艺术档案 > 未来媒体艺术 > 林兹电子艺术节︱aaajiao作品《观察者》

林兹电子艺术节︱aaajiao作品《观察者》

2020-09-24 19:52:40.832 来源: GalerieLiusaWang 作者:LIUSA WANG



我们很高兴地宣布将在Ars Electronica 2020呈现aaajiao的作品《观察者》。

LIUSA WANG is delighted to announce that we will present aaajiao’s work, ‘bot.’, in Ars Electronica 2020.

欢迎点击二维码,在线观看展览

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bot,/观察者

Single channel video, color; Website单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video /视频截图 )

©️ aaajiao

4.jpg

bot,观察者

Single channel video, color; Website单频彩色录像、网站

15'32

Dimension variable尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao


aaajiao,是年轻艺术家徐文恺的化名,也是他虚构的网络分身。1984年(他的出生年份恰好是乔治·奥威尔经典预言式小说的名称)出生于中国最古老城市之一的西安,aaajiao的创作结合了浓重的反乌托邦意识、对文人精神的反思,致力于探索新的科技和媒体影响之下的文化现象和政治策略,关注议题从社交媒体写作、数据处理,到网络和移动媒介下的新美学景观。

aaajiao, is the online handle of Xu Wenkai,  a Shanghai- and Berlin-based artist, avid blogger and free thinker. Born in 1984, aaajiao grew up in Xi'an, the ancient capital of Qin and Han Dynasty known for the Terracotta Army. The year of 1984, coinciding with George Orwell's dystopian masterpiece, seems to explain the perfect alignment between the vivid SciTech-driven imagination and the sometimes-poetic sophistication, frequently seen as the main theme of aaajiao's work. Many of aaajiao's works tap into the most current trends of thoughts around the Internet sphere, with a focus on the emerging controversies and phenomenon related to data processing, blogsphere/wemedia and filtered information. In his most recent projects, the artist has adopted a more extended scope of practices, borrowing elements from architecture, electronic music, performance arts, product design, even medicine, to portray the young generation harnessing the power of cyber technology and the ever-present social media.


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bot, 观察者

Single channel video, color; Website 单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao


2020年9月9日至13日,Ars Electronica 2020以“开普勒花园”为主题,希望以另一种视角审视世界,讨论当今世界因新型冠状病毒所引发的议题,关于病毒所造成的“不确定性”(UNCERTAINTY)以及其将会如何重塑“人类”(HUMANITY)社会的运作方式,此外,也将关注“自治”(AUTONOMY)和“民主“(DEMOCRACY)以及“科技“(TECHNOLOGY)和“环保“(ECOLOGY)两个充满争议的主题。

Ars Electronica 2020 will take place from September 9 to 13 – in Linz, of course, but not only there. It will also be in 120 “Kepler’s Gardens” around the globe. 

It is a journey mapping the “new” world and a journey through “Kepler’s Gardens”. In the course of this journey, the festival will discuss the important questions of our time, questions raised by the global corona crisis, and consider what we can and must do now. All the issues touched upon are marked by a general UNCERTAINTY and the question of how the crisis will shape and change us as individuals and as a society, us as HUMANITY. They will focus on two areas of tension in particular: AUTONOMY and DEMOCRACY as well as TECHNOLOGY and ECOLOGY.


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bot,/观察者

Single channel video, color; Website/单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao

在作品《观察者》中,aaaajiao撷取电玩游戏的美学风格(例如Mother3,Adventureland,Undertale和ROM),作品中的”玩家”在城市中四处游历,画面上同时呈现微信朋友圈的分享文字,旅程与手机程序画面相呼应,其中本地与全球网络、社交媒体、园林结构、公园、以及最终出现的自然景象,都合并至一种数字化的超表象(hyper-representation)之中。另一方面,aaajiao也透过该作品关注人们注意力碎片化的现象。科技的进步发展,让人们随时处于警备待机状态,不再能全神贯注于事物,信息的更新速度超前,对于信息的理解吸收程度也降低。

In the video ‘bot.’, the artist presents a portrait of memory built on a machine’s assumptions of how people would think a machine would interpret the mind. He borrows aesthetics from existing role-playing action games such as Mother3, Adventureland, Undertale, and ROM, to create awareness of one’s world in 2018—a perhaps slightly dystopian impression—and to introduce a conception of memory that sets itself apart from present understandings. Besides, he displays the wechat circle which could be a Chinese version of Instagram feeds. 

He also went on journeys across the city and displays an environment deeply intertwined with a digital past as well as its present counterpart. Local and global networks, social media, gardening structures, parks, and nature itself all become amalgamated into a digital hyper-representation.  On the other hand, the artist expresses his concerns on continuous partial attention with this work. By adopting an always-on, anywhere, anytime, any place behaviour, we exist in a state of excitement and alertness and we can no longer be concentrated fully on anything. Constant access to media has turned us into compulsive snackers and triggered a cycle of shorter attention bursts, shorter media portions, increased tempo, quicker payoff and algorithmic optimization. 

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bot,/观察者

Single channel video, color; Website / 单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao

Bots意指”搜索引擎爬虫”,用来计算网站页面排名,aaajiao将这个基本功能与用户概念结合:“对我而言,我们在用同样的方式寻访我们的外置记忆,这个过程构成了一个多层面的“我”之间的关联。当我们以用户的身份自居,并用bot的方式构成自己后,就面临一个关于“真相”的困境。”

As Bots mean spiders or web crawlers are heavily used by search engines to figure out how high to display websites in search results, aaajiao links the basic function with users nowadays: “For me, we are searching and constructing our external memory in the same way and this process constitutes a multi-aspect of oneself. When we think of ourselves as users and form ourselves with bots, we will face a dilemma about truth.”  In this age of accelerated planetary computation, there is no doubt that we human struggle to “remember” and to “think in more memorable ways” as we become unable to rely solely on regions in our brains devoted to spatial memory.

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bot,/观察者

Single channel video, color; Website/单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao

aaajiao同时关注当代人类的自我观察过程,希望透过该作品呈现当代人们如何用自我观察的方式,重新走访记忆系统:包括肉身容器中的记忆,和在社交媒体上的外置记忆。aaajiao认为,人类已经成为bot,不同的是我们拥有心智。

Yet aaajiao is not only concerned with what is happening to our cognitive abilities or our interacting biological neurons. Acutely aware that we have an entire superstructure of digital sources on the Internet and external devices to help us store our memories outside our brains, aaajiao declares, “now that we have become bots, we are just one with the mind of the hive.”


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【声明】以上内容只代表原作者个人观点,不代表artda.cn艺术档案网的立场和价值判断。

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