News
— Research Development | 研究發展
Meaning Generation in Immersive Space: A Cross-Cultural Perceptual Structural Framework — Part I
沉浸式空間中的意義生成：跨文化感知結構框架 Part I
Feb 2026
此文在多年沉浸實踐與理論累積之下，提出一個關於「沉浸式空間中意義如何生成」的結構性框架。在既有敘事模型中，高潮推進長期被視為情感與理解形成的核心機制。本研究並不否定其有效性，而是將研究重心延展至另一個層面：意義如何在感知狀態的調節之中逐步顯現。文章從現象學與東亞美學哲學出發，提出一種感知結構的視角：空間關係的轉換、節奏的校準與具身定位的移動，皆可能構成意義生成的條件。沉浸經驗因此不僅依賴劇情推進，也能在時間層次的展開與感知密度的變化中，形成層疊與回返的理解。
此篇發表讓研究從理論基底的明確化，進一步走向結構模型的形成，並嘗試為沉浸敘事提出一種在時空配置中促成意義逐步顯現的感知框架。
Emerging
from years of immersive practice and theoretical inquiry, this essay
proposes a structural framework for understanding how meaning comes into
formation within immersive environments. While
dramatic escalation has long functioned as a central mechanism in
narrative construction, this research does not seek to displace it.
Instead, it extends the focus toward another dimension: how meaning may
gradually take shape through the modulation of perceptual states.
Drawing from phenomenology and East Asian aesthetic philosophy, the
essay articulates a perceptual structural approach in which shifts in
spatial relations, rhythmic calibration, and embodied reorientation
operate as generative conditions. Immersive experience, in this view,
may cultivate layered and recursive understanding through variations in
temporal unfolding and perceptual density.
The publication marks a
transition from theoretical clarification toward structural modeling,
proposing a perceptual framework through which meaning can emerge within
spatial and temporal configurations.
— Research Milestone | 研究里程碑
Eastern Aesthetics Beyond Form: Emptiness and Pause in an Accelerated World
超越形式的東方美學：加速世界中的留白與停留
Feb 2026
此文是工作室研究從內在實踐走向理論自覺的階段。多年沉浸實驗中逐步形成的思考，在此被系統化與公開闡述。文章不再將東亞水墨常被理解的平面散點與移動視角視為形式語彙，而是回到其深層結構：關係視域的流動、空間散佈與時間開放性，並與現象學的感知經驗理論建立對話。
在當代加速的語境下，空性與停頓被重新理解為一種感知節奏的再校準，使時間不僅作為推進的軸線存在，而能被感知為層次與展開。此篇發表將長期醞釀的研究軸線加以形式化，也為後續結構模型的形成奠定基礎。
This essay marks a phase in which the studio's immersive practice moves toward theoretical articulation.
Reflections gradually shaped through years of experimentation are here systematized and made explicit. Rather than approaching East Asian ink aesthetics as a stylistic reference — often reduced to dispersed perspective and shifting viewpoints — the text returns to its underlying structural logic: relational fields of vision, spatial dispersion, and temporal openness, brought into dialogue with phenomenological accounts of lived experience.
Within an accelerated contemporary condition, emptiness and pause are reconsidered as modes of perceptual recalibration, allowing time to be experienced not only as progression, but as layered unfolding. The publication formalizes a line of inquiry long in development, establishing the conceptual foundation for subsequent structural modelling.
2026
System Consolidation & Ongoing Validation
系統整合與持續驗證
感知框架進入整合階段，新作品持續延伸並驗證其結構一致性。
The perceptual framework enters a phase of consolidation, with new works extending and testing its structural coherence.
— Professional Presentation | SIGGRAPH Asia XR 2025
隅隱工作室作品「弈」《Trans-composition》於 SIGGRAPH Asia XR 2025 會議中以創作研究案例形式發表。
Dec 2025
本次發表不僅呈現作品成果，而是將其作為一個結構性實驗，說明研究如何在沉浸場域中被具體化。報告聚焦於三個層面：
— 如何將東亞美學中的空性與關係視域轉譯為可操作的空間結構，而非視覺風格；
— 如何透過空間尺度、節奏校準與停頓機制，使意義在時間層次中逐步顯現；
— 如何將互動理解為一種關係場域，使具身定位與空間回返成為意義生成的條件。
本次發表使研究從理論與模型層面進一步進入國際場域的公開對話與驗證，也使沉浸敘事的感知框架得以在跨文化語境中被討論與回應。
Trans-composition
was selected for the 2025 SIGGRAPH Asia XR program and presented as a
creative research case study within the conference.
The presentation
extended beyond the work itself, articulating how the research framework
materializes within immersive space. It focused on three key
dimensions.
— The modulation of spatial scale, rhythmic calibration, and calibrated pause as mechanisms through which meaning gradually emerges across temporal layers;
— The understanding of interaction as a relational field, where embodied positioning and spatial return function as generative conditions.
This presentation marked a moment in which theoretical grounding and structural modeling entered international discourse, allowing the perceptual framework to be examined within a broader cross-cultural context.
— Ji.hlava Documentary Film Festival: A special mention went to the poetic, interactive VR experience Trans-composition by director Shiuan Yan. 第29屆，伊赫拉瓦國際紀錄片影展，上週宣布VR獲獎名單，「特別提及獎」得獎者為「弈」，來自台灣，導演晏萱。
Nov 2025
— Everything We Saw At NewImages Festival 2025 — UploadVR
April 2025
Trans-Composition by Shiuan Yan Studio，以詩性方式探索「變化／易」之概念。
— Taiwanese director Shiuan Yan (晏萱) wins award at NewImages Festival 2025. — TAIWAN INFO.
April 2025
— 狂賀！《弈（Trans-composition）》勇奪 法國新影像藝術節「互動獎 」! — Taiwan Creative Content Agency 台灣文化內容策進院
April 2025
— Celebrating the laureates creators at NewImages Festival 2025. — NewImages
Festival.
April 2025
"Trans-Composition, by Shiuan Yan (晏萱), was recognized with the Interactivity Prize
for its meditative and philosophically rich interface. Rooted in
Chinese spiritual traditions, it crafts a surreal and contemplative
journey through cycles of transformation. — NewImages
Festival Jury"
2025
Recognition & System Maturation
認可與系統成形
以研究為基礎的藝術創作於國際舞台獲得多次獎項肯定。其藝術表述、互動結構與理論架構皆獲專業層面的整體評價。
Research-informed artistic works received sustained international recognition, including multiple awards.
The practice was acknowledged across artistic articulation, interactive structure, and theoretical formulation.
— LAFA Winners. — Los Angeles Film Awards.
Dec 2024
— Official Selection- Celebrating 10 years. — Festival of International Virtual and Augmented Reality Stories (FIVARS).
2024
Recognition & Structural Convergence
結構匯聚
創作與研究在此交匯，梳理現象學與東亞美學哲學之間的結構同構關係。
跨文化美學不再被視為形式語彙，而是不同層級的結構機制，得以轉譯為沉浸空間中的實踐形式。此階段感知框架逐步趨於穩定。
Creation and research converged to articulate structural affinities between phenomenology and East Asian aesthetic philosophy.
Cross-cultural aesthetic systems were examined not as stylistic references but as layered structural mechanisms capable of being translated into immersive spatial form.
The consolidation of a more coherent perceptual framework.
2023
Embodied Temporality
具身時間性
深化現象學具身觀點，並與東亞美學哲學展開對話，探討沉浸環境中的時間結構與空間「間」的生成。感知被進一步理解為一種調節機制，調整經驗密度與節奏。
The inquiry deepened into phenomenological embodiment and entered into
dialogue with East Asian aesthetic philosophy, examining temporal
articulation and spatial interval within immersive environments.
Perception was increasingly approached as modulation — a calibrated adjustment of experiential density.
2020–2022
Perceptual Reorientation
感知轉向
在超現實主義、符號學與現象學具身觀點的實踐基礎上，開始將感知重新定位為一種關係性的空間狀態，而非固定視角。
此階段亦逐步將互動理解為結構條件，而非功能機制。
Early immersive practices, informed by surrealism, semiotics, and phenomenological embodiment, began to reposition perception as a relational spatial condition rather than a fixed viewpoint.
This phase initiated a gradual shift toward understanding interaction as structural rather than instrumental.
