In the artwork, the topic of flowing human figures has been discussed. People pass through familiar places day by day, in which they create connection among them and the city. The impressions, memories and experiences turn the definition of the space in the city into place, and it is meaningful and creates a virtual layer upon the physical world. The artwork tried to arouse people to aware the connection among them and the environment by revealing the invisible traces. The interactive installation was set in outdoor exhibition, and a camera was set align the road and a projector was used for performing image on the wall of the nearby building. Object detection technology has been used in the interactive installation for capturing movements of people. GMM modeling was adopted for capturing frames with vivid face features, and the parameters was set for generating afterimage effect. The projected picture on the wall combined with 25 frames in different update time setting for performing a delayed vision, and only one region in the center of the image played the current frame in real-time, for arousing audience to notice the connection between their movements and the projected picture. In addition, some of them were reversed in horizontal direction for creating a dynamic Chinese brush painting with aesthetic composition. The remaining figures on the wall as mark or print remind people their traces in the city, and that creates the connection among the city and people who has been to the place at the same time. In the interactive installation, the improvisational painting of body calligraphy was exhibited in a collaborative way, in which revealed the face features or human shapes of the crowd in physical point, and also the collaborative experiences or memories in mental aspect.

Projection Mapping, the superimposing of virtual images upon actual objects, is already extensively used in performance arts. Applications of it are already quite mature, therefore, here we wish to achieve the opposite, or specifically speaking, the superimposing of actual objects into virtual images. This method of reverse superimposition is called "camera mapping." Through cameras, camera mapping captures actual objects, and introduces them into a virtual world. Then using superimposition, this allows for actual objects to be rendered as virtual objects. However, the actual objects here must have refined shapes so that they may be superimposed back into the camera. Through the proliferation of 3D printing, virtual 3D models in computers can be created in reality, thereby providing a framework for the limits and demands of "camera mapping." The new media artwork Digital Buddha combines 3D Printing and camera mapping. This work was created by 3-D deformable modeling through a computer, then transforming the model into a sculpture using 3D printing, and then remapping the materially produced sculpture back into the camera. Finally, it uses the already known algorithm to convert the model back into that of the original non-deformed sculpture. From this creation project, in the real world, audiences will see a deformed, abstract sculpture; and in the virtual world, through camera mapping, they will see a concrete sculpture (Buddha). In its representation, this piece of work pays homage to the work TV Buddha produced by video art master Nam June Paik. Using the influence television possesses over people, this work extends into the most important concepts of the digital era, "coding" and "decoding," simultaneously addressing the shock and insecurity people in the digital era feel toward images.

With an explosion of accessible information, the digital era has been integrated into our daily lives. At any time, people can operate handheld computers (cell phones) to connect to the online world. The thrill of speed is slowly replacing the analog speed of the human body. Even as the human body attempts to catch up with the speed of a computer, it tries to flee from it at the same time. This type of hope returns us to an original and natural sense of ambivalence, so that, in post-digital times, people will attempt to find the divine light of the analog era. The work, "Maelstrom&Vortex", utilizes interactive art to try to explain analog and digital speeds. Through the interaction, people can experience differences in speed between physical sensations and computer data as it re-combines them with a sense of space. In the work, the analog movement of mechanical motors, the digital capture of cameras, and digital computation of computers are combined, and then intervened with the analog-like human body. This allows participants to discover the relationship amongst analog, digital, and the body.