May 2026

隅隱工作室（Shiuan Yan Studio）沉浸式導演與藝術研究者晏萱作品《弈｜Trans-composition》榮獲加拿大 FIVARS Excellence in Visual Design Award（卓越視覺設計獎）。

《弈｜Trans-composition》是一件結合創作實踐與藝術研究的沉浸式作品，探討感知、空間關係與時間性如何共同形塑沉浸式經驗的展開，並創造理解轉變與意義逐步生成的條件。此次獲獎回應了作品長期關注的重要研究問題之一：視覺與空間設計如何透過感知、移動與時間性的交互作用，影響沉浸式經驗如何形成、展開與持續。
本次國際肯定同時標誌著工作室研究發展的重要節點，也進一步驗證了感知（Perception）、關係（Relation）與時間性（Temporality）之間的研究方向，並持續推進「感知－時間框架」（Perceptual–Temporal Framework）的發展。

Research-driven VR work Trans-composition has received the FIVARS Award for Excellence in Visual Design (Canada). Trans-composition is an immersive work developed through creative practice and artistic research by immersive director and artistic researcher Shiuan Yan. It explores how perception, spatial relations, and temporality shape the unfolding of immersive experience, creating conditions through which meaning may gradually emerge.
The award recognizes one of the project's central inquiries: how visual and spatial design shape the ways experience unfolds through perception, movement, and temporality.

This recognition represents an important milestone in the ongoing development of the studio's research trajectory. It further validates questions that continue to inform the Perceptual–Temporal Framework and its development through creative practice, comparative analysis, and international dialogue.

→ FIVARS 2024 VR & AR Awards

— Research Milestone | 研究里程碑
    The First Public Articulation of the Perceptual–Temporal Framework
     沈浸式「感知—時間框架」首次公開發表
     Aprl 2026

歷經數年的創作實踐、理論研究、案例分析與國際交流，隅隱工作室（Shiuan Yan Studio）沉浸式導演與藝術研究者晏萱正式公開發表目前階段相對完整的「感知－時間框架」（Perceptual–Temporal Framework）。
「感知－時間框架」是一套持續演化的方法論，旨在理解與分析沉浸式經驗如何透過感知條件、具身關係與時間展開逐步形成，並探討這些經驗動態如何支持理解的轉變與意義的逐步生成。
此次發表標誌著研究發展的重要階段，將長期累積的研究首次整合為一套可公開討論的方法論架構。研究立基於現象學、東亞美學哲學與藝術研究（Artistic Research），並將持續透過創作實踐、案例分析、跨領域對話與國際交流不斷深化、修正與發展。

After several years of practice-based research, theoretical inquiry, comparative case analysis, and international dialogue, Shiuan Yan Studio, founded by immersive director and artistic researcher Shiuan Yan (晏萱), presents the first public articulation of the Perceptual–Temporal Framework.
The Perceptual–Temporal Framework is an evolving methodological framework for understanding and analyzing how immersive experiences take shape and unfold. It investigates how immersive experiences take shape through perceptual conditions, embodied relations, and temporal unfolding, and how these experiential dynamics may support shifts in understanding and the emergence of meaning. This publication marks a significant stage in the development of the Perceptual–Temporal Framework, bringing an evolving body of research together into its first coherent methodological articulation. Grounded in phenomenology, East Asian aesthetic philosophy, and artistic research, it establishes a foundation for continued development through creative practice, comparative case analysis, interdisciplinary dialogue, and international collaboration.

→ Framework full article ｜框架

→ Theoretical Grounding full article ｜ 理論基礎

— Research Development | 研究發展
    Reframing Immersive Experience
    How Meaning Emerges in Immersion: Series Introduction
    Aprl 2026   

在當前沉浸式內容快速發展的背景下，筆者觀察到一項持續出現的現象：儘管許多作品具備高度技術複雜度與明確概念，其經驗卻往往難以隨時間持續發展，並逐漸失去整體一致性。針對此現象，文章提出一種結構性的研究視角，重新檢視沉浸式經驗如何形成、展開與瓦解。
不同於僅從內容、沉浸程度或互動設計進行評價，本文辨識出多項反覆出現的結構傾向，包括概念與經驗之間的分離、缺乏組織的感知強度、未能促成經驗轉變的互動，以及停留於非具身層面的敘事。透過重新界定這些結構模式，本文建立後續案例分析的方法論基礎，並提出理解、分析與評估沉浸式作品的新視角。

Amid the rapid development of immersive content, this article identifies a recurring pattern: despite growing technical sophistication and strong conceptual intent, many works struggle to sustain experiential coherence over time. Experiences often lose continuity rather than develop further. In response, the article proposes a structural perspective to re-examine how immersive experiences take shape, unfold, and sometimes break down. Instead of evaluating works mainly through content, immersion, or interaction, it identifies recurring structural tendencies: the separation between concept and experience, unstructured perceptual intensity, non-transformative interaction, and narratives that remain unembodied. By reframing these patterns, the article establishes a methodological foundation for case analyses and offers new perspectives for understanding, analyzing, and evaluating immersive works.

→ Full article ｜ 閱讀全文

— International Evaluation Experience Informing the Research Framework
    國際評審經驗回饋研究框架的持續發展
    Mar 2026

國際權威沈浸式評審經驗，提供跨不同創作方法與形式的比較視角，使研究得以在世界專業脈絡中持續被檢視與修正，並回饋至「感知-時間框架」本身強化理論與實務之間的相互驗證。

Evaluation experience offers a comparative perspective across diverse practices, informing the refinement of the Perceptual–Temporal Framework and reinforcing the link between theory and practice.

— Research Development | 研究發展
    Meaning Generation in Immersive Experience: Toward the Perceptual–Temporal Framework — The Temporal Unfolding of Experience
    沉浸式經驗中的意義生成：邁向「感知－時間框架」經驗的時間性展開
    Feb 2026

建立於多年沉浸式創作實踐與理論研究之上，本文標誌著後續發展為「感知－時間框架」（Perceptual–Temporal Framework）的重要研究節點。文章將研究視角從傳統敘事延伸至另一個層面：沉浸式經驗如何透過感知、關係與時間展開逐步形成，以及理解與意義如何在經驗歷程中持續發展。
立基於現象學與東亞美學哲學，提出一種以感知經驗為核心的研究視角，探討空間關係的轉換、節奏的校準、具身重新定位（embodied reorientation）與時間展開，如何共同形成沉浸式經驗發展的條件，並支持理解的轉變與意義的逐步生成。
此篇發表代表研究由理論探索逐步邁向方法論建構，也為後續「感知－時間框架」（Perceptual–Temporal Framework）的發展奠定重要基礎。

Building on years of immersive creative practice and theoretical inquiry, this publication marks an important milestone in the research that later developed into the Perceptual–Temporal Framework. It extends research beyond conventional narrative concerns to examine how immersive experiences gradually take shape through perception, relations, and temporality, and how understanding and meaning develop throughout lived experience. Grounded in phenomenology and East Asian aesthetic philosophy, the essay proposes a research perspective centered on lived perceptual experience. It examines how shifts in spatial relations, rhythmic calibration, embodied reorientation, and temporal unfolding create the conditions for immersive experience to develop, thereby supporting transformative understanding and the gradual emergence of meaning. This publication marks an important transition from theoretical inquiry to methodological development, laying the conceptual foundation for what later became the Perceptual–Temporal Framework.

→ Full article ｜ 閱讀全文

— 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 represents a transition in the studio's immersive practice toward explicit theoretical articulation.
Reflections developed over years of experimentation are systematically organized and articulated in this essay. Instead of treating East Asian ink aesthetics merely as a stylistic reference, often limited to dispersed perspective and shifting viewpoints, this analysis re-engages with its foundational structural logic. It focuses on relational fields of vision, spatial dispersion, and temporal openness, examined in relation to phenomenological accounts of lived experience.
In the context of accelerated contemporary conditions, emptiness and pause are re-examined as mechanisms for perceptual recalibration. They enable time to be perceived as both progression and layered unfolding. This publication formalizes a longstanding line of inquiry and establishes the conceptual foundation for future structural modeling.

2026
Engagement with International Evaluation Contexts
參與國際權威沉浸式（XR）領域之評審

參與國際權威沉浸式與 XR 領域之評審工作，對沉浸式經驗結構的研究，延伸至多樣作品的評析與判讀之中。

Participation in professional evaluation processes in the international XR and immersive field extended the ongoing inquiry into experiential structures to include the assessment of diverse immersive works.

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｜沈浸式創作研究者晏萱作品「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。

Research-driven VR work 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.

—  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，導演為沉浸式創作研究者晏萱。
Nov 2025
The Ji.hlava Documentary Film Festival jury gave the VR work Trans-composition the following statement: “We particularly enjoyed the interplay of light and shadow and its deep connection to the author's culture and its symbolic underpinnings. The ties to idealized and rarefied personal memories that become, in turn, universal. The intricacies of an architecture that mirrors the intricacies of the self. And the narrator's voice that guides you throughout on a journey of amazement and wonder.”

—  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

台灣作品《弈｜Trans-composition》榮獲法國 NewImages Festival XR 互動大獎，導演為沉浸式創作研究者晏萱。

— 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

”《弈｜Trans-composition》by Shiuan Yan (晏萱)，以其富有冥想特質且具有深刻哲學意涵的互動設計，榮獲 NewImages Festival「Interactivity Prize（互動獎）」。作品根植於中國哲學與精神文化傳統，透過超現實的沉浸式體驗，引領觀眾進入一場關於感知、時間與轉化循環的沉思之旅。——法國新影像藝術節評審“

"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: Trans-composition has received the Best Visual Reality Award.— Los Angeles Film Awards.

   《弈 | Trans-composition》榮獲洛杉磯電影獎最佳虛擬實境。
     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.