無限引擎 The Infinity Engine
2014
裝置 Installation
尺寸依場地而定 Dimensions variable
〈無限引擎〉 是一件裝置，也是一個空間，這裡上演著器官可以被製造、儲存，失去的四肢可以從體內向外部再生出來，皮膚可以用印表機印出來，人類壽命可以被延長到130年的種種故事，揭露人類進化在生理面、精神面、哲學面的複雜可能，和可程式化DNA這個新發現。
〈無限引擎〉是根據既存的遺傳學實驗室重新建置的，也是一個場域，讓表演、資訊檢索、合成的DNA測試、以及透過人為手段強化的人類物種演進的未來敘事可以發生。
它同時是一個展覽空間，將攝影、繪畫、文件、與遺傳學和倫理學專家的訪談影片紀錄並置呈現。
裝置架構
實驗室的結構包含8個模組化單位，每個單位都將基因研究的元素重新組合。實驗室的規模可依不同場地重新制定。
每個小隔間裡都會進行各種測試，並保存著許多資訊，這些測試和資訊的用意，在於透過3D生物列印和基因編程，來揭露人類進化的巨大變化。有些會結合3D生物印表機、顯微鏡、實驗室測試資訊、與遺傳學專家的訪談影片紀錄、將測試預先安排並用表演性的方式重新表現，以及其他現場介入行為。
和遺傳學實驗室的做法一樣，運用色彩編碼定義垃圾和標誌等區域；另一方面，攝影、文件、海報、背景聲音會全部融入這個超現實體驗。組成〈無限引擎〉實驗室的多個單位會形成一個雙螺旋形。**在這雙螺旋的正中央是〈無限引擎〉。
裝置的結構包括：
列印室
經由一扇仿造的遺傳學實驗室大門進入這個房間，房間裡面有標語和密合的隔板。右邊有一個黑房間，進入後會看到裡面放了一個鼻子的骨骼，房間裡播放的聲音是用DNA組成單位作成的曲子。房間牆壁裡崁入一面玻璃窗，展示著第一台3D印表機的實體。
反室
安東尼．阿塔拉（Anthony Atala）說明3D生物列印技術。路克．摩薩拉（Luke Masala）談到擁有第一批生物列印器官的感受。
跨種室
這個房間的壁紙，全是基因改造的動植物，並會播放各種基因改造結果所進行的影片訪談，受訪者包括德魯．恩迪（Drew Endy）博士、伊莉莎白．布雷克本（Elizabeth Blackburn）博士、安東尼．阿塔拉博士。
倫理道德室
牆壁貼有因DNA轉換產生的法庭案件的資料影像。
檔案箱裡有真實發生的法庭案件資料，同時播放麥爾斯．傑克遜（Myles Jackson）、特洛伊．德斯特（Troy Duster）、安德魯．赫賽爾（Andrew Hessel）的討論影片。
走廊
各種遺傳學實驗室的影片投影在鏡面上。實驗室用具的複製品會放置在這個區域中，還有基因改造元素的序列，和對基因操控後果的反應。
常間回文重複序列叢集關聯蛋白系統（CRISPR）室
從被CRISPR化的動植物衍生出來的各種全新生命物種的壁紙。這個房間裡會播放喬治．丘奇（George Church）的影片。
第八號房間
一個上鎖的實驗室門，門上面有「無限盒子」（Infinity Box）的鏡像，盒子裡面有和湯瑪斯．修伯（Thomas Huber）在諾華製藥集團（Novartis）一起製作的琳恩．赫什曼抗體，整個展覽被扭曲生物（Twist Biology）技術的分子過程簡化成一個DNA。
THE INFINITY ENGINE INSTALLATION
The Infinity Engine is the installation. It is a space that enacts narratives in which organs can be manufactured and banked, lost limbs can be regenerated from the inside out, skin can be printed on an ink jet printer, and human life can extend to 130 years . . . all of which expose complex physical, psychological and philosophical possibilities for human evolution and our newly programmable DNA.
The Infinity Engine is a re-fabrication of an existing genetics lab as well as a site for performance, information retrieval, composite DNA testing and artificially enhanced narratives about the evolutionary future of the human species.
It is also an exhibition space that will integrate photographs, drawings, documents, video documentation of interviews with genetics and ethics experts.
INSTALLATION STRUCTURE
The lab replication is constructed from 8 modular units each of which recomposes elements of genetic research. It is scaleable to reshape itself to different locations.
Each cubicle will hold various tests and information designed to expose the vast shift of possibilities of human evolution through 3D bio printing and DNA programming. Some will incorporate 3D bio printers, microscopes, lab test information, video documentation of interviews with genetics experts, performative scheduled reenactments of tests as well as other live interventions.
As in genetics labs, color coding will define such areas as trash and signage, while photographs, documents, posters and background noise integrate into the surreal experience. The Infinity Engine’s lab composite will be structured to form the shape of a double helix. ** At the center of the double helix resides an Infinity Engine.
Among the Elements are:
PRINTING ROOM
Enter the room via a replica of a Genetics Lab door, complete with signage and closures. On the right, enter a black room where a scaffolding of a “nose” is placed. Sound in this room is composed with DNA components. Built in the wall of this room is a glassed window to show the actual first printer.
ANTI CHAMBER
Anthony Atala demonstrates 3D bio printing techniques. Luke Masala talks about what it was like to have one of the first bio printed organs.
HYBRID ROOM
Made of wallpaper of GMP plants and animals, with video interviews of the consequences, including Dr. Drew Endy, Dr. Elizabeth Blackburn, Dr. Atala.
ETHICS ROOM
Wall paper of legal court cases resulting from DNA conversions
File boxes of actual court cases are available for browsing as issues are discussed by Myles Jackson, Troy Duster and Andrew Hessel.
HALLWAY
Video projections on mirror like reflections of a composite of actual genetics labs. Replicas of lab paraphernalia will be placed throughout the piece as will I sequences of genetically modified element and reactions to the consequences of genetic manipulation.
CRISPR ROOM
Wallpaper of various new species of life derived from Crisperized plants and animals. This will show the George Church video.
ROOM #8
A locked lab door that holds a mirrored Infinity Box in which there is the Lynn Hershman Antibody made with Dr. Thomas Huber at Novartis and the entire exhibition reduced by molecular process to DNA Itself, made by Twist Biology.
琳恩・赫什曼・李森
過去50年間，藝術家和電影人琳恩．赫什曼．李森以其藝術及電影創作享譽國際。身為最具影響力的媒體藝術家之一，她深富革新精神且廣受推崇的作品，持續關注並反思人類與機器的關係、身分認同、監控、將媒體當作對抗審查制度和政治鎮壓的賦權工具等議題，而這些都是現今公認為社會運作的關鍵面向。而她在過去的55年裡，廣泛涉略攝影、錄像、電影、表演藝術、裝置藝術、互動藝術、以網路為基礎的媒體藝術等領域，留下了許多開創性的貢獻。
2021年在新當代藝術博物館舉辦的《扭曲》（Twisted），是她在紐約的首場博物館個展，除了隨展發行的全新專輯之外，展品中還包括委託創作〈扭曲的重力〉（Twisted Gravity），是與哈佛大學威斯研究所合作的一個水淨化系統。近期展覽包括2021年光州雙年展、2020年沙迦雙年展、《恐怖谷：人工智慧時代的人類生活》（Uncanny Valley: Being Human in the Age of AI），笛洋美術館、2018年於巴塞爾電子藝術之家（HeK）舉辦的個展《琳恩．赫什曼．李森：抗體》（Lynn Hershman Leeson: Anti-bodies），而其隨展發行的同名專輯獲《紐約時報》及《藝術新聞》評為2019年最佳藝術書籍之一。此外，過去曾在卡爾斯魯厄媒體與藝術中心（ZKM）推出由彼得．韋博（Peter Weibel）與安德里亞斯．貝丁（Andreas Beitin）策展的首場全面性回顧展「公民雷達」（Civil Radar），隨展發行的專輯則獲《紐約時報》藝評家何蘭德．寇特（Holland Cotter）評為2016年「不可或缺的讀物」之一。
赫什曼．李森曾獲2009年ACM SIGGRAPH傑出藝術家終身成就獎（數位藝術類）、電子藝術大獎的金尼卡獎、2009年約翰．賽門．古根漢紀念基金會研究獎助。2017年獲美國藝術家研究獎助、舊金山電影協會的視覺暫留獎、美國大學藝術學會所頒的終身成就獎。她的五部劇情片《奇異文化》（Strange Culture）、《人造人》（Teknolust）、《超感應情愛》（Conceiving Ada）、《！女藝革命：秘密歷史》（!Women Art Revolution: A Secret History）、《塔尼亞．里姆》（Tania Libre）皆於全球各地發行。作品典藏單位包括紐約現代藝術博物館、卡爾斯魯厄媒體與藝術中心、舊金山現代藝術博物館、泰德現代藝術館、加拿大國家美術館、沃克藝術中心，及其他著名私人收藏單位。創作檔案文獻資料則於2004年獲史丹佛大學圖書館收藏。赫什曼．李森目前為加州大學戴維斯分校的名譽教授，並擔任舊金山藝術學院電影系主任。現於加州舊金山與紐約居住及工作。
Lynn Hershman Leeson
Over the last five decades, artist and filmmaker Lynn Hershman Leeson has been internationally acclaimed for her art and films. As one of the most influential media artists, Hershman Leeson is widely recognized for her innovative work investigating issues that are now recognized as key to the workings of society: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression. Over the last fifty years, she has made pioneering contributions to the fields of photography, video, film, performance, installation and interactive as well as net-based media art.
2021 First Solo Museum Exhibition in NYC at The New Museum called TWISTED with a new catalogue and commission that purified water, collaboration with Wyss Institute at Harvard titled “Twisted Gravity”. Recent exhibitions have included 2021 Gwangju Biennial, 2020 Sharjah Biennial, Uncanny Valley: Being Human in the Age of AI at de Young Museum, and 2018 solo exhibition Lynn Hershman Leeson: Anti-bodies at HeK (House of Electronic Arts Basel). The Catalogue Lynn Hershman Leeson Anti-bodies was named one of the best art books of 2019 by The New York Times and Art News. In ZKM | Center for Art and Media Karlsruhe, Germany, mounted the first comprehensive retrospective titled Civic Radar curated by Peter Weibel and Andreas Beitin. Its catalogue was named one of the “indispensable art books” of 2016 by New York Times art critic Holland Cotter.
Hershman Leeson is a recipient of an ACM SIGGRAPH 2009 Distinguished Artist Award for Lifetime Achievement in Digital Art, the Golden Nica of the Prix Ars Electronica, and 2009 John Simon Guggenheim Memorial Foundation Fellowship. In 2017, she received the USA Artist Fellowship, the San Francisco Film Society’s Persistence of Vision Award and the Lifetime Achievement Award from the College Art Association. Her five feature films Strange Culture, Teknolust, Conceiving Ada, !Women Art Revolution: A Secret History, and Tania Libre are all in worldwide distribution. Her works are collected by The Museum of Modern Art (MoMA), the Zentrum für Kunst und Medientechnologie (ZKM), the San Francisco Museum of Modern Art (SFMOMA), the Tate Modern, the National Gallery of Canada, and the Walker Art Center in addition to many celebrated private collections. In 2004, Stanford University Libraries acquired Hershman Leeson’s working archive. Hershman Leeson is Professor Emeritus at U.C. Davis, served as Chair of the film Department at San Francisco Art Institute, now she lives and works in San Francisco, CA and NY.