蘇文琪：「對我來說，最後LED的律動是自然的回歸，那些律動不僅是科技的，也可解釋成自然世界原本就具有的。最終把『共生』的概念放進來，所有萬物都是共同成長。」

入圍理由 Reason for Nomination

神話是舞蹈常見的題材，科技是表演持續的追尋，儘管如此，像《WAVE‧微幅》這樣，從神話的思維表現科技的舞蹈作品卻是少有。於是我們看到，懸空變換的燈光矩陣，近乎神話世界的神秘秩序；下壓的光牆，具現了神話的暴力；而蘇文琪像昆蟲和野獸一樣強悍的身體，傳達了人類和科技之間的搏鬥。難得的是，蘇文琪並沒有落入人工科技和自然肉體的、傳統的二元論，例如當光束越來越閃爍、聲響越來越暴烈，令人預感科技即將帶來毀滅之際，舞者並不是表現肉身的回歸，那是一種混雜著機械動力和儀式舞蹈的身體，又像戰爭機器，又像巫師又像神。印度的濕婆是舞蹈之神，也是毀滅之神，蘇文琪很像濕婆，表現出科技時代的我們如何與毀滅共舞。 提名觀察人 ─ 郭亮廷

Mythology is a common theme in dancing, and technology has been the pursuit of performance. However, it is rare to see a dance performance like 2014 Innovation Series-ReSet in W.A.V.E. by YiLab that presents technology from a mythological point of view. In the performance, we saw the suspended, changing lighting matrix that almost formed the mystic order of a mythological world, the down-pressing wall of light that embodied the violence of mythology, as well as SU Wen-chi’s fierce body that reminded us of insects or beasts, and which delivered the struggle between human beings and technology. It was precious that SU did not fall into the traditional dichotomy between the artificial technology and the natural body. For instance, as the rays of light glistened more violently and the sounds got harsher, it seemed to announce the moment of destruction brought about by technology; yet, instead of returning to the physicality, the dancers assumed a body that amalgamated mechanical power and ritualistic dancing, which reminded us of a war machine as well as a shaman or a god. The Hindu deity, Shiva, is both the god of dance and the god of destruction. In a way, SU was like Shiva showing the way we have danced with destruction in the technological era. Nominator: KUO Liang-Ting