Seen/Unseen N°0[hyper.data ver.]

This installation extends Seen/Unseen N°0, a work from the first part of the Seen/Unseen series. In the original, the vast body of data and seismic waveforms of the Tōhoku earthquake formed the work's substrate — sustaining everything from behind, yet never visible. hyper.data ver. turns that substrate inside out: data is no longer the concealed ground of the installation, but its very material.

The work comprises two parts. Its images continue the method of hyper.data-N°3a–c: there is no pre-recorded footage — software reads the seismic data at random and in real time, generating images in the present moment, so that what appears on screen is the appearance of the data structure itself. The intensity of the same data being read is converted, simultaneously, into the intensity of sound: signals of extreme low frequency drive a bass shaker beneath the vessel, setting a pool of black water in vibration.

Water is the most sensitive of receivers: the slightest disturbance leaves ripples across its surface. The tremors of the earth were once rendered into data by precision instruments; here, data is returned to tremor itself, and recorded once more — by water. A translation in reverse. Hovering at the threshold of hearing, the extreme low frequencies are felt by the body before they are heard; the surface of the water makes them visible. The black water gives no view of its depths — only its surface keeps responding. Sharing a single source, visualized data structure and low-frequency resonance coexist within the space, each stirring the other: data once unseen regains, here, a sensible form — not to be understood, but to be felt.

With the support of the National Culture and Arts Foundation, Taiwan.

此裝置延伸自《Seen/Unseen》系列計畫第一部的作品《Seen/Unseen N°0》。在原作之中，311強震的大量資料與地震波形，是藏在裝置背後、支撐一切卻始終不可見的底層；《hyper.data ver.》將這個底層翻轉至前景——資料不再只是隱藏的依據，而成為裝置本身的材料。

裝置由兩個部分構成。影像延續《hyper.data-N°3a–c》的手法：沒有任何預先錄製的影片，程式即時、隨機地讀取地震資料，於當下運算生成影像，螢幕上顯現的是資料結構自身的樣貌。同一批被讀取的資料，其強度同步轉換為聲音的強弱——極低頻的訊號驅動容器下方的低頻震動器（bass shaker），震動一池黑色的水。

水是最敏感的接收者，最細微的擾動都會在表面留下波紋。大地的震動曾被精密儀器化為資料；在此，資料又被還原為震動本身，由水重新記錄一次——一次反向的轉譯。瀕臨聽覺邊緣的極低頻，身體先於耳朵察覺，而水面使它可見；黑色的水深不可視，唯有表面持續回應。視覺化的資料結構與極低頻的共振聲響在空間中同源共存、彼此牽動——那些原本看不見的資料，在此重新獲得可感的形式：不是被理解，而是被感覺。

本作品獲臺灣國家文化藝術基金會贊助。