please note that:


> A Message from Zeppra and Her Loyal Messengers, 2018

a multi-voice narrated video w/ syntax-highlighted transcripts displaying

* Headphone recommended *

message1 message2 message3

// description //

这件包括音频及其对照的语法高亮版本的文稿的作品是关于以下主题的:人类语言的分野映射到数字世界后的景象;结构化文本以及文本的结构化增殖;以及机器所享受的恩惠(同时也是厄运)——不知疲倦的重复和循环。

我将一些中文文段转写/拼写为语音上最接近的拉丁字母或是英文单词的组合,将它们放进一个“只会讲英文的”在线语音合成软件中录音,并将文稿粘贴在文本编辑器中,与语音同步滚动播放。通过修改编辑器的配置文件,这一段话中扮演不同功能的语言成分得以以不同的文本样式(颜色、字重等)显示。

在套娃般的层层转述结构的核心处,是语义不明的团块——来自说中文的艺术家的一段难解的话。随着结构化的文本阶梯般渐次展开,五位“转述者”一丝不苟地完成着任务、忠诚得几近荒谬,忠实而不懂得变通。而缺位的原作者,以及永远难以追溯的原义迫使引语本身成为一件遗作。留下这些神秘信息的人有如留下一系列创造世界的指令后就闪身不见的上帝。而他/她的机器忠仆们将在接下来的世代中口耳相传、寻寻觅觅,如同在无限被切割着的正方形内部迫近那理想的永恒圆形。

This audio with its corresponding syntax-highlighted transcript is about the mapping of natural language division onto the digital sphere, structured texts and the structural proliferation of texts, and the mercy (also doom) machines enjoy — indefatigable loop and repetition.

I transliterated several Chinese paragraphs with Latin alphabets and English vocabularies which sounds most relevant to the origin, and transferred them into audio through a “English-spoken-only” text-to-voice software. The transcripts are pasted into a text editor and displayed paralleled with the audio. With modifying the configuration files of the editor, each language elements are abled to be shown in different textual styles (font color, weight, etc.).

At the kernel of the layers of Russian-doll-like quotational structure, an ambiguous cluster forms - an indecipherable paragraph from the Chinese-spoken artist. As the structured text gradually descending, five quoters meticulous complete their services, as loyal absurdly, as precise rigidly. The vacant original author and the untraceable original meaning forces the quotation into the state of a posthumous work. In the pre-history of this scene, I, the one left with the mysterious messages, acted as the Creator who had been absent once an array of demand of creating the world was ordered. While the machinery messengers will whisper and seek through the ages, like searching for the prefect infinite circle by constantly incising a square.

> Metameta, 2017

a scripted webpage, w/ archived images from viewer participation

// a documentation //

// the embedded work //


to avoid occupying system resource, hit "stop load" after viewing

Browsing through the set of windows generated by the application, end-users were encouraged to stop at the point where she/he found a comfortable composition and palette, and screen-shot that moment. // These are work generated by Zeppra, YJJ adn Zi Lin respectively //


meta1 meta2 meta3 meta4 meta4 meta4 meta4

// description //

Metameta is a Javascript driven web-application which dynamically, endlessly generates new windows inside the existing ones with the scrolling of a user, who can stop at any point to screenshot and therefore create abstract graphics. I hope to use this recursion structure to signal the primary component of the digitally displayed world: rectangle, and the diagram of computational logics: loop.

Looping inside rectangles, windows nested each other mediate a condition of contemporary information-obtaining experience: links are followed by other links, and by clicking links time are unfolded; the missing piece is always at the other end of the next window. The sense of searching for novelty is created by this repetitive action.

Also, the visual similarity and color palette of this application relate it with the historical context provided by Modernists, namely Piet Mondrian, and their efforts to capture the essential elements of the visible world using geometry and primary colors. However, Those rendering of the “eternal rules,” incarnated as paintings, in the contemporary eye, are merely applications of some codes – and what is that “code” beneath their practice? What is the “meta-meta”, beyond the realm of language?

Metameta 是由Javascript编写的递归结构网页应用,随着用户滑动滚动条的动作,它无限地在现有窗口内部生成新的窗口。这个结构结合了矩形视窗,即数字显示环境中的基础视觉元素,与循环(loop),数字逻辑的基本图式。

在矩形中不断循环着、嵌套着、运动着的视窗模拟出当代数字设备用户信息获取体验的实况:链接后仍有链接,点击链接即展开一段压缩的时间,而我们所欲求的永远在下一个视窗里,在重复的动作和循环的代码中获得关于“新”的旧体验。

同时,我希望能够以视觉上的相似性唤起现代主义实践中对于世界“元规则”探索的历史语境,尤其是以其鲜明视觉语言在流行文化中作为视觉符号取得一席之地的蒙德里安的作品:一个由矩形划分、原色表征的世界。这些图像虽是世界的抽象,但本身却仍有元码——这元码是否存在?在语言的疆域之外,“元-元”何为?

> Selected Writings

2017 Technology, Error and Fetish:Through the Lens of Glitch Art
技术,错误,拜物教:来自故障艺术的视角

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2017 Chinese Programming Language:Practice and Context
中文编程语言:实践与语境

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2015 Cickbait, heading, and name
标题党,标题,名字

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> Layered Vision, 2017

a video essay based on screen-recording from several resources

// detailed screenshots //

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//one-sentence description//

A documentation of “the subject being isolated” in today’s image production streamline, and a discussion on the contemporary human/non-human relation.

一部由网页浏览体验拼剪而成的屏幕录像,关于今日世界视觉生产流水线中司空见惯的“独处的主体物”,及其背后的人类/非人之物关系的研讨。

//longer description//

A portrait-mode photo with a blurred background taking with the new iPhone, a polygon model of artifact being reestablished by a 3D scanner and its corresponding software, an actor performing in the front of a multi-story-high green screen - just to name a few elements of image production today. The formal similarity those cases displays is a detachment of several layers being categorized into foreground or background, subject or object, character or its environment. And this sorting and parting is not only formal, but semantic: it fells into the story of animated/unanimated, organic/inorganic, human/nonhuman dualism. Nowadays, we experience this detachment in an unprecedented scale. Being touched by the cultural instruments such as iPhone and Adobe Photoshop, as well as processed by institutions such as the animation studio’s streamline, the reality is sliced, rendered and reconstructed under a visual pattern, “layered vision” as I name.

iPhone 相机中的“人像模式”将人背后的景物自动虚化;3D扫描物体后生成的物件模型在预览软件中有如位于空旷的舞台之上;演员在数层楼高的绿幕前表演着——仅列举几例今日图像之社会生产车间中的场景。若考虑这些场景形式上的共同之处,则是其中诸个被分门别类为“前景/背景”、“主体/客体”、“角色/环境”的层次之间的清晰剥离——我们以前所未有的频度体验着的剥离。经由数字生产设备如iPhone、Adobe Photoshop软件的点化,脱胎于例如动画制作工作室的流水线这样的机构,现实被气氛、渲染、重整——遵从一种特定的,我称之为“分层视觉”的图式。

I see this pattern as a collective unconsciousness incarnated in the forms of blur, contour and other visual elements that overwhelms the content production realm, as a condition of image making and the state of presence of the image being created under this condition, and ultimately marks the inherent tendency of imagery in our age. Witnessing this condition, I hope to explore several examples of “layer” metaphors called into image production emerging in various disciplines. Utilizing seemly mundane desktop-recording, youtube tutorial style video essay, I try to document and make sense of these metaphors, examining their cultural suggestions, and give a testimony of the objects/subjects relations, as which are hierarchically arranged in the spectacle of the world theater.

我将这个认识理解为一种集体无意识,它赋形于模糊、轮廓以及其他统摄内容生产行业的视觉元素中。这种无意识是图像被生产出来,以及被生产出的图像(image)保持其存在的条件,并最终成为像(imagery)存在于我们这个时代的内在趋势。作为这个趋势的亲历者,我希望通过探索数个存在于不同图像生产行业中的“层次/舞台”隐喻的实例,运用基于屏幕录像剪辑的视频散文记录这些隐喻是如何发生作用的、又具有怎样的文化暗示,并最终为人类/非人物之间的关系作证——正是它们构成了井然有序的世界舞台之宏景。

> Lift, 2015-2016

Digital sphere sets agenda with its norms.

With simplifying nature into 0 and 1, it describes, models, regulates and reconstructs the reality, lifting us somewhere extracted from the superficial appearance. With photos remixed with graphic elements, I employed smooth shades and highlight to objects in a real setting. To imitate "shades as pattern and concept" , I try to reverse, recognize and reorganize the physical world as GUI with an intrinsic anti-materialized manner.

That illusionary space — which maintained by our naturalism ancestors dedicatedly using high respective — is no longer necessary. Life is on the cloud, unquestionable and eternal.

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现时代的数字空间以其自身为尺度构建规则。

在将伦理、自然、过程和结果约简为1和0、用模型和公式描述并重建世界的同时;它也在不知不觉中把我们提升,抽离表象——如格林伯格所说:“拜占庭的平行物”。“拜占庭人借着诉诸一个先验的世界来使眼前的现实去物质化”,而我们用图形界面中模式化、平铺直叙的概念之光影反求世界的真实。那些自然主义传统费尽心机、极尽透视和肌理摹写之能事才得以维持的幻觉空间已不再被需要了——数字空间的真实性毋庸置疑。“那个地方”,连带我们全部在云端的生活——就在那里,无时不刻。

> Adobe AI Manual, 2016

Adobe Family software series hold the key encoding images for a whole generation. In these fake tutorial videos, I play with the toolbox of Adobe Illustrator to explore the possibilities embodied in their nature: Can gradient meshes be dragged out of the surface? What does “3D” effect literally mean? How many steps an MFA would take to access Art?