《娛媚樂園》為2019-2020製作的四頻道影像作品，思考點由社群文章轉移到上游的新聞媒體宣傳，以新聞打卡景點為出發，影像作品中不只呈現出打卡景點衍生的問題，有許多關乎網路使用的游擊式採集，也包含近期網路景觀的濃縮。

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作品以新聞報導作為貫串全片的基礎，投射現今所經驗的媒體環境，透過圖像將新聞稿具象化，體現新聞內容中的浮文巧語與過度形塑，試圖探討大眾傳媒與大眾之間的權力關係。此外，這件作品反映了我近期思考的途徑，從新聞媒體所塑造打卡景點的商業行為，再到個人在網路社群的使用習慣。以及特定網站中的農場文章與資料採集、發榮滋長的影像搬遷或是盜版影像，最後再到網路迷因等網路相關議題。嘗試從日常生活中的微小觀察，並從中擷取一些片段，去拼湊出一道道線索，而身在這樣的媒體環境，該如何直面如此雜亂且龐大的訊息。

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The omniscient perspective hidden in the mass media spread fabricated factors of happiness to the world. Sugar-coated with entertainment, it seeks to evoke people’s faith, obsession, and frenzy for it. Welcome to “Eden”.

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On the basis of news stories throughout the work, it projects the media environment we experience today. News scripts are visualized through images, manifesting the witty words of saccharine and excessive shaping, in an attempt to investigates the power relationship between the mass media and the public. In addition, the work reflects the recent thinking paths of the artist from the commercial behaviors of online check-in attractions shaped by the news media to the user’s habit on the social media, from the content farm articles of specific websites to data collection, from the migration of thriving images to pirated images, and finally from the memes on the Internet to online dating. Hsu endeavors to extract fragments from the subtle observation into the everyday life to put together clues after clues. Situated in this media environment, how should we face such messy and massive information?

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