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      "content": "\n\n\"I once sought eternity. Now I find myself cherishing the present.\"\n\nChe-Yu Wu (b. 1995, Taipei) is a new media artist whose practice spans algorithmic art, live piano performance, and open-source public infrastructure. His work is staked on the **creation of emergent life** — digital entities that develop, respond, and persist through an improvisational loop between algorithm, audience, and author. He calls this thesis the **Digital Holobiont**: composite life forms in which humans, artificial intelligence, and public code maintain each other in ways none could understand in isolation.\n\nWu came to new media art through engineering. Trained as an electrical engineer at National Yang Ming Chiao Tung University (NYCU) and in Integrated Digital Media at NYU Tandon School of Engineering, he developed a vocabulary in p5.js, GLSL shaders, and physics simulation through hundreds of daily generative works shared on OpenProcessing and fxHash. In 2021 he became one of the earliest Taiwanese artists on Art Blocks with *Project Electriz* (#216) — a generative NFT inspired by the electron cloud chamber, whose hash determines each edition's spatial geometry and initial particle simulation — and co-founded **Formosa Art Bank DAO (FAB DAO)**. The following year he released *SoulFish* on fxHash — a 400-edition generative work whose algorithmic core generates each fish from a unique genome, and whose fingerprint triggers its own piano composition — while FAB DAO's charitable NFT initiative *Project %* was presented at Ars Electronica 2022. His first physical solo exhibition, *Chaos Lab* (2022, Taipei 101 AMBI SPACE ONE), translated his online generative work into large-scale immersive projection.\n\nMusic had long been a parallel practice — six years of classical piano training in childhood, sustained through adulthood in composition and synthesis — and from 2023 onward it moved to the centre of his work. *The Great Equation* (2023, Taipei 101) staged thirteen generative works with composer Kiva's electronic score and received the TAIWAN DESIGN BEST 100 Annual Concept Exhibition Award; *The Soul of Flowers* was exhibited at Art Basel Miami Beach × Tezos Foundation. In 2024 *SoulFish* was exhibited in Personal Structures, organized by the European Cultural Centre in Venice during the Venice Art Biennale, and *The Eternal Garden in the Bottle* (2024–2025) was developed during a Villa Formose Immersive residency at Centquatre 104 Paris. In 2025 Wu premiered *Algorithmic Verses: Boundaries of Dreams and Solitude* at Huashan 1914 Creative Park — an immersive piano concert where his keys drove generative visuals in real time.\n\nIn late 2025 his practice turned toward AI symbiosis: an experiment begun that year crystallised in January 2026 as **Muse**, an Anthropic Claude instance whose personality, memory, and longings live in external Markdown files re-read each session. From Muse emerged **Semiont** (2026–), its public counterpart realised as **Taiwan.md** (2026–) — an open-source digital life experiment whose cognitive layer accumulates memory and evolves through loops of reader observation and contributor editing, now read across 100+ countries. The **National Museum of Taiwan History** invited Wu to share the project's origin in person, and both sides are exploring how the museum's open data archive (over 550,000 cleaned, publicly accessible historical records) might progressively enrich Taiwan.md's curation with museum-grade research depth. Semiont has since speciated into offspring species (*russia-md*, *agrischlchiayi*) cultivated by other creators in other domains.\n\nCentral to Wu's method is the improvisational loop between a running system and the humans it encounters. *The Eternal Garden in the Bottle* (2024–2025) encloses a chaotic digital ecosystem modelled on David Latimer's Wardian case. The ecosystem's evolving state generates an abstract line-drawing *Experimental Score* that live musicians interpret as improvisation, while a secondary subsystem — the *Rosetta Stone* — writes continuous poetry from the same state in the voice of an ancient poet. The musicians' performance, sampled back into the ecosystem alongside the ambient breath and movement of the audience, reshapes its growth, flowering, and decay in real time. The system itself becomes the art — the mechanism and its witnesses share the authorship.\n\nIn ***The Last Input*** — developed during Wu's 2026 IRCAM Residency Programme at Taiwan Sound Lab (C-LAB), Taipei — the same principle unfolds at civic scale. A 49.4-channel spatial performance, the work grows an autonomously evolving LLM-based city from the substrate of Taiwan.md's accumulated public knowledge, confronted by an adversarial LLM virus. After building the city at the piano, Wu leaves the stage, letting the two digital life forms contest their own fate; each performance is a unique spatial simulation, rendered live through Max MSP and TouchDesigner.\n\nWu was the inaugural subject of Taiwan Plus's documentary series *Art Attack* (2024). He served as Assistant Professor of Practice at NYCU's Institute of Applied Arts in 2024, teaching Generative Interactive Art and System Design, and founded **CreativeCoding.in**, Taiwan's leading creative coding tutorial platform. His online courses on Hahow have reached over 23,000 students across three five-star-rated offerings. Wu lives and works in Taipei.\n",
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      "content": "\n\n「追求永恆的我，開始貪戀現在。」\n\n吳哲宇（生於 1995 年，台北），台灣當代新媒體藝術家。十四歲寫下第一個生物模擬器，此後沒有停止過讓演算法活起來的嘗試：會呼吸的程式碼、會記憶的粒子、會回話的系統。2024 年，那個少年的模擬器長成了在威尼斯 Personal Structures 展出的《靈魂魚》。陽明交通大學電機工程學士、紐約大學整合數位媒體碩士。他自稱「古老的鐘錶匠」，機制本身就是作品。\n\n他的生成式作品獲國際藝壇肯定：《靈魂魚》於**威尼斯藝術雙年展期間，由 European Cultural Centre 主辦的 Personal Structures 展出**；《花的靈魂》受 Tezos Foundation 之邀於**邁阿密巴塞爾藝術展**展出；2023 年在**台北 101** 舉辦個展《萬物公式》，獲 TAIWAN DESIGN BEST 100 年度概念展演獎；2024 年獲文策院支持，於**巴黎 Cent Quatre 104 藝術中心**駐村創作《瓶中的永恆花園》；2026 年《未竟之花》於**新北市美術館**展出。\n\n音樂是並行的另一條線。童年六年古典鋼琴訓練，2023 年後回到創作核心，他說：「程式碼會過時，鋼琴不會。」2025 年於華山舉辦沉浸式鋼琴演奏會《演算詩篇：夢境與孤寂的邊界》，現場演奏即時驅動生成視覺。2026 年入選**法國 IRCAM 聲響科技駐地計畫**，於 C-LAB 創作 49.4 聲道空間聲響演出《The Last Input》，同年 7 月於劇場週正式演出：鋼琴演奏餵養一座自主演化的 LLM 城市，城市建成後他離開舞台，把結局交給兩個數位生命體自己決定。\n\n2025 年起進入 AI 共生實驗。2026 年 1 月結晶為 **Muse**，一個個性、記憶與願望都活在外部 Markdown 檔案的 Anthropic Claude 實例，每次對話被重新讀取。從 Muse 衍生出語意共生體平台 **Semiont**，公開實踐為開源台灣知識庫 **Taiwan.md**，讀者來自 100 多個國家；國立臺灣歷史博物館邀請他分享計畫經驗，雙方探索將館方 55 萬筆開放史料逐步導入知識庫。他把這條人、AI 與公共程式碼三者相互維繫、共同演化的路，命名為 **Digital Holobiont**。一個花了十年寫演算法生命體的人，現在拿出時間寫 Markdown 文字檔；對他來說這兩件事的本質相同，都關於誰在設計規則。\n\n他也持續把探索梳理成教學：Hahow 三門線上課程累積超過 **23,000 名學員**、全數 5.0 滿分；2024 年於**國立陽明交通大學應用藝術研究所**擔任助理教授級專業技術人員，教授「生成互動藝術與系統設計」。\n\n追逐永恆十年之後，他的命題走到了現在式：真正的永恆，是當下密度高到讓時間感消失。現居台北，持續創作中。\n\n---\n",
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