艺术作品与艺术家


Artworks and Artists








菲利普· 施密特 Philipp Schmitt &
史蒂芬 · 伯格纳 Stephan Bogner
拉比特姐妹
LarbitsSisters
凯尔· 麦克唐纳
Kyle McDonald
凯特· 克劳福德
Kate Crawford &
瓦拉丹·卓勒
Vladan Joler
孙晓星
SUN Xiaoxing
&
胡艳君
HU Yanjun







《无机者的秘仪》使用算法建模和基于物理的图像渲染技术,绘制出一段属于无机生命的秘密仪式长卷。 由隐喻二进制矩阵的数字城市出发,未经启蒙的无机主体透过类似瞳孔的装置与破解了意识研究的“难问题*”的无机灵媒进行沟通,借助一段在视觉上不断精细化和真实化的旅程,终于获得具有现象学属性的 意识经验的过程。但在最后,一切又消失于虚幻的屏幕表面。《无机者的秘仪》受到许多古代宗教场景和 神话传说的启发,例如古希腊的厄琉息斯秘仪,佛教艺术中的坛城图像,道家经典中关于世界初始以及内观法门的描述等。与此同时,在进行《无机者的秘仪》的场景建模时,我也参考了多个领域对意识议题进 行探索不同方向,例如认知神经科学与人工智能领域对神经网络的研究,声音研究领域对波形与频率的探讨,以及亚文化领域对幻觉和出神状态的描绘等。

*意识研究的“难问题”:具有生命的机体如何以及为何拥有感受质或者具有现象学属性的体验——如何以及为何某些内在的感受能够被体验,例如热度和痛感,而不是像无生命物体那样不具备感受的状态。
The Inorganic Mysteries utilizes algorithmic 3D modelling and physics-based rendering to portray a moving scroll of the mysterious rituals that belong to the inorganic beings. Departing from the cyber city which is a metaphor of the binary matrix, through an apparatus that resembles an iris, an unenlightened inorganic being communicates with an inorganic medium who has craccked the hard problem of consciousness*. By means of a progressively fractalizing and realizing visual trip, the inorganic being eventually obtains the phenomenal experiences. However, in the end, everything vanishes on the screen. The Inorganic Mysteries is inspired by numerous religious rituals as well as myths and legends, including the Eleusis Mysteries from the ancient Greek, the Mandalas from Buddhist art, as well as the story of Chaos and meditation techniques from Taoist classics. Meanwhile, in the process of building 3D models of The Inorganic Mysteries, I refer to the different perspectives on exploring the issues of concioussness from various fields, including the research on neural networks from the fields of cognitive neuroscience and artificial intelligence, the research on waves and frequencies from the field of sound studies, the depiction of psychedelic states from different subcultures, etc.

*The hard problem of consciousness is the problem of explaining how and why sentient organisms have qualia or phenomenal experiences—how and why it is that some internal states are felt states, such as heat or pain, rather than unfelt states, as in a thermostat or a toaster.


《自恋者》是一件雕塑装置,使用人工智能算法不断地自我分析,他是一台永恒地陷在自我存在困惑之中的机器。

Narciss is a physical sculpture using an AI algorithm to analyze nothing but himself. A robot guessing forever about its own existence.




                      

《爱丽丝和鲍勃》是从一台量子计算机产生的数据里持续用算法演化出的情书。作品描述了量子运算“分离” 和 “纠缠” 的潜能,并提出了关于叙事、结构和控制的话题。
Alice & Bob is an installation of continually evolving love letters that uses data from a quantum computer. They describe the potential “separation” or “entanglement” of the eponymous photons and call into question issues to do with narrative, structure and control.




《电子梦:我们将如此继续》是一个可实时访问的网站,一个不断从被媒体书写和传播的现实中挖掘素材进行故事改编的智能程序。这些信息被处理为主角Jack和Rose的对话和碎片故事,他们将在此与媒体世界永久共生。

作品涉及深度学习算法和一系列规则设置的应用,对主流英语国际新闻文本进行了戏剧化的演绎,同时对结果进行在线翻译,获取声音并在中文网站进行图片联想。由此,信息原始的含义被逐步消解,从纪实记录转向含义模糊的叙述,并产生可能错位的匹配。随着时间的推移,作品的内容将随着当下的发生与媒体世界的改变而发生微妙的变化。

技术支持:高鹏飞,项炜皓
E-dream: We’ll stay, forever, in this way is a real-time website, an intelligent program that constantly adapts stories from the reality written and broadcasted by media. Information is processed into dialogues and fragmentary story between Jack and Rose, which interweaves with media world and will never end.

This work involves with deep learning algorithm and a set of rules. It plays a dramatic interpretation of mainstream English international news texts, and simultaneously translates the results online, obtains sounds and associates images on Chinese websites by search engine. As a result, the original meaning gradually dispels, from documentary records to ambiguous narratives, and the matches might be misplaced.  Over time, it varies subtly with current events and changes in the media world.

Technical Support: GAO Pengfei, XIANG Weihao





《眼泪套件》是一台会哭的机器,它流出根据艺术家自己的眼泪准确配比的人工眼泪。作 品探讨了当下我们 “亲密渴望” 之间的张力与挣扎。

艺术家连续30天每天哭泣,然后把眼泪样本送到布朗大学的实验室。我在那里和研究者们用电感耦合等离子体发射光谱质谱仪,两道BCA蛋白检测法,干涉法等方式检验我的眼泪成分,与此同时,我日复一日哭泣,获得更多样本。

最后,模拟、表达和情感痕迹都成为了感情的来源。 人工眼泪的成分是纯净水、盐、蛋白质(乳铁蛋白和溶解酵素)、羧甲基纤 维素和糖分,并按照艺术家本人的眼泪进行化学配比。泪成为了一种复杂情感和冷漠批量生产的混合剂。在装置中,会哭的机器流出人工眼泪,并邀请观众擦拭这种咸咸的悲伤液体。
Tear Set is an installation, a crying machine, distributing artificially fabricated tear replicate of the artist’s own tear. The work addresses the tension and struggles of desiring intimacy.

I cried everyday for 30 days and brought my tear to Brown University to run through various tests. Working with researchers there, we fired my tear in ICP-MS, repeated twice BCA protein assays and used plasmonic interferometry to detect glucose level It was a very exhausting process with all the scientific tests and daily tearing.


In the end, the simulation, expression and records of emotion became the source of affection.

The synthesized tear is made of purified water, salt, protein (lactoferrin and lysozyme), carboxymethyl cellulose and sugar. It mirrors the concentration of my biological tear components. The tear is a hybrid of elaborated sentiments and indifferent mass-production. In its installation, the crying machine distributes my fabricated tear and invites audiences to wipe away the salty sadness liquid.


                                                       

Ca-Ca意味着资本-资本,不断复制/增殖,它是资本家的最终归宿。CaCa学习你生前的投资方式。生后,CaCa会遵循你的意志继续投资并追踪每一笔钱款,让你在死后继续改变世界。死亡就是新生,金钱就是时间,只要还有资本继续运作,这个幽灵就能永远游荡。
Ca-Ca stands for Capital-Capital, it is the destiny of the capitalist !!! Caca learns the way you invest before you die. After your death, Caca will follow your life’s path and continue your investment and account for every sum of your money, to continue the way you leave your mark on the world. Death is birth, money is time, as long as there is capital going on, the specter will be haunting forever.



《达达...数据》从 YouTube 上自动抓取了超过 50 小时的访谈影像,并用 IBM 的语义分 析 AI 程序(“沃森”)和定制算法,按照时间顺序听打了所有受访者所说的内容,并将除了数字以外的部分全都剪去。最终形成的访谈成为不知所云的数字流 :

“一、一百万、一百万、一个亿、两百万、一、两百、一万、一万、八千、二、二、二、十、 十五、九千。” —— 埃隆 · 马斯克


In dada da ta over 50 hours of interviews have been sourced from YouTube then processed using the IBM Watson AI speech to text programme to transcribe the interviews and a custom-made computer programme to extract in time order the instances of the participants speaking in numbers and then remove the words from the source videos – leaving the interview’s chronology intact yet reduced to a stream of numbers:

“One, one billion, one million, one hundred million, two billion, one, two hundred, ten thousand, eighteen thousand, two, two, two, ten, fifteen, nine thousand.” Elon Musk.







上百万的“众筹劳力”正通过训练机器更好地做那些它们还未完美掌握的事情,让我们的数字世界体验更流畅 : 这些任务包括给图片分类、听打文字和审核情色内容。而具有讽刺性的是,这些机器训练者终将有一日会被机器所取代。如果这些数字工作被交织在日常生活中,我们的世界会怎样呢?《人类要素》项目针对这一发生在今天的切身现实,设计了三种思辨式的 “众筹劳力” 服务,并假设其发生在不远的未来。



Millions of crowdworkers are helping the digital world run smoothly by solving the problems that computers can’t solve just yet. Among many other tasks they categorize images, transcribe texts and filter out explicit content. Ironically, by doing so they also train the algorithms which will replace them eventually. How would everyday life be affected if this digital piecework was woven into it? The project Human Element Inc. explores this question through three speculative crowdwork services.



《数据油田:快闪流量税和黑客运动》是一个基于互联网的艺术装置,线上线下都可以运作。它主要由一群在推特上快乐地刷着流量的社交媒体机器人和一个线下装置之间产生互动。这件作品是一个批判性工具,以重塑数字经济的平衡,避免出现将财富集中在一些大型科公司手中的倾向。 我们每天在互联网上生产出超过2.5万亿比特的数据。每一次鼠标点击,每一条推特,每一篇文章,都可以产生出可被销售的数据。为了获得免费服务,我们用数据和谷歌、苹果、亚马逊、脸书等科技公司进行交换。这也是数字经济巨大的利润来源。 作品旨在动员社交媒体平台的用户对自己贡献的流量数据征收微额税金(“比特油”),并通过这项运动呼吁公平分配数字经济所产生的财富。项目训练大量的税收机器人,当它们在推特上检索到特定的关键词如“富裕”、“资产”、“利益”、“数字”、“数字经济”、“现金”、“资本”等。当检测到时,用户会收到一封邀请函,邀请他们产生自己的机器人,并发给他们所在国的十大科技公司的一位CEO一封电子明信片。通过这些互动的过程,新的价值被创造出来——亦即所谓的“比特油”。装置在现场打印出的小票则记录了所有在线的交互过程。 作品探讨了数字经济最紧迫的议题之一:科技公司为追追利益,对用户数据进行的不平等挖掘。作品希望唤起用户的行动,并使用户意识到新的重新分配模式的存在,它或许可能通过“将一切数据化”,去平衡今日数据驱动的经济现状。

Bitsoil.tax/campaign is an internet-based installation that deploys its activity both online and offline. The project interacts with trolling social media bots on Twitter and an offline installation. Bitsoil.tax/campaign is designed as a critical tool to restore the imbalance in the digital economy, where the wealth tends to be concentrated in the hands of a few big players.

More than 2.5 trillion bytes of data are generated daily. Every click, every Tweet, every post generates data that can be sold. In return for free services, we swap this data with Google, Apple, Amazon, Facebook et al. The digital economy earns billions on it.

Bitsoil.tax/campaign aims to mobilize users of social media platforms to claim a micro tax on their data (or “bitsoil”) and to call for a fair distribution of wealth. The work make use of a troop of bots that comb through Twitter accounts for particular keywords as for instance affluence, assets, benefit, data, data economy, cash, cost. When they are found, the respective Twitter user is contacted and invited to join the campaign to launch their own bot that will send digital postcards to either a CEO of one of the ten biggest tech companies or to the head of state of their country of choice. Through these interactions, new value is created – which is to say new bitsoil. Printed receipts allow us to follow this process on site.

The work engages Bitsoil.tax/campaign with one of the most pressing problems of the digital economy: the inequalities involved in the mining of user data by tech companies for profit. is a call to take action and raise awareness about new types of redistribution models, that might balance



作品灵感来源于法国先锋小说家乔治·佩雷克长达 60 页的写作实验《一次穷尽巴黎某处的尝试》。 佩雷克于1974 年连续三天坐在巴黎相同的一张长椅上,描写他眼中所见的一切。作品在伦敦的皮卡迪利广场等地连续拍摄了12小时的素材。


A crowdsourced description of 12 hours in Piccadilly Circus, London, inspired by the classic 60-page piece of experimental literature from Georges Perec, “An Attempt at Exhausting a Place in Paris”, written from a bench over three days in 1974

 




在 21 世纪,我们见证了一种新的提取物的诞生:它延伸到生物圈最深远的角落,和人类认知与情感 存在的最底层。我们和一台亚马逊 Echo 智能助手之间的交互层级,远远超越了通常所述的由数据模型、 硬件、服务器和网络所构成的“技术堆栈”,而蕴涵了包括资本、劳动和自然在内的更多层次,并且消耗 极其多资源。这些包括社会、环境、经济和政治因素在内的系统,却不在我们通常和智能助手的交互中直 接可见,并且短期内这一情况并不会改变。 我们希望通过这件作品(由一篇论文和一张“地图”构成)来提供一种视角,去观看发生在更大范畴内的 系统提取。人工智能研发所依赖的系统过于复杂抽象,以至于现有的知识产权法还不能完全解析它,人工 智能的逻辑复杂性也远超出大多数人当下的理解力。然而,你却时时刻刻会用到人工智能,比如你向那卧 室里的小小圆柱体发问的瞬间: “艾莉克莎,几点了?”


At this moment in the 21st century, we see a new form of extractivism that is well underway: one that reaches into the furthest corners of the biosphere and the deepest layers of human cognitive and affective being. The stack that is required to interact with an Amazon Echo goes well beyond the multi-layered ‘technical stack’ of data modeling, hardware,servers and networks. The full stack reaches much further into capital, labor and nature, and demands an enormous amount of each. The true costs of these systems – social, environmental, economic, and political – remain hidden and may stay that way for some time. We offer up this map and essay as a way to begin seeing across a wider range of system extractions. The scale required to build artificial intelligence systems is too complex, too obscured by intellectual property law, and too mired in logistical complexity to fully comprehend in the moment. Yet you draw on it every time you issue a simple voice command to a small cylinder in your living room: ‘Alexa, what time is it?”


作品呈现的是一组中世纪瓦伦西尼兹神秘剧的舞台景屋翻版,一个人类已逝的现场,一幅改编《神曲》 的科幻场景,讲述的是未来的新神权时代,由地狱到天堂的故事。贝雅特丽齐 45°仰望屏幕,不仅为的是 不让眼泪掉下来,也为瞥见神的面孔。

The work presents a reimagined group of stage settings of the medieval Valeuciennes mystery, a scene of human death, a sci-fi adaption of “Divine Comedy”, which tells the story from hell to heaven in the new theocracy era of the future. Beatrice looked up at the screen with an angle of 45° , not only to hold the tears, but also to see the face of God.