including detecting, mining, and data collecting in order to re-read or even re-define the correlation among various issues and objects. And the project will further implement the so-called creation of internal and external relationships.
Initially, we get this project straight with “Beyond Architecture,” depicting the scenery out of the frame. Then, with “Habitat Matters,” we are able to return to the environment, and reconsider the ecological relations among various things. This forum, “Cultural Data,” will put an emphasis on “data,” in particular the methodology of “datafication,” to seek for the practices of redefining the relations among things and movements of forming cultural scenery.
Speaking of “data,” many people would think of Google searching engine, “big data” that citizen science movement replies on, and the huge influence of “rich data.” This means, data are not only some sort of “neutral” information but an important role which drives the open knowledge production and cultural formation. In the era of big data, it urges us to reconsider the simplified analysis of “sampling” and to tolerant “inaccuracy”; moreover, to make use of “correlation” creatively in order to diversely develop the potential possibility of things.
Speakers in this forum will share the methodology of data collecting and datafication within their specified disciplines and the “transforming” practices and mobility on the “creation” level. DJ Hatfield currently works as associate professor of History and Anthropology in the Liberal Arts Department of the Berklee College of Music, Boston. He has been devoting himself into the studies of the soundscape, media of the indigenous people and ethics of locality; he then turns his researches into his sound art practices. Tsai Pei-Kuei, assistant professor in Graduate Institute of Interdisciplinary Art, National Kaohsiung Normal University, will start from the concept of the project “Popping City” and respond to various issues regarding the aftermath of 2014 Kaohsiung gas explosions through the idea of the virtual city and board game. Artist Leeroy New is keen at developing his artistic projects through collaboration. This time, he is going to explain the value of cross-disciplinary data action and take “Bakawan Floating Island Project,” initiated by him and the urban planner Julia Nebrija since 2016, as a case study. Besides, artist Wu Tsan-Cheng will dialectically discuss the value of sound recording and his rethinking toward the audio culture, and take “Taiwan Sound Map Project,” which he has been working on since 2011, as an example. Finally, Lin Zhi-Yu, the tea maker from “weed day,” will elaborate the city collecting as the significance of life-exploring and bringing the data back to the ecological cycle through her collecting research connection practices in the southern area of the city and Toad Mountain. We are not merely living in the era that culture is driven by data, but forwarding to a future which data will be driven by creativity.
