The concept originates from the fear and unease humans feel about being replaced by artificial intelligence and robots. In this creation, these technologies are once again employed as media and tools, constructing the work itself and coexisting in a dynamic relationship between content and method.

The subtle relationship between humans and machines begins with Nietzsche’s philosophy of the Übermensch (“Overman” or “Superman”). The Übermensch represents individuals who continuously recreate themselves, pursue differentiation, and delve deeply into the essence of human existence. Nietzsche believed that people must endure suffering and hardships, which are crucial for personal growth. In his concept of Eternal Recurrence (Ewige Wiederkunft), individuals must courageously embrace and overcome difficulties, gaining a profound understanding of themselves.

As Nietzsche described in Thus Spoke Zarathustra, humanity suffers and is tormented by nihilism but ultimately expresses itself through the will to create and self-manifestation in life. The relationship between humans and machines raises the question: do machines provide humans with more time to pursue higher self-development, or do they create a new form of Übermensch (referring to artificial intelligence)? People rely on machines to relieve them of burdensome, repetitive, or even complex tasks, granting them more time to pursue what they deem meaningful. However, they simultaneously fear losing their sense of value and identity within society. When confronted with disillusionment about the future, perhaps it is also an opportunity and an essential starting point for personal self-formation.

The artwork uses agarwood (沈香木) as a medium for drilling, symbolizing the Übermensch in Nietzsche’s theory—emerging unique and transcendent after enduring hardships. This also corresponds to Thus Spoke Zarathustra, which uses mythology, poetry, allegory, and narrative to convey philosophical ideas. Taiwan is the largest consumer of agarwood globally. Widely used in traditional medicine, essential oils, and religious incense, agarwood connects deeply to cultural and religious practices, offering tranquility and healing. Agarwood does not refer to a specific tree species but to resin-bearing plants of the Thymelaeaceae family. Its formation begins with trauma to the tree—caused by natural disasters, pests, or human intervention—followed by fungal infection. The tree secretes resin to heal the wound, enveloping the affected area with oil. By using agarwood, the work metaphorically conveys resilience and transformation while ensuring ecological sustainability.

The piece employs a robotic arm as a metaphor for labor displacement. Through computer analysis of the wood grain, the robotic arm drills “wounds,” releasing the fragrance of agarwood onsite. The process generates imagery reflecting the tree’s growth history, which is displayed as live visuals behind the robotic arm. An AI model processes and modifies the real-time footage captured by cameras, rewriting and reconstructing it instantaneously. The AI’s real-time prompts are influenced by live weather data streams, altering the content of the regenerated visuals.

Audience members can reach out to interact with a small installation platform, appearing to reclaim a sense of control while engaging in a tug-of-war with the robotic arm. This interaction symbolizes humanity’s efforts to adapt and transcend itself amid rapid technological advancement.

構想源自人類害怕被人工智能和機器人取代，而感到恐懼與不安的狀態。於創作的媒材與工具中，再次使用這兩樣技術來建構創作，內容和手法在相互關係中共存。

人類與機器之間微妙的關係，從尼采的超人 (Übermensch) 哲學理論談起，「超人」即「超越的人」，描述那些不斷自我創造、追求差異性的個體，甚至是深入追究人類存在本質的探求者。尼采認為人們需要經歷痛苦和困難，這些困難是個人成長的關鍵。在永恆循環（Ewige Wiederkunft）的理念中，人們需要勇於接納和克服困難，進而再次深刻地理解自己。

正如尼采在《查拉圖斯特拉如是說》中所提及之概念，人們經歷虛無主義的折磨與摧殘，而後以意志在這生命中不斷的創造與自我表現。人類與機器的關係，是讓人類有更多的時間去追求更高的自我，又或者創造另一種「超人」（意指人工智能）？ 人們既需要機器擺脫繁重或高重複性之工作，甚至是複雜的工作，而有更多的時間去追求個人認為更有意義的事情，但同時也害怕喪失自身價值，於這社會中流失認同感。當我們面臨的事對未來的幻滅時，或許也是一個機遇，同時也是個人自我塑造的一個重要起點。

作品選用沈香木進行鑽孔，除了呼應尼采理論中的超越之人，經歷磨難之後而產生的獨特的自我，也有著對應《查拉圖斯特拉如是說》運用神話、詩歌、寓言、小說等方式來呈現哲學理論;臺灣為全球最大的沉香消費國，而沈香在臺灣大量使用於中藥、精油、供佛香品上，具有安定心神、調理身體等用途，與文化、宗教有著強烈的連結。沉香木並非某種樹種，而是泛指能產生出帶有香氣的樹脂之瑞香科植物，沈香生成的過程首先樹木需要經歷創傷，像是風災導致斷枝、蟲蛀、人為砍乏等因素，而後樹木發生感染，體內的真菌組織於受傷處分泌樹脂，用油脂包覆受傷處。將其作為作品傳達寓意，因此作品材料僅需為沈香木，並以不影響生態之沈香木為主。

作品以機器手臂作為勞動工作被取代的隱喻，透過電腦分析木紋範圍，鑽孔產生的“創傷”，於現場產生沉香木的香氣，後續產生影像如同沉香木過去於成長的經歷，於機械手臂背後的現場即時影像呈現，透過即時AI模型進行串改，攝影機之真實現場的影像由AI判讀後被立即改寫再現。即時AI 模型中的指令串接即時天氣串流，改變 AI 提詞，影響再現影像生成的內容。觀眾伸手到小的裝置檯上，似乎又具有掌控權力的狀態，與機器手臂膠著拉扯，傳達科技蓬勃發展下，人們也正盡力的轉變與超越自我。

製作團隊：

主創/影像設計｜張晏慈

技術研究開發｜

財團法人工業技術研究院 服務系統科技中心 施香蘭、柯惠晴、錢又琳、多視界感知實驗室 廖元熙

達明機器人 達明機器人實驗室 王若喬、吳哲緒、孟繁立、楊凱中

技術協力｜黃詠仁

鐵件製作｜莊騰翔藝術工作室