Dunne & Raby, 2013). Therefore, the following shares the author's feelings as an audience. Overall, the "engagement" of the three works is a pity. Sex Shells presents works with visual shock (videos, gorgeous carpets), but lacks a bridge that allows the audience to integrate into the story. It only presents the appearance of "gender fluidity" in one direction, and there is no element that allows the audience to talk , it will inevitably fall into a presentation form with the main line of
Education and entertainment", the whatsapp database audience can acquire new knowledge, such as reading a textbook to learn a preliminary understanding of snail gender culture, then close the book and continue with the original life . On the contrary, CMD tries to create a narrative space that directly simulates the sci-fi scene of a society colonized by photosynthetic bacteria through pipelines and lights, but they still ignore what role the audience should take to enter this space: is it a factory manager? A resident of that world? Is it part of being a bacteria? When entering this sci-fi scene, the audience can feel the spectacular atmosphere created by the work, that is, a sense of "
wow", but it lacks what kind of role is given to watch the world, so it is still the third Watching a sci-fi movie from the perspective, after admiring the art, he walked out of the cinema and ended the round. The last piece of work, Fungkee, takes into account the story scene and the role of the audience, presenting a future product exhibition. In this exhibition, the audience can clearly experience that they are a user or buyer who is being sold. From the perspective of a buyer, examine the efficacy of the product, the company's vision, the production process, price, etc. However, the work itself lacks controversial factors, resulting in positive and negative opinions and the pull of different values.