高空

《高空》是黃心健與美國藝術家蘿瑞．安德森（Laurie Anderson）於2016至2017年共同創作的虛擬實境互動作品。觀眾將身處一萬六千公尺的虛擬實境高空，在一個象徵人類工業文明的飛行機艙中體驗逐漸解體的過程，並開始一趟奇幻旅程。觀眾視角漂浮於空中，象徵記憶與符碼的物件殘骸從面前飄過。當觀眾用手觸碰時，內含的敘事文本則啟動播放，例：象徵人類歷史記憶的黑盒子飛行紀錄器、寫著模糊字跡的信紙、生鏽的老舊手機傳出朦朧不清的通訊……更隨著觀眾好奇的觸碰順序，引發隨機的意義重組與排列。

這件作品不僅邀請觀眾「被動」瀏覽，更「主動」提供觀眾參與。漂浮空中的老舊打字機將在觀眾眼前徘徊不去，邀請觀眾在世界的盡頭留下人類最後的紀錄。更特別的是，觀眾的互動將觸發不同的結局。從俄國文學家陀思妥耶夫斯基（Fyodor Dostoyevsky）談及「罪與罰」，至修行者盤坐於和平寧靜的湖畔，畫面在互動之中，隱藏了深刻的敘事哲思。

Aloft is an interactive VR work created through a collaboration between Huang Hsin-Chien and US artist Laurie Anderson from 2016 to 2017. Audiences will be placed in a VR scene that is 16,000 meters mid-air and embark on a fantastical journey amid a gradually disintegrating plane fuselage, which symbolizes industrial civilization. The audience’s perspective is suspended mid-air, with debris representing memories and symbols floating past. The narrative is activated when audiences attempt to touch the debris with their hands. The black box flight recorder, letter paper scribbled with blurry handwriting, and a rusty old phone sending ambiguous signals, all represent human history and memory and are rearranged according to the touch of curious audiences.

This work not only invites “passive” browsing but encourages “active” participation. The floating old typewriter lingers in front of the audience, inviting them to leave behind the last human records at the end of the earth. What’s even more remarkable about this work is that audiences can initiate different endings, either Russian writer Fyodor Dostoyevsky’s referencing of “crime and punishment” or a practitioner sitting on the side of a quiet lake, presenting hidden philosophical narratives in the interactions.