劇烈加速度下的遠程藝術：以國家兩廳院5G計畫製作之《神不在的小鎮》、《向左走向右走──心電感應版》與《Operation 1’71701’／彌─見證日：終末之戰》為例

Telematic Art under the Great Acceleration: Cases Studies on Lunatic Town (2021), Turn Left, Turn Right. Love, or Regret (2022), and Operation: 1'71701 / M1TR4 (2023) under the NTCH’s 5G Digital Performance Project

遠程藝術（telematic-art）的崛起標誌著技術和藝術的緊密交匯，遠程藝術在當代藝術實踐中逐漸成為一個引人注目的議題，通過網絡和數位平台，藝術家能夠在不同地域和時區進行互動、合作和表演。有別於傳統遠程藝術利用衛星、網路等傳播通訊科技，新世代的遠程藝術透過5G通訊訊號，強調更具實驗特質的數位表演性作品。本研究以速度科技之文化批判觀點，藉國家兩廳院從2021年到2023年製作遠距連線異地共演為特色的展演節目《神不在的小鎮》、《向左走向右走─心電感應版》以及《Operation 1’71701’／彌─見證日：終末之戰》為文本，分析以5G通訊傳播科技所開啟的新遠程藝術創作型態，所引發關於藝術創製本質的論議、其如何重新定義藝術創作的過程和藝術品的接受方式，又如何轉化觀眾對時空的感知維度。

The rise of telematic art signals the convergence of technology and art. Telematic art has become an eye-catching issue in contemporary art praxis. The Internet and digital platforms enable artists in different regions and time zones to interact, collaborate, and perform with one another. Differentiating from traditional telematic art that utilized satellite, internet, and other communication technologies, the new generation of telematic art emphasizes more experimental digital performance works through 5G communication signals. This research adopts a cultural-critical perspective on speed technology, analyzing three off-site co-presentation performances titled Lunatic Town, Turn Left, Turn Right. Love, or Regret—The Telepathic Version, and Operation: 1’71701/MM1TR4—The Day of Witness: Endgame produced by the National Theater & Concert Hall from 2021 to 2023, and examining how this kind of new telematic art form enabled by 5G communication technology has sparked discussions about the fundamental nature of artistic creation, how they redefine the creative process and the reception of artworks, and how they transform audiences’spatio-temporal perception.