【美术文献·展览】上传者-后人类的副本 郑达个展
上传者-后人类的副本 郑达个展
主****办：湖北美术馆
协****办：华中师范大学
展览时间：2018.11.23-2019.1.8
展览地点：湖北美术馆4-7号展厅
策*展*人：冀少峰
艺术总监：傅中望
展览总监：李和清
UPLOADER INSTANCE OF POST-HUMAN
ZHENG DA SOLO EXHIBITION
Organizer: Hubei Museum of Art
Co-organizer: Central China Normal University
Exhibition Location: No.4-7 Exhibition Hall, Hubei Museum of Art
Exhibition Time: 2018.11.23 - 2019.1.8
Curator: Ji Shaofeng
Artistic Director: Fu Zhongwang
Exhibition Director: Li Heqing
展览现场
#1 Data Pool
跨媒介艺术装置
材料：螺旋桨、微型电动机、水、Arduino、LED灯带、定制有机玻璃容器、控制系统、声音系统
尺寸：1520 x 60 x 35cm (单个尺寸：200 x 60 x 35cm)
年份：2018年
Inter-media Installation
Media: Propeller, Electric Motor, Water, Arduino, LED Strips, Acrylic Customization, Control Program, 2 channels Audio System
Size: 1520×60×35 cm (Size of single cabinet: 200x 60 x 35cm)
Year: 2018
《Data pool》是一个借由自然元素风、水和光而构成独立交互系统的跨媒介艺术装置。螺旋桨悬吊于中间盛水箱体的上方，由LED灯带组成的灯光面板隐藏于每个盛水箱体的底部。《Data pool》将透明水的介质变成了数据化的“界面”，当风的力量直接作用于水面时，风的参数经过计算机解析并转译成为视觉的光与听觉的声音两种元素，作为接收者的水接收并实时反馈来自风扇和光的“信息”从而形成不同的视觉效果。在总长度15米的水池中数据以自然的状态被展现，电子赛博格映射到自然也浸润着物理空间。
Data Pool is an inter-media art installation that forms an independent interactive system through natural elements including wind, water and light. The propeller is suspended above the middle water tank, while the light panel composed of LED strips is hidden at the bottom of each water tank. Data pool turns the medium of transparent water into a digitalized "interface". When the force of wind directly acts on water surface, the parameters of wind are analyzed by the computer and translated into two elements of visual light and auditory sound. As a recipient, water receives and feeds back "information" from the fan and light in real time and in turn creates different visual effects. In a pool of 15 meters in total length, the data is displayed in a natural state and the cyborg maps to nature while infiltrates the physical space.
#2 生理反应Ⅲ Physiological Reaction Ⅲ
数据化声音装置
材料：电子综合材料、数据控制系统、气象测风系统、电脑风扇、电源、黑色纸盒
尺寸：50×50×50cm (单个纸盒)
年份：2018年
Datalization sound installation
Media: Customized electronic components,Data controlling system,Meteorological wind measurement system, PC cooling fans, Power supplies, Black paper boxes
Size: 50×50×50cm (single box)
Year: 2018
这个装置由纸质黑匣子组成，每个匣子自成一个“腔体”，“腔体”内的风扇是发声源，风扇后有一层声音共振的膜。让每个风扇的风通过匣子的背部反弹到空间里，传到参与者的耳膜里。每个匣子吟唱随机，或高或低，或强或弱。风扇的运行来自于两种力量，一个是实时风的数据；另一个是来自机器算法的力。人在这样的由异类生物围困的空间里，难以辨识任何信息，只能倚赖听觉被动感受，仿佛在这既熟悉又陌生的环境里被告诫，嘿，这是机器的地盘。
This device is constituted by paper black boxes, each of them becomes a "cavity". The fan in the "cavity" is the sound source, and the other layer behind the fan makes the sound resonate. Let the wind of each fan bounce back into the space through the back of the scorpion and pass it to the participant's eardrum. Each scorpion sings randomly, either high or low, strong or weak. The operation of the fan comes from two forces, one is the real-time wind data, and the other is the force generated by the machine's own algorithm. Human beings are difficult to discern any information in a space surrounded by alien creatures, and can only passively rely on hearing. Feet on the black sand, as if in this familiar with strange environment was warned. Oh, this is the machinery space.
#3 计算生产力 Calculated Productivity
低科技艺术实验室展厅
材料：低科技艺术时钟、低科技交互板、“交互的故事”、立方体装置测试版、自主研发电路板、低科技艺术实验室纪录片、Workshop纪录片
尺寸：1458 x 811 x 340cm
年份：2018 年
Low Tech Art Lab exhibition hall
Media: Low Tech Art Clock、Low Tech Art Interactive Board Kit、”The Story of Interaction” 、Cube Installation Beta、Independent Development of Circuit Board、Documentary of Low Tech Art Lab、Documentary of Workshop
Size: 1458 x 811 x 340cm
Year: 2018
“计算生产力”作品是低科技艺术实验室在展现团队协作与创新的切片样本，是以科学性创作范式记存的艺术感知。当计算成为艺术的“灵韵”去模拟与探索控制论中的虚拟身体，以及理性背后的人类情感，日常可见的时钟也可在空间层面以时间的流逝与循回感; 含有交互属性的木板也可以与参与者叙事。而艺术的“终结”意味着“改变话语后的“破框”式跨界团队协作的实践方式，以艺术与科技的融合激活参与式解构的新媒体语言，赋予艺术一个如何把控虚拟的灵魂的方法论。开发、建构、测试、迭代是冰冷机器装置内核的 ”人体温度”，是低科技艺术实验室的“计算生产力”。
The "Calculated Productivity" works is a sliced sample of the team collaboration and innovation of the low-tech art lab. It is an artistic perception recorded by using the paradigm of scientific creation. When computing becomes the " aura" of art that simulates and explores the virtual body in cybernetics, as well as the human emotions behind the reason, commonplace clocks can also become the space that harbors the passage of time and the sense of repetition; interlaced wooden boards can also become a narrator to the participants. The "end" of art means "changing the practice of" thinking out of box ", the practice method of cross disciplinary collaboration. Activating the new media language of participatory deconstruction with the integration of art and technology, and giving art a methodology of how to control the virtual soul. Development, construction, testing and iteration are the "human temperature" in the core of cold machine device and the " Calculated Productivity " in Low Tech Art Lab
#4 上传者 Uploader
灯光机械装置
材料：机器臂、数据控制系统、激光发射器、不锈钢板
尺寸：400×400×350cm
年份：2018年
Lighting Robot Installation
Media: Mechanical arm, Data controlling system, Laser transmitter, Steel Plate
Size: 400×400×350cm
Year: 2018
凯瑟琳·海勒曾指出，当今的主体有两个身体，“表现的身体”与“再现的身体”。整个作品的出发点在于表现技术与人融合创造出的新型主体，表现的身体与再现的身体在这一新型主体上发生重叠。 机械臂的运动轨迹根据表现的身体与再现的身体这两个主题展开。表现的身体派生出重复灵活的耐力机械化运动（日常劳动）和超越人类生理极限的反关节（超180°）运动，再现的身体主要围绕人类日常生活化的动作模仿（伸懒腰、打喷嚏等），在机械臂运动中两者配比分别为75％和25％。同时借用与机械臂相结合的激光的折射来产生对立，机械臂的运动目标具备极强的指向性属性，而激光的射点作为机械臂的延伸经由镜子或棱柱的折射以及再折射来使点对点的指向性具备随机和模糊的属性。“光”在此是信息，同时也是介质，凸显的是机器计算的记忆。表现的身体（重复的机械运动 参杂着超出日常经验的反关节运动）与再现的身体（日常生活化的动作模仿）相重叠所产生的异质性使这一新型主体的“形貌”逐渐浮出水面。
Katherine Heller once pointed out that today's subject has two bodies, the " expressed body" and the " reappearing body ". The starting point of the whole work lies in the creation of a new type of subject created by the fusion of technology and human beings. The expressed body and the reappearing body overlap on this new subject. The trajectory of the robotic arm is based on the two themes of the expressed body and the reappearing body. It exhibits repeated flexible endurance mechanized movements (daily labor) derived from the body and anti-joint (over 180 degrees) movements that transcend human physiological limits. The reappearing body is mainly around the imitation of human daily life (stretching, sneezing, etc.). The proportion of those two in the movement of the robot arm is 75% and 25% respectively. By using the refraction of the laser combined with the robot arm to create the opposite, the moving target of the mechanical arm has a strong directivity property, and the laser's shooting point is an extension of the mechanical arm, and the point-to-point directivity of the mirror or the prism is provided random and fuzzy attributes. “Light” in here is information, but also media, which highlights the machine's computational memory. The heterogeneity caused by the overlap of expressed body (Repeated mechanical movements, mixed with anti-joint movements beyond everyday experience) and reappearing body (Imitation of daily life movements) makes the “morphology” of this new subject gradually emerge.
5# 捕食者函数 Function of Predator Machine
互动机械装置
材料：机械装置、数据控制系统、互动系统、布带
尺寸：180×50×65cm 200×50×85cm
年份：2018年
Installation
Media: Mechanical arm, Data controlling system, Laser transmitter, Silk ribbon
Size: 180×50×65cm 200×50×85cm
Year: 2018
万事万物在最基本的层面上都只是四处游走的物质和能量而已。当“新物种”的智能这样的无形之物被有形的物质形式显现时，记忆的信息即成为“新物种”的重要生理特征。计算成为一种记忆状态向另一种状态的转变过程。一旦参与者心率数据输入到运行的机器中，机械式的运行就会戛然而止，而开始柔性的展演，可视化的模拟出人类输入的数据。算法的函数可视作处理信息的“绞肉机”，整个状态不再是单向的输入和输出，计算就像拥有自己的生命一样，与它采取什么的物质形态无关。
The origin of everything is the material and energy that wanders around. When the intangibles such as the intelligence of “new species” are presented in the form of tangible material, the information of memory becomes an important physiological feature of “new species”. Computation becomes a process of changing from a memory state to others. Once the participant's heart rate data is entered into the running machine, the mechanical operation will suddenly stop, and a flexible performance will begin, visualizing the data entered by humans. The function of the algorithm can be regarded as the "grinder" for processing information. The whole state is not a one-way input and output. Calculation is like having its own life, ignore its own physical form.
开幕现场
这是一个关于当下数字化生存的展览主题，“人类纪”初期的我们是自然生理与技术物融合的产物，计算与数据层是其特征。展览中的作品主要有“算法”和“数据”两个非物质性的面向，在这个过程中，计算是由一个记忆状态向另一个记忆状态转变的过程，而数据是关于控制与被物质化的进程。作品营造的这一现实让观者置身于一种基于数据流的媒介物质中，面对数字算法力量所构成的新的现实。艺术家郑达期待用作品去呈现具备自主算法的机器与后人类之间真实的危险关系，对于这些媒体艺术作品的创作不仅仅是艺术家自我的想象力，也是对现实景观的科学性的展演。郑达在其早期的艺术创作中，不断探讨人与机器的关系，在智能化的状态以机器的视角来看待人类。此次展览的新作品是基于这一层面上所做出的，“什么是算法”这一更深层次的探讨，以游戏的概念作为整个创作界定的工科语境。艺术家出于对于“数据”的好奇，使其期望通过此次展览将这一不可见的事物物质化，赋予其有形与可感知，作品《Data Pool》（2018）与《生理反应3》（2018）分别是可视与可听的数据,《上传者》（2018）与《捕食器的函数》（2018）则以动态机械装置的运动轨迹，以机器自身的逻辑，将机器本身的算法呈现出来。
对于此次新作品的创作上，郑达更注重作品本身所带给参与者的感知，以及参与式系统整体性的建构，而不仅仅将关注点停留在观众与作品的物理交互层面。这是艺术家在自身创作脉络上的一次突破。
展览从2018年11月23日持续至2019年1月8日。
The exhibition is about the current digital survival. In the early days of the "Human Age", we are the product of the fusion of natural physiology and technology with the characteristic of computing and data layer. The works in the exhibition will mainly have two non-material aspects of “algorithm” and “data”; in this process, the calculation is a process of transitioning from one memory state to another which the data is about the process of control and being materialized. The reality created by the work puts the viewer in a medium of data flow-based media, facing the new reality of the power of digital algorithms. Zheng Da is looking forward to using works to present the dangerous relationship between machines with autonomous algorithms and post- humans; the creation of these media works is not only the artist's own imagination, but also a scientific performance of the reality landscape. In his early artistic creations, Zheng Da constantly explored the relationship between man and machine, and viewed human beings from a machine perspective in an intelligent state. The new work of this exhibition is based on this level. The deeper discussion of "what is an algorithm" is based on the concept of the game as the defining engineering context of the whole creation. The artist’s curiosity about “data” makes it possible to materialize this invisible thing through this exhibition, giving it tangible and perceptible. The works Data Pool (2018) and Physiological reactionⅢ (2018) are respectively visual and Audible data. The Uploader (2018) and Function of Predator Machine (2018) use the dynamic trajectory of the dynamic mechanical device to present the algorithm of the machine itself with the logic of the machine itself.
For the creation of this new work, Zheng Da paid more attention to the perception of the participants and the construction of the whole participatory system, instead of only focusing on the physical interaction between the audience and the work. This is a breakthrough in the artist's own creation.
The exhibition will last from Nov.23, to Dec.15, 2018.