數位人文實驗室（Digital Humanities Lab，DHL）是數位技術的人文化與社會駭進（social hacking）的實驗室。目前有四個核心工作方向：
如今大數據謀殺了社會理論，雲端資料決定了社會學的解釋力。數位人文之復興意味著一方面我們要探尋全球⽂化與媒體實驗室網絡經驗，另一方面要生產自己的研究平台與實驗成果，思考台灣在全球（地理）與（星球）網絡堆棧（或堆疊，plantery stack）中的位置與⽂化戰略。如以智慧都市網絡（Intelligent Urban Fabric，IUF）讓台灣成長為去中⼼化，分散式的智慧市民區域管理國度，將是國家層級的求生戰略。
面對網絡化的後⼈⽂研究（networked post-humanities），透過國際論壇，技術工作坊，拍腦會，⿊客松⼯作坊，以區塊鏈和物聯網架構的新世界，以鏈結開放資料（linked open data，LOD）串連的開放檔案網絡與多線敘事等等，創造新的數位文化氛圍，探尋合作的技術與技術的合作之可能，來突破獨角獸壟斷的平台社會。進行如當代藝術區塊鏈交易所，落地的平台合作主義，文化黑客松等實驗。
「工人要學會把機器和機器的資本主義應用區分開來，從而學會把自己的攻擊從物質生產資料，轉向物質生產資料的社會使用形式。」Capital Voulme 1, p 553-555）
一）數位人文網路平台計畫，包含了數位出版實驗，國際 IUF 論壇，香港 PCC 大會合作松（coop hackathon），國際藝術與科學技術網絡機構研究。
About Digital Humanities Lab
The Digital Humanities Lab (DHL) is a laboratory in social hacking. Our work at present is informed by four primary orientations:
一、A Critique Of Digitization
If we are to imagine a ‘humanities for the digital age’, it cannot simply be a digitization of the humanities. It does not simply involve the use of digital techniques and technologies while employing the same old cultural studies-style techniques of research from the outside. Rather, digital culture requires the invention of new techniques, new tools for critique, the cultivation of one’s own technical capacity so that one can penetrate into digital culture and participate in the shaping of its future from within. This requires a new theoretical orientation, new forms of critique, such as the study of software, networked society, the philosophy of technics and technology, an archaeology of new media architectures etc., as well as the creation of new critical instruments that can apprehend new developments in technical culture. This critique of digitization will assume a multi-faceted form premised on collaboration, merging research, education, publication and engagements with experimental art, with the intention of becoming a material basis for criticism and the dissemination of ideas.
二、Research On The World-Wide Web And Global Networks
At present Big Data has led to the twilight of social theory, the dominance of the cloud has led to the desuetude of sociology and its explanatory power. The ascendance of digital culture requires us to investigate the relationship between globalization and the network experiences of media labs…as well as to create a research platform of our own to generate research and consolidate our findings, all in an effort to determine the place of Taiwan in the globe (in a geographical sense) and in the planetary network (or planetary stack), so that we might begin to outline a cultural strategy. For example, the emergence of ‘smart city’ technologies, Intelligent Urban Fabric (IUF), has decentered the development of Taiwan, and would mean that distributed governmental techniques will be employed on a national level.
三、Experimentation as Invention
As we face the emergence of a new field, that of the networked post-humanities, we hope to- through international conferences, technical workshops, brainstorm sessions, hackathon workshops, all initiatives that we must undertake in the world of blockchain, the IoT and linked open data (LOD)- participate in the creation of a convivial and collaborative ethos for sharing and learning, one that might help us escape the myopia of hegemonic monopolies. We want to facilitate the exchange of art through blockchain, a platform for the elaboration of cultural hacking techniques through ‘cultural hackathons’, etc.
We propose to reclaim the potentiality of the network and technology for common use, to transform the phrase ‘digital humanities’ into a term that the academic establishment holds in contempt, because it stands, as we believe it should, for mutual aid and sharing. As Marx reminded us so long ago: “It took both time and experience for the workingmen to learn to distinguish between machinery and the use made of it by capital, and to direct their attacks, not against the material instruments of production, but against their use as means to exploitation. “（Capital Voulme 1, p 553-555）
We believe that the commoning of the network is possible, because commoning is the best means we have available to us to appropriate this means and use it in a way different from that of capital. We must link the production of space with the production of networked relationships, we must link the production of place with the production of virtual spaces, we must connect the production of a new people, subjectivities that form in social struggles, with the appearance of a new humanity, that of the ‘Digital Native’. This is the opportunity that we must seize ahead of us.
To put it simply, digital culture demands that we ask questions in a different fashion. This new way of asking, this new orientation of knowing, is intimately related with the pursuit of a new life, of asking how we are to live our lives together as members of a new world.
Our ongoing work, in terms of research and experiments, at the present moment includes:
1）A plan for the creation of a material platform for digital culture, which will include experiments in publication, an international conference on IUF, a PCC hackathon on co-operatives in Hong Kong as well as international collaborative efforts between art and research initiatives.
2）Schemes for experimentation and invention in digital culture, including the study of co-operatives, blockchain workshops, workshops on LOD, transitional justice and the exchange of contemporary art through blockchain etc.
Much of our research is complex and straddles several disciplines, though we can roughly divide them into four broad blocks. The first we have named dArticulation, which articulates the result of our research on the web, the second, dInnovation, is the branch connected to our experimental work, the third, dNetworking, relates to social experiments in living in a networked world, and the fourth, dTech, is a journal dedicated to the contemplation and critique of digital culture. ‘d’ in the lower-case stands for ‘digital’, as well as ‘distributed’. It aspires to be a living fountainhead for digital culture research and experiments in new media.
DHL is currently funded by the Taiwanese Ministry of Culture and the Taiwan Contemporary Culture Lab.
計畫主持人 黃孫權（個人網站，網絡社會研究所， 諸眾之貌）
Project Founder- Huang Sun Quan（professor and Director of institute of network society, China academy of Art）
Intellectual, artist, curator, activist. …the promoter or ”The first day after that revolution”，an active part of many urban network and independent media initiatives.
台灣資深網路文化工作者，數位文化社群 Culturemondo 世界文化入口網核心推動者，經典大叔級人物。
Co-founder Li Shi Jie
Long-time internet cultural worker, vintage avuncular figure, core member of the Culturemondo digital culture collective.
科技打工仔，跨文化行銷與文化行動者，曾投入音樂創作及實驗音樂領域實踐，並共同創立台灣部落格，促生（自媒體 | self-media）時代前期。曾獲邀參與沖繩穆斯林英文導覽手冊製作 。
Project Manager Wu Chin Chih
IT jobber, cross-cultural marketer and cultural activist and erstwhile experimental musician. Co-founder of twblog.net an independent media periodical. Previously invited to contribute to the OKINAWA “welcome Guide for Muslim Visitors” produce.
Technical Chief- Zhang Jun Yan
Composer, software technician, freelancer in many fields, specializing in music, information technology and biology. Has devoted much time to bridging the spheres of culture and technology, and was central to the design and establishment of ??? and the Tai Zhong Academic Archive.
生活美學基金會 發展組總監 陳幸均
Chen Xing Jun
Graduated from Taiwan University, institute of building and planning. department of Philosophy at Zhengda University, independent curator. Previously employed by the Cultural Department, the Taipei Contemporary Art Centre, former supervisor at the New Taipei City Village Cultural Association. As somebody active in the public sphere and various cultural endeavors…???
Dedicated Researcher Shi Mei Yan
Artisan of handicrafts, media worker, volunteer for the aged, engaged activist.
Dedicated Researcher Huang Yu Lin
Artist, media worker, digital news journalist, cultural activist. Participant in various multimedia initiatives, as well as helping to curate art festivals and exhibitions. Has an ongoing interest in the underground cultures emerging in Asian cities.
Dedicated Researcher Yang Kai Ting
Yang Kai Ting has made short films, worked in theatre, edited books and articles, as well as engaging sporadically in criticism.
Dedicated Researcher Huang Xiang Jun
Graduate of the philosophy department at National Taiwan University with a minor in sociology and degrees in creative entrepreneurship and art design. Did a master’s in Holland studying media theory. Since then, Huang has made films and written film criticism. Passionate about contemporary art.
東海美術系，台大建築與城鄉所，跨領域學習的行者，關注公共藝術的社會實踐 ，一個樂於參與創新事物的老女人 。
Dedicated Researcher Wu Shi Hui
a multi-disciplinary intellectual concerned with the practice of art in public, Wu is advanced in years but retains an unflappable enthusiasm for new endeavors.