— Research Milestone | 研究里程碑
    Release of the Perceptual–Temporal Framework V1.0
     沈浸式「感知—時間框架」第一版本正式發布
     Aprl 2026

經過數年的研究、創作與參與國際評審實踐，工作室（Shiuan Yan）近日發布目前階段相對完整的「感知—時間框架」（Perceptual–Temporal Framework），作為理解沉浸式經驗的重要結構性方法。該框架聚焦於一項核心問題：在何種經驗條件下，沉浸式體驗得以維持一致性，並產生更深的意義。透過此框架，可從空間條件、身體—環境關係與時間組織等面向，系統性地分析與評估沉浸式作品，並辨識經驗結構中的關鍵問題。
在既有 XR 理論基礎上，本研究結合現象學對人如何感知世界的理解，以及東亞美學對時間性與經驗展開的關注，進行結構性對齊，並參照電影理論與建築空間理論，透過持續的創作實踐與作品評析進行驗證與修正，使其在理論與實務之間形成相互支撐的發展脈絡。本次發布版本為系統在當前階段的相對完整呈現，後續將持續透過跨領域對話、案例分析與創作實踐進一步深化與拓展其理論與應用層面。

Following several years of research and creative practice, the first relatively complete version of the Perceptual–Temporal Framework has been released, marking a key milestone in the development of a structural approach to understanding immersive experience.
The framework addresses a central question: under what experiential conditions can immersive experiences remain coherent rather than fragment as interactivity and information density increase? It provides a structured approach to analyzing and evaluating immersive works through spatial conditions, body–environment relations, and temporal organization, enabling the identification of key structural issues within experience.
The research is grounded in a structural alignment between XR-related theories, phenomenology, and East Asian aesthetic philosophy, and has been continuously developed and refined through creative practice and critical analysis of immersive works, establishing a reciprocal relationship between theory and practice.
The current release represents a relatively complete articulation of the system at its present stage. Further development will continue through cross-disciplinary dialogue, comparative analysis, and ongoing practice.

→ 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，筆者觀察到一項關鍵現象：儘管許多作品具備高度技術複雜度與明確概念，其經驗卻難以在時間中維持一致性，往往在體驗過程中逐步走向鬆散或消散。針對此一現象，本文提出一種結構性視角，重新檢視沉浸式經驗的形成機制。不同於僅從內容、沉浸程度或互動設計進行評價，文章辨識出多項反覆出現的結構傾向，這些傾向直接影響經驗如何被構成、組織或瓦解。這些問題包括：概念與經驗之間的分離、感知強度缺乏結構、互動未產生轉化，以及敘事停留於非具身層面。透過對這些模式的重新界定，本文為後續案例分析奠定基礎，進一步展開對沉浸式作品的理解與評估。

Amid the rapid development of immersive content, this research observes a critical pattern: despite growing technical complexity and strong conceptual intent, many works struggle to sustain coherence over time, often leading to experiences that gradually loosen or dissipate.In response, this article proposes a structural perspective for re-examining how immersive experiences form. Rather than evaluating works solely through content, immersion, or interaction, it identifies recurring structural tendencies that shape how experience is constructed, organized, or broken down.These include the separation between concept and experience, unstructured sensory intensity, non-transformative interaction, and narratives that remain unembodied. By reframing these patterns, the article lays a foundation for subsequent case analyses and offers new approaches to understanding and evaluating immersive works.

→ Full article ｜ 閱讀全文

— International Evaluation Experience Informing the Research Framework
    國際權威評審經驗回饋研究體系
    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 Space: Perceptual-Temporal Structural Framework — Temporal Unfolding of Experience
    沉浸式空間中的意義生成：跨文化感知時間框架-經驗在時間中的展開
    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。

Building on years of immersive practice and theoretical inquiry, this essay proposes a structural framework for understanding the formation of meaning within immersive environments. Although dramatic escalation has traditionally served as a central mechanism in narrative construction, this research does not aim to replace it. Rather, it expands the focus to consider how meaning may gradually emerge through the modulation of perceptual states. Drawing on phenomenology and East Asian aesthetic philosophy, the essay develops a perceptual-structural approach in which shifts in spatial relations, rhythmic calibration, and embodied reorientation serve as generative conditions. In this perspective, immersive experience can foster layered and recursive understanding through variations in temporal unfolding and perceptual density.
This publication marks a shift from theoretical clarification to structural modeling. It introduces a perceptual framework through which meaning may emerge within specific spatial and temporal configurations.

→ 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 on experiential structures to assessing 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.

—  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

The jury gave 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

— 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.