自「所有演示之母（The Mother of All Demos）」起，「操作過程」與先進的「電腦圖形」經常是各類軟、硬體開發商在demo中呈現的主軸，有時展示用的demo不必真的能運作執行、運作，只需有「運作中的影像」便能讓觀者理解其概念，以及產生實際使用的想像。《速寫演示》試圖藉由demo將尚未發生的使用情境視覺化的性質，讓基於手寫輸入法的速寫*中，文字與圖像的關係浮現，使觀者得以思考演算法如何將圖像辨識為文字，其所產生的意義又為何？
* 速寫在此指的是藝術家將繪畫工具簡化到只有手與手機的繪畫方法。透過指尖在手寫輸入法上繪圖，程式再將圖像辨認成文字並儲存。
Since The Mother of All Demos, the “process of operation” and advanced “computer graphics” have often served as central elements in demonstrations by both software and hardware companies. Sometimes, these demos do not need to be fully functional; the presence of a “working image” alone can convey the concept and evoke an imagined sense of actual use. Croquis Demo attempts to foreground this aspect of demos—namely, their capacity to visualize usage scenarios that have yet to occur. Through this process, the project brings into focus the relationship between text and image within the context of croquis-based input methods. It prompts viewers to reflect on how algorithms recognize images as text, and to consider the meaning generated in that translation
* Here, “croquis” refers to a drawing approach in which the artist reduces his tools to nothing more than a hand and a mobile device. Using a fingertip to draw on a handwriting input interface, the resulting image is processed by the system, which identifies it as a specific character and stores it accordingly.
黎寧駿 LI Ning-Jyun
1999年出生於台灣台北，現就讀於台北藝術大學美術學系碩士班。創作多為複合媒材、影像裝置，靈感大多來自生活中的觀察與散步時的思考，透過重新思考日常物件的性質，用自身的行為產生新的脈絡。試圖混淆既有的認知途徑，與觀者過往的經驗對話。
Born in 1999 in Taipei, Taiwan, and an MFA student in Fine Arts at Taipei National University of the Arts. The work often takes the form of mixed media and video installations, rooted in everyday observations and thoughts formed while walking. Rethinking the nature of everyday objects through personal actions allows new contexts to emerge. The practice aims to blur established modes of perception and initiate a dialogue with the viewer’s prior experiences.