統測
115年
[外語群英語類] 專業科目(2)
第 14 題
📖 題組：
Time-based media art represents a dynamic artistic practice that depends on the passage of time. The artworks change, move, or develop as time goes on, so their meaning emerges gradually instead of all at once. 11 conventional paintings that capture a single frozen moment, timebased media art invites viewers to watch, listen, or interact over a period of time. As images shift or sounds repeat, the story or message slowly becomes clear through continuous motion and transformation. The 12 of this approach can be traced to experimental work in film and performance during the 1960s. At that time, artists such as Bruce Nauman recorded short-lived movements on tape for exhibition, redirecting focus from finished objects to actions progressing over time. Since then, a wide range of practitioners 13 these ideas in innovative directions. For instance, Rafael Lozano-Hemmer’s work fills a dark space with hanging lights that pulse according to each visitor’s heartbeat, so the room’s pattern 14 changes as people enter and leave. Other projects turn toward cognition, concentrating on memory reconstruction for individuals with dementia or Alzheimer’s disease. Through interactive imagery and sound, those patients are invited to reconnect with fragmented personal memories. Similarly, some experimental theaters and cultural parks in Taiwan combine overlapping digital projections and responsive sounds 15 stories drawn from markets, lanes, and festivals. Together, these examples suggest that time-based media art is not simply about technological display, but about how attention, movement, and participation shape meaning over time.
Time-based media art represents a dynamic artistic practice that depends on the passage of time. The artworks change, move, or develop as time goes on, so their meaning emerges gradually instead of all at once. 11 conventional paintings that capture a single frozen moment, timebased media art invites viewers to watch, listen, or interact over a period of time. As images shift or sounds repeat, the story or message slowly becomes clear through continuous motion and transformation. The 12 of this approach can be traced to experimental work in film and performance during the 1960s. At that time, artists such as Bruce Nauman recorded short-lived movements on tape for exhibition, redirecting focus from finished objects to actions progressing over time. Since then, a wide range of practitioners 13 these ideas in innovative directions. For instance, Rafael Lozano-Hemmer’s work fills a dark space with hanging lights that pulse according to each visitor’s heartbeat, so the room’s pattern 14 changes as people enter and leave. Other projects turn toward cognition, concentrating on memory reconstruction for individuals with dementia or Alzheimer’s disease. Through interactive imagery and sound, those patients are invited to reconnect with fragmented personal memories. Similarly, some experimental theaters and cultural parks in Taiwan combine overlapping digital projections and responsive sounds 15 stories drawn from markets, lanes, and festivals. Together, these examples suggest that time-based media art is not simply about technological display, but about how attention, movement, and participation shape meaning over time.
Time-based media art represents a dynamic artistic practice that depends on the passage of time. The artworks change, move, or develop as time goes on, so their meaning emerges gradually instead of all at once. _11_ conventional paintings that capture a single frozen moment, time-based media art invites viewers to watch, listen, or interact over a period of time. As images shift or sounds repeat, the story or message slowly becomes clear through continuous motion and transformation. The _12_ of this approach can be traced to experimental work in film and performance during the 1960s. At that time, artists such as Bruce Nauman recorded short-lived movements on tape for exhibition, redirecting focus from finished objects to actions progressing over time. Since then, a wide range of practitioners _13_ these ideas in innovative directions. For instance, Rafael Lozano-Hemmer’s work fills a dark space with hanging lights that pulse according to each visitor’s heartbeat, so the room’s pattern _14_ changes as people enter and leave. Other projects turn toward cognition, concentrating on memory reconstruction for individuals with dementia or Alzheimer’s disease. Through interactive imagery and sound, those patients are invited to reconnect with fragmented personal memories. Similarly, some experimental theaters and cultural parks in Taiwan combine overlapping digital projections and responsive sounds _15_ stories drawn from markets, lanes, and festivals. Together, these examples suggest that time-based media art is not simply about technological display, but about how attention, movement, and participation shape meaning over time.
- A constantly
- B fragilely
- C politically
- D reluctantly