109下，1652 藝術創作基礎 Core Studio in Fine Arts
110上，1637 當代藝術與跨域設計 Contemporary Art and Cross-Disciplinary Design
110上，1652 視覺藝術概論 Introduction to Visual
110下，1647 藝術創作基礎 Core Studio in Fine Arts
111上，514013 當代藝術與跨域設計 Contemporary Art and Cross-Disciplinary Design
Curator
黃姿瑀，2001年生自中國吉林省通化市，一歲起為台北北投溫泉人，狗派，主修人文社會科學。自國中開始學習電吉他，最終走向各式音樂的懷抱，尤其重度服用各種能夠跳舞甩頭與極度平靜的音樂。高三升大一暑假繼承爸爸照顧良好的底片相機共四台，開啟攝影之旅，利用實驗性沖洗方式找出黑白底片具有衝擊性對比極高的階調捕捉光影以及人物特寫，目前獨立出版兩冊攝影書籍『躁動狗』以及『閃閃發光的人』。
身為一位清醒夢的練習生，熱切關注意識與潛意識的交互作用，透過藝術製造並觀察人與人之間的神秘參與（participation mystique），觸發深植在我們心中的連接點，發現原來我們都如此的接近有連結。樂於呈現一個我難以表現給現實世界非伴侶之外的人的面向，此面向傾向於人類心靈世界中獸性的特徵，屬於非文字、言語超越意識的範疇，而是透過更直覺式的行為、聲音推動自己的身體往前，同時也透過創作描繪對理想生活的憧憬。
人生格言（一）我不想輕輕觸動一萬個人的心靈，只想用力刺進一個人的心裡。 - 高橋步
人生格言（二）過著有趣又幸福的一生。->
Educator
林愛真，1986年出生於台北市。經歷美國、巴黎和維也納等多國創作展覽的職業生涯後，相對具有國際教學經驗的獨特優勢。
林愛真於美國最有影響力的藝術學院——芝加哥藝術學院任職多年，期間提供了多元交織性女性主義者理論、以及批判超資本主義的專業知識，同時也開啟了多門當代藝術與新媒材系所的課程。
Ei Jane Janet Lin brings unique strengths from her international teaching experience and her career as an artist exhibiting and performing her work from the United States, to Paris, to Vienna. Lin delivers her expertise on Intersectional Feminism and Hypercapitalism from her position at The School of the Art Institute of Chicago, the most influential Art School in the United States, where she created curriculum in Contemporary Art and New Media.
Developer
黃彥鈞的電機工程背景讓他對生成藝術和遊戲設計充滿熱情。作為一名數位藝術家，他的電腦程式設計能力使他能夠探索如人工智能的新興技術，進而發現新嶄新的表達與互動方式。他總是被藝術能夠帶來無限驚喜並超出期待的潛力深深吸引。
James Huang’s background in electrical engineering informs his passion for generative art and game design. As a digital artist, his computer programming skills enable him to explore emerging technologies, such as AI, to discover new forms of expression and interactivity. He is endlessly fascinated by art's potential for surprising and surpassing expectations.
台式「大家」：儒家集體主義
「大家」，這個耳熟能詳的名詞，在台灣是日常的口語詞彙。但在西方文化裡，傳統上卻是個令人卻步的概念框架。無論時空改變或人類科技的進步，「大家」仍舊以不同的結構樣貌存留下來；而達成健全永續的「大家」的唯一途徑，則是透過教育。在北美生活的二十年裡，我充分體會到個人主義的缺陷及侷限。從美國高等教育劇烈的私有企業化開始，到其健保制度過度資本化的全盤崩壞，即便坐擁從五零年代到八零年代的璀璨輝煌時期，世界強國美國卻無法解決當今自身層層的矛盾與衝突。台灣，在太平洋的另一端，比起來資源實在少得多；然而台灣卻是少而小、小而美。台式「大家」，在儒家思維「群」與「己」的架構下，充分吸收了從個體向大眾循序漸進的「克己復禮」。這一種外在約束與內在負責的思想，不只是儒家所訴求的核心價值，也是清楚區分台灣共同價值與共產的黨國大家、抑或西方文化所說的自我和個體思想之差異。而在台灣的創作與設計教育，無可厚非的，就算秉持著叛逆的龐克精神衝撞，仍舊是要經過「大家」系統的對照，才能產生真實的價值。我就是一個帶著濃厚個人主義的台式大家一員。經歷了美國最高藝術學府任教六年的洗禮與低薪勞動，我依然相信教育是大家投資更美好明日的答案。因為台灣小，因為我們少，所以「大家」是我們一直以來僅有的資源。誠如網路用語所說：台灣最美的風景是人。而維持台灣最美的風景之辦法，除了教育無他。
During the founding of Traditional Chinese Confucianism, it was said that “education is the key to building the next generation, and the next generation is the key of building the next world.” Often, being an artist further confuses what that artistic role in the ‘next world” could be. Unlike other careers, being an artist means breaking down the pre-existing archetypes and molding a brand new pattern which is individually tailored to each artist. No single artistic path has ever been the same. Born in practicality, this drastically different Eastern teaching approach gives me a distinct set of rigorous focuses in the classroom. In my teaching, I focus largely on self-sufficiency, critical analysis, and the courage to create in unknown territories. Challenging the students in shared and community-based conversations is the primary form that structures take in my classroom. Through frequent and meticulous one-on-one meetings, I provide personal support and guidelines that are modeled differently for each and every student, to their different needs. I practice “teaching students according to their aptitude,” a famous Confucianism concept. I also attempt to move all the students forward together in classes, balancing both workload and schedule, so that each student can contribute to what lies ahead. I take the responsibility of teaching and developing one’s mind very seriously, as I believe that every time I teach, I am directly shaping a small part of our future.
HB328, No. 1001 University Road,
Hsinchu, Taiwan 300
03-5712121 #58471xjfu@nycu.edu.tw