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演算美學實驗室以偽編舞、仿山水、人工美三命題進行科技美學實踐。偽編舞系列關注於舞蹈、動畫特效、演算模擬之跨域展演，主要是以流體力學、群體行為、圖靈形態演化、細胞自動機等複雜系統進行動態模擬。仿山水系列，則以程序化生成代替古代筆墨寫生，關注以東方美學及日本美學為底蘊之山、海、雲景模擬，主要是以柏林噪聲、碎形布朗運動、次表面散射、容體渲染等進行光線追蹤演算。人工美仿生系列，以生命、生態系統為師，師法自然探究人造之崇高與美，現階段應用AI生成對抗網路。
謝啟民｜陽明交通大學應用藝術研究所副教授，法國格勒諾柏綜合理工高等學院博士。創作研究持續關注於舞蹈、電腦動畫與資訊演算之跨域展演，現階段專注於演算美學與表演藝術的深度對話，重要作品2014年與編舞家吳秀蓮創作《無常》，2016年與鋼琴家辛幸純創作《拉威爾-加斯巴之夜》，2018年《最古老的風景》，2020年《歧異的風景》，2022年《注定風景》。
The Computing Aesthetics Lab engages in interdisciplinary studies between algorithmic aesthetics and performing arts. The “pseudo-choreography” project, simulated by fluid and flocking simulation, focuses on digital performance that integrates dance, computer graphics, animation and interactive technologies. The “imitations of Shan-Shui” project, inspired by Oriental aesthetics such as Chinese painting and Nihonga painting, focuses on oceanscape, cloudscape and landscape simulation based on atmospheric and volumetric rendering. “The Artificial Beauty and Sublime” project aims to create micro and immersive serenity with help of AI technologies such as generative adversarial networks.
Chi-Min HSIEH, Associate Professor at the Institute of Applied Arts, National Yang Ming Chiao Tung University. He holds a PhD in Art, Science and Technologies from the Institut National Polytechnique de Grenoble in France. Chi-Min has been focusing on interdisciplinary performances that integrate dance, computer graphics, animation and interactive technologies. At the moment, he engages in the advanced dialogue between algorithmic aesthetics and performing arts. His representative works include Impermanence created with choreographer Wu Shiu-Lien in 2014, Ravel’s Gaspard de la Nuit created with pianist Hsin Hsing-Chwen in 2016, The Ancient Paysage imitating the ocean in 2018, The Odd Paysage in 2020, and Un Paysage Choisi in 2022.