Reducing Taiwan to a global tech hub oversimplifies a much deeper story shaped by migration, colonization, and cross-cultural exchange. That was the message from scholars at a recent international conference co-organized by the Asia Pacific Center at the University of California, Los Angeles (UCLA) and National Taiwan Normal University (NTNU). Held on May 2 and 3 on the UCLA campus, the conference challenged narrow definitions of 'Made in Taiwan' by exploring the island’s material and technological culture through historical, social, and philosophical lenses.

This year’s theme, “Rethinking Made in Taiwan (MIT): New Approaches to the Study of Taiwan’s Material and Technological Culture,” invited participants to examine how Taiwan’s material practices and production cultures have been shaped across time and context. The event was part of the ongoing “UCLA-NTNU Taiwan Studies Initiative,” a joint effort between the two institutions to advance international scholarship in the field of Taiwan studies. It was planned and organized by Professor Shu-mei Shih of UCLA’s Department of Comparative Literature and Department of Asian Languages and Cultures, along with PhD student Kun-Hsien Shen.

In recent years, the term “silicon shield” has become a popular metaphor for Taiwan, reflecting both its central role in the global semiconductor industry and its geopolitical importance. However, the label “Made in Taiwan” has historically carried a range of meanings—from a mark of quality and national pride to associations with counterfeiting and devaluation. Professor Shih noted that reducing Taiwan to its industrial products risks oversimplifying and objectifying its complex historical and cultural realities. As she observed, similar to the themes expressed in musician Wu Bai’s song “Made in Taiwan,” Taiwan’s materials and technical knowledge often originate from diverse global sources. Migration, colonization, and imperial influence have deeply shaped the island’s languages and cultural identities.

Nikky Lin, Director of the Center for International Taiwan Studies at NTNU, explained that the UCLA-NTNU initiative has included scholar and student exchanges as well as annual conferences since its launch in 2017. She emphasized that the collaboration has yielded significant results and has become a key platform for international dialogue in Taiwan studies. According to Lin, this year’s focus on technological objects and production culture prompted wide-ranging discussion, particularly in light of Taiwan’s current strategic role in global affairs.

Cindy Fan, Vice Provost for International Studies and Global Engagement at UCLA, delivered remarks during the opening session, affirming the timely relevance of the conference theme. As part of the program, author Wu Ming-Yi gave a preparatory lecture discussing his novels Routes in a Dream and The Stolen Bicycle, as well as his current work-in-progress. His presentation reflected on how the post-war generation approaches the act of writing about war.

In addition to NTNU faculty, the conference brought together researchers from the University of Minnesota, University of Maryland, Emory University, University of Southern California, National Taiwan University, and National Chung Cheng University. Hsu-Cheng Tosti Chiang, Director of NTNU’s Graduate Institute of Mass Communication, presented his recent research on AI and misinformation in a talk titled “The Impact of an AI-Based News Source Credibility Detection System on Media Literacy Education,” which was well received. Assistant Professor Pei-Chun Hsieh of NTNU’s Graduate Institute of Art History presented on Taiwanese artists as subjects of academic inquiry.

Over the course of two days, the conference featured six panel sessions covering a broad range of topics, including how Taiwanese society shapes and responds to technological imaginaries; cultural interpretations of Cold War and contemporary audiovisual media; AI and media literacy; gender and industrial memory; and critical discourses on environment and affect. Artist Yu-Hsin Su also participated in a session titled “Hydrological Archives,” where she shared her video works and creative concepts.