About Us

Studio Introduction

研究導向的沉浸式創作工作室

隅隱工作室（Shiuan Yan Studio）是一個以研究驅動的沉浸式創作實踐，致力於理解沉浸式經驗如何透過感知、時間性、關係與具身參與被組織，並在時間中逐步展開，以及這一歷程如何支持理解的轉變與意義的生成。
工作室以創作作為研究方法（Practice as Research），透過作品創作、案例分析、研究發表與跨領域合作，持續發展感知－時間框架（Perceptual–Temporal Framework），作為理解、分析與發展沉浸式經驗的方法論，並促進研究、創作與實踐之間的持續對話。

A Research-Driven Immersive Creative Studio

Shiuan Yan Studio is a research-driven, immersive creative practice dedicated to understanding how immersive experiences are organized by perception, temporality, relations, and embodied engagement; how they gradually unfold over time; and how this process can support shifts in understanding and the emergence of meaning.
Working through Practice as Research, the studio continues to develop the Perceptual–Temporal Framework as a methodology for understanding, analyzing, and developing immersive experiences. Creative projects, case analysis, research publications, and interdisciplinary collaborations foster an ongoing dialogue among research, creative practice, and applied practice.

About the Founder

晏萱（Shiuan Yan）為沉浸式導演、藝術研究者，亦為隅隱工作室（Shiuan Yan Studio）創辦人。她關注沉浸式經驗如何被組織並在時間中逐步展開，以及哪些經驗條件能夠支持理解的轉變與意義的生成。

創作與研究致力於發展感知－時間框架（Perceptual–Temporal Framework），作為一套持續演化的沉浸式經驗方法論，從具身感知、關係與時間性等面向理解、分析與發展沉浸式經驗，並探討不同經驗結構與歷程如何形塑經驗的展開。研究建立於現象學、東亞美學哲學與藝術研究（Artistic Research）的持續對話之上，並從東亞對經驗、時間與觀看方式的理解中發展創作與研究方法，將 Ma（間）、感知節奏、具身定位與時間展開等概念轉化為沉浸式經驗的結構方法。
透過創作實踐、案例分析、理論研究與國際合作，她持續推進作品、方法論與研究之間的相互發展，使創作成為研究發現與方法演化的一部分。作品曾於 SIGGRAPH Asia、法國新影像藝術節（NewImages Festival）等多個國際平台展出並獲得肯定。

Shiuan Yan is an immersive director, artistic researcher, and founder of Shiuan Yan Studio. She explores how immersive experiences are structured over time and examines the conditions that foster shifts in understanding and the emergence of meaning.
Her creative practice and research focus on developing the Perceptual–Temporal Framework, an evolving methodology for immersive experience. Through embodied perception, relationality, and temporality, the framework seeks to understand, analyze, and develop immersive experiences while examining how different experiential structures and processes shape the ways experience unfolds.
Her research engages with phenomenology, East Asian aesthetics and philosophy, and artistic research. Drawing on East Asian perspectives on experience, time, and perception, she creates methods that translate concepts such as Ma (間), perceptual rhythm, embodied orientation, and temporal unfolding into structural approaches for immersive experience.
Through creative practice, case analysis, theoretical research, and international collaboration, she advances her works, methodology, and research, positioning creative practice as integral to research discovery and methodological development. Her work has been presented and recognized on international platforms, including SIGGRAPH Asia and the NewImages Festival in France.

Approach | Perception as Narrative Structure

沉浸媒介被理解為感知場域，而非影像容器。研究關注尺度、節奏、具身轉向與校準的停頓如何構成意義生成的條件。空性與「間 (Ma)」並非缺席，而是形成層次理解的結構基礎。此方法擴展其場域，使深度在調節與回返中逐步顯現。

Immersive media is treated not as a container for images, but as a perceptual field structured by spatial relations. The methodology investigates how scale, rhythm, embodied reorientation, and calibrated pause function as generative elements through which meaning takes shape. Drawing from Eastern aesthetic concepts such as emptiness and Ma, pause is understood as a structural condition for awareness and layered understanding. This approach expands the narrative field — allowing depth to emerge through modulation, return, and spatial-temporal articulation.