Computex 其實是一個月前的事情了，之所以現在才想寫，是因為不久前金曲獎剛落幕。
身為一個在舞台旁看過無數場演出的活動主持人，我習慣去觀察一場盛會的結構；而作為一個對視覺著迷的觀眾，我這次更被金曲獎的舞台設計、數位內容和燈光深深吸引。更重要的是，數位轉播有重新優化，呈現了另一種視覺。看了一些片段，我真的非常喜歡！它不是單純的錄影存證，而是針對螢幕前的觀眾，做出了完全不同的視覺與節奏微調。
這種「用不同媒介呈現最佳效果」的思維，讓我想到了在藝術學校的「精緻受難」。
在 2016–2020 年間，設計學校裡，老師（以及當時的同儕）最不能接受的就是「看起來很容易做到」的東西，因為它會被認為不夠原創、太用現成概念思考、或太「偷懶」。
這導致我們在學校裡做的東西，都追求一種極致的豐沛（abundant）。但這種豐富，往往是用無數個熬夜、修改、體力勞動去堆砌出來的。彷彿一定要經歷這種肉體痛苦，作品才夠格被認可。
但回頭想想，觀眾觀賞成品的時間，可能連創作者製作時間的 1% 都不到。這種極端的消耗，真的有必要嗎？
在 COMPUTEX 上看到的科技呈現，讓我想到了「解放肉體消耗的科技藝術」。一年前，我開始接觸音像藝術和生成藝術。上課之後，我發現科技結合藝術的美妙之處，不只是呈現效果更多元，而是它改變了繁複視覺的產出方式。
傳統上，要做出極度複雜、有層次的畫面，需要創作者去拼貼、去熬夜手工產出，有時候做一個 collage 光是影印、剪下我要的圖片就花我 1 個小時。但在科技藝術裡，我們可以透過邏輯、演算法和參數調整，讓電腦去執行那些繁複的細節，而創作者則退回「主導思維」的角色。
這就像在主持舞台上，優秀的流程設計不需要主持人聲嘶力竭地去填滿每一個真空，而是利用精準的節奏、燈光與硬體配合，優雅地鋪陳出張力。
這不是偷懶，而是將重複性的肉體勞動交給科技，把時間與精神還給創作者、設計師。
現在的社會非常推崇 Wellness（身心健康），大家都知道健康和時間才是真正的財富。那麼，創作的過程是不是也該應運而生一場革命？
科技藝術的出現，正好完美契合了這個時代的渴望。它提供了一個真正的 Wellness Solution。它證明了：偉大的視覺不一定需要用創作者的健康與睡眠去交換。
當重複性的消耗被科技優化，創作者終於能夠飽足地睡眠、優雅地思考。我認為這樣的藝術生態，才是健康且永續的。
Computex was actually a month ago. The reason I'm only writing about it now is that the Golden Melody Awards just wrapped up.
As a host who's stood beside countless stages, I've developed a habit of reading the structure of a spectacle. And as someone obsessed with visual language, I was genuinely captivated by the GMA's stage design, digital content, and lighting this year. What struck me most was the optimised live stream — not just a recording, but a completely different visual edit for the screen audience. Different rhythm, different framing. I loved it.
That thinking — presenting the same thing differently across different media — brought me back to something I'd call "refined suffering" in art school.
From 2016 to 2020, in design school, the one thing neither teachers nor peers could accept was anything that looked easy to make. It implied unoriginality, lazy thinking, or cutting corners. So everything we made chased a kind of extreme abundance — layers upon layers of complexity — built on all-nighters, revisions, and physical output. As if the bodily pain of making was what made the work worthy.
But looking back: the audience spends maybe 1% of the time experiencing a work that the creator spent making it. Was that extreme expenditure actually necessary?
What I saw at COMPUTEX made me think about tech art as the liberation of physical labour. About a year ago I started exploring audiovisual and generative art. What I discovered wasn't just that the outputs were more varied — it was that the whole production model had changed.
Traditionally, to create a complex, layered image, you had to physically collage, cut, paste, stay up all night. I once spent an hour just photocopying and cutting images for a single collage. In tech art, you delegate that repetitive execution to an algorithm. The creator steps back into the role of conceptual director.
It's like how a well-designed event flow doesn't require the host to frantically fill every silence — it uses rhythm, lighting, and technical cues to create tension with elegance.
This isn't laziness. It's returning repetitive physical labour to the machine, and returning time and mental energy to the creator.
We live in an era that champions Wellness. Everyone knows health and time are the real wealth. So shouldn't the creative process be due for its own revolution?
Tech art arrives at exactly the right moment. It's a genuine Wellness Solution for the creative industry. It proves: great visuals don't have to be traded for the creator's health and sleep.
When repetitive labour is optimised by technology, creators can finally sleep properly and think clearly. That, to me, is what a healthy and sustainable creative ecosystem looks like.
