As Technology changes, Modern art has gradually surpassed the creation of classic art and its critical parameters. Modern artists devote themselves to the conceptual and experimental creation through the trials of various media. After the 17th century, images and numbers integrate into the modern society. Sometimes they even become the necessary ingredients of life. Once we put them away, modern life turns meaningless. The digitalized statistics and images exist everywhere. Such as digital numbers on the screen of a mobile, time coded images, weather and rainfall charts in the morning news on TV and results of the sports games, these data are digitalized and transmitted to the audience through images and motion pictures. Without doubt, it changes thoughts of human beings and influences the realms of art. From the art history, the variation from the last century until the contemporary is much more abundant than any other period in the past. In the beginning of the 20th century, scientific thoughts and angles inspired the entire kingdom of art such as impressionism to use colors to stimulate the reflected light and Bauhaus movement to emphasize the functionality. Among them, the most significant for technology development assertion was Italian futurism. Especially from the late ‘50s to the early ‘60s, in order to disentangle from skepticism in art, they started various experiments to give this formal expression of the mechanical process. The typical examples to combine the technology are electronic music and the adventure of video art. Video art started from apparatus of television to replace the traditional canvases and paints, depicting the age of non-materialized paintings. In 1999, Art news selected the 25 most influential artists in the 20th century including Pablo Ruiz Picasso, Wassily Kandinsky, Salvador Dali, Claude Monet, and the video art starter, Nam June Paik…etc. The famous artist, Nam June Paik, was born in Korea and was the father of video art. In 1963, he held the Exposition of Music-Electronic Television in Wuppertal, Germany. It claimed the battle towards people who neglected 13 TVs and implied the connection between music and television. As the first exhibition of video art, it became a milestone. It was also the first step of Nam June Paik in video art while he was already a famous musician and live artist then. This exhibition not only established the video to be an art form but also started a new chapter for the video art history. 12 of the 13 TVs that he displayed were not really introduced for any function of a television. Paik changed the sets to distort people’s reception of the television and scattered them around the room, on the sides and upside down. He also created interactive video works that transformed the viewers’ relationship to the medium. The television was interpreted as the combination of images and paintings, which became the revolution of the art realm. Like painters using brushes and paints, video artists use screens and cameras, utilizing the mass media in daily life to explore any experimental challenge through the new media devices. The accompaniments and mechanics of technology development were discovered by artists and adopted as the methods for creation. The changing of the material finally became the frame and the meaning of the arts. Although video art is less than 40 years old, the characters of its non-physical, electronic, and non-linear time depiction root deeply in people’s mind. Video art in 60’s of the 20th century became the renaissance in the deadly atmosphere of the dying art in minimalism.After the year of 2000, the connection of digital cameras and computers aroused another revolution in modern art. Due to the internet, human society is facing the subversive and structural revolution. The centralized societies based on regions become one without boundaries, which also means one huge society with scattered culture areas. In the meanwhile, these areas connect each other at the same time. In the book, Weaving the Web, Tim Berners-Lee, who mentioned “web”, describes that each computer in the world can be connected and establish any possibility. The dream of using hyper-link to gather all the information comes true because of the internet technology. The mass media development and the internet technology connect people’s life between reality and the virtual world. It is already beyond our understanding of the three-dimensional world. The four dimensional world already exits and becomes a part of our life. From Sigmund Freud’s point of view, the invisible world seems to be much closer to human substantiality. If the societies are constructed by reasons, then the invisible world canalizes the emotions of human beings. Such as the dream is the archetype and presents people’s unconscious desires, wishes and conflicts, which is also the basic of ego. Freud divided the model into the conscious and the non-conscious, which of the latter is also divided into the subconscious and the unconscious. He thinks id and ego constitutes the unconscious and are buried. Although the unconscious part is buried inside, sometimes, it comes out through the conscious when it gets too strong. The conscious is expressed through the human senses, while the unconscious presents the deeply human spiritual world of id and emotions. Therefore, the human behavior is not entirely reasonable and conscious. Creation of art basically is the projection of expression of desire and imagination of human. The characteristics of video and installation art let people experience much closer to the above. Media art combines images, music and interactive factors, which directly stimulate the sensual organs of viewers. Instinctively it leads us into another world more than just vision. Kim, Changkyum is a very unique artist. He combines fantasies, 3D images and sculptures to create a distinctive style. He mixes some oriental psychological ingredients like meditation and cogitation with his western photography into his works. Mixture of physical sculptures and images creates illusions for the viewers. For the work “Memory in the mirror”, the mirror does not only present the daily familiar objects but also magnifies as the surface of the profile. The work reifies the above style that he usually expresses.Dahlberg, Jonas adopts specific space as a model to create miniature and shoot it with a camera, using surrealistic mechanics to present the relationship between real and virtual spaces. The work, Promenade, is based on the space and model of an old Spanish art museum Calle Acale 31. Through the moving of the camera, it not only show the space inside the arch but also creates the illusion of passing through it. He embodies the space from vision. Works of Ann Lislegaard are also diversified. He cares about the factors in three dimensions such as time, space, realm, and light. In the work, Double Vision, he inspects the way how these factors lead viewers’ sensual experience. He establishes virtual space by extracting one factor like light or color to affect viewers’ recognition and reflection of the sensual difference so that they could start thinking the daily factors that they usually neglect. Inspiration of Claude’s works is from the common mass media. Closky shows the playfulness of the attitude of mass media. In his work, Black Hole, he mixes all the pictures, sounds and effects together, bringing strong pressure to the viewers. It implies the video images and sounds are like a black hole endlessly surrounding the viewers. Claude is like the experimenter of the mass media with collage to establish his own aesthetics. Not like Claude, Sawa Hiraki shows poetic journeys in his video works while exchanging exotic objects into daily space for its original objects such as bed quilts with a shadowy Ferris wheel or wandering herds of horses or sheep. He endows the daily boring space with poetry and presents the desire more directly in nowadays with the mass media. Video art works of Sun Yuan and Peng Yu are rather like the experimental modern art, seeking for all the possibilities of innovative expression with a magnificent aggressive style. They are more like experimenters of sociology instead of artists. In their work, Contend for Hegemony, they broke the rules of scattered combats, changing the duel fighting into tri-fighting and recorded it until it ended. It emphasized influences of experimental art towards the social aesthetics and habitual concepts.Watanabe, Go focuses on the exploration of the relation among mechanism, human, and mass media in his works. With transparent and white complexion and large, deep eyes, he created a young girl’s cyborg-like face to inspire the viewers to think about the definition and boundary between real human and a robot. He extends the view of the organic world. Although he uses a lot of mechanism, and electromechanics as the frames for creation, however, it conveys the dialectic between substantialism and unsubstantialism. Different from Go Watanabe, the works of Tung-lu, Hung more directly approaches the spirituality of the cyborg. In the work, Spiritual, the religious metaphorical lotus becomes a mechanic device. Once viewers get close to it, the mechanic lotus starts interaction with the viewers with constantly blossom. In comparison with the real lotus, which one gets more spirituality? Tung-Lu, Hung installed the human unique spirituality into a mechanic device. It outstood the invisible existence. In the core of the lotus, he installed three screens, where there was virtual space inside, constantly rotating, moving, and spinning. It seemed to attract viewers into different dimensional space. He replaced the spirituality of the lotus in the Chinese traditional culture so that viewers would think it over again for the relation between the physical objects and the meaning of its verbal name. Popularization of internet and mass media forms the contemporary medium environment. In fact, people do not argue about the real word or virtual one; they do not pay too much attention on the virtual culture. However, the invisible world is constructed by visible ingredients. Thus, we can say the invisible images and objects do exist. Like Italo Calvino’s Invisible Cities, we could only see them through imagination. The attraction of the video art is the same. Through technological medium, the artists open the gate of imagination for us. From this angle, we unveil the invisible world. With the language of art, we sublime the virtual world and unify it with the real world. In this exhibition, modern technology and the imagination of art break the boundaries of the realms. Installing new medium alters the basic creation of traditional arts and uplifts the status of the video art. The appearance of modern art and the philosophical spiritual world of the 9 artists become a fusion by presenting their works. In addition, we hope this exhibition could become the lodestar of the future visual effects and through it, everyone can understand more about the art.