Task-1 PIERE HUYGHE: UUMWELT
In this work, He constructs a system of living and non-living and human-created intelligences that are allowed to evolve over the course of the exhibition, The drab walls of the space, the ever-renewing flies and the works on the large screen and, most importantly, the human beings come together to form a complete work in space.
In my understanding, the flies and the environment together form the input in the computer language, and the author allows these input elements to ferment together in a space, interacting to form a programming process. All of us exhibitors contemplate the whole space in our minds and feel it with our bodies, our sense of touch smell hearing etc. together outputting an unnameable sensation to our brains. It was very striking, it reproduced in a certain sense the processing of a computer.
But for me personally. The downside is that the designs do not pull away from the aesthetic distance that we can feel. At this point the design is in an awkward state of natural and unnatural. This is manifested by sitting trying to use high-tech generative techniques to represent the always iterative image film technology and acting on LEDs. This seems to me to be a medium of representation far removed from life. But the walls, the flies, the air, are also defined by the author as part of the work. This gives me a very strong feeling of mismatch. Because the latter elements are found everywhere in life. If one wants to talk about philosophy and all things unreal, I don't think it is necessary to use so much physical effort to study the high-tech stuff of the former.
Just a few personal understandings.
Task-2 Ian Cheng: Bad Corgi Trailer
His work shows the omnipresent internal conflict and the unpredictability of the evolution of a closed system, which can often cause a sense of frustration, and he believes that this simulation of an internal fictional world reflects the way our external world works. Whether Shiba Inu or Corgi, these cute animals have become so popular on the internet that they have become an open source image no less popular than cartoon characters, and everyone can participate in the creation of such images. The use of such unmonopolised popular images in the work also represents Zheng Xi Ran's creative attitude, which is to build complex worlds with the most direct means, just like a computer programmer.
I also see it as a tool for discussing the leap in time and the environmental changes that always accompany it, and it is a tool for exploring where consciousness goes from here.
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