展 █ 拇 指 鬼 畜，数 据 疯 魔

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拇指鬼畜，数据疯魔

Zombies Controlled by Thumbs, 

Madmen Governed by Data

9/19 - 10/17, 2018

开幕和现场活动：9月19日下午3点

南京艺术学院美术馆，南京，中国

Opening ceremony (with artist performances) /

19 September 2018,  3:00 pm

Art Museum of Nanjing University of the Arts, Nanjing, China

Chen Paian 陈拍岸   Cui Shaohan 崔绍翰  

Lin Cong 林枞  Nimuë 妮缪  Song Xi 宋兮 

Tong Yao 童垚   Wang Yini 王旖旎  

Wenjie Junjie 文皆俊杰   Ye Hui 叶慧   

Zhang Yongji 张永基   Zhao Bang 赵邦 

Played by Mobilephone《手机玩我》项目 

Curator 策展/ Yang Xinjia 杨欣嘉

图片来自网络

溢出屏幕

Overflowing Screens

显然，用“图像”一词已经没法指称当下屏幕时代感官所捕获到的一切。同时，人对屏幕景观的接收感官早已超出眼睛，对景观的获取需要调动身体的全方位参与。

Obviously, the word “image” cannot refer to everything captured by the senses in our current era of screens. We engage with the spectacles on our screens using much more than our eyes; these spectacles require the full participation of the body.

由屏幕输出的动态数字景观被注入了多重时间的维度，并与肉身纠缠、互塑，数字景观输出–接收的媒介作为人体器官的延伸。观看不再是单向的静态行为，每一次对屏幕景观的接收都是器官接入有机体中形成自我循环系统的过程。信息在接受过程中生长、繁衍、变异，被消化或部分吸收；被篡改或重组，然后反哺有机体。某些时刻，对数字景观的消费过程即是生产过程(比如弹幕)，同步且一体。

The dynamic digital spectacle exported from the screen is imbued with multiple temporal dimensions, which become entwined with the body and shape one another. The digital spectacles’s medium of export and intake is an extension of the body’s senses. Looking is no longer a one-way, static act; every time we take in a spectacle on a screen, our sensory organs become part of their own circulating system. In this intake process, information grows, multiplies, and mutates, is digested or partially absorbed, and is distorted or reconstructed, then bounced back to the organism. At these times, consuming digital spectacles is a production process (such as bullet screens), synchronized and integrated.

时代在召唤 | 2018 | 高清数字影像 | 4分31秒 | 张永基

屏幕端的功能及技术设置派生出一整套流通语言及美学范式，无形中教化和诱导了使用者的趣味、习惯，在长期互动中形成相对稳固的审美，并内化为一种眼光及思维，用这套线上的眼光和思维观看并指导线下的生活，形塑线下的动作、身体。例如“网红脸”的产生，是前期的镜头角度、自拍技巧加上后期软件的修饰，形成了一种流行的、非正常五官比例的线上颜值标准，借助化妆术和整容术的加持，使这种标准在线下流通并可复制，改造了自然的脸。肉身被技术后面的算法规制，数据开始驯化我们的身体。

The functions and technologies of these screens derive a complete set of circulating languages and aesthetic models, imperceptibly informing and guiding users’ tastes and habits. After long periods of interaction, a stable aesthetic is formed, internalized as a way of looking and thinking. These online ways of looking and thinking are used to observe and guide life offline, shaping movements and bodies offline. For example, “faces popular online” (wanghonglian) are produced through the combination of camera angles, self-portrait skills, and later touch-ups to create an online standard of attractiveness characterized by popular yet abnormal facial proportions. With the help of makeup techniques and cosmetic surgery, this standard can be replicated, circulating offline and changing people’s natural faces. The body is governed by the algorithms within technology, and data has started to tame our bodies.

快速代码服务 | 2017-18 | 短片／单频影像 | 33分08秒 | 叶慧

被数据驯化的肉身

Bodies Tamed by Data

数据驯化我们的身体、感知和思维，肉身被数据捕获录入。在数据网中，身体完成其社会化和身份建构，不被数据抓取的身体是放逐的身体，是数据政治的逃逸者和漏网之鱼。被数据放逐的身体既回不到原始丛林也无法参与到当代社会中，以一种赤裸的状态被边缘化。

Data has tamed our bodies, perceptions, and thoughts; the body has been captured by data and entered into data. In data networks, the body completes its socialization and identity construction, and bodies that have not been captured by data are fugitives or runaways from data politics. Bodies that have been exiled by data cannot return to the primitive forest, nor can they participate in contemporary society; they are marginalized in a naked state.

如果我是镜子  | 2017 | 单频录像 | 6分14秒 | 崔绍翰

社会化不再限于个体之间、个体与团体之间的肉身联系，人只有被挟迫完成身体的数据化才能参与到现代社会生活中。当下社会建立了一个可被精准操控的数据网，通过身份(身份认证、实名制、人脸识别、指纹识别、虚拟身份等)、消费(金融体系、移动支付、网购、第三方平台运用等)、信息流通(网络社区、社交媒体、资讯等)、移动(交通、物流网络)、监控等技术手段将人一网打尽，个体的肉身不完成以上的数据化，便难以在当下活动。然而，人的数据化是在悄无声息的进行，在个体毫无知觉间完成的。

Socialization is no longer limited to the physical relationships between individuals and between individuals and groups; only when people are coerced into the data-fication of the body can they participate in modern social life. Society today has established a data network that can be precisely manipulated; identity (e.g., ID cards, real-name registration, facial recognition, fingerprint identification, and virtual identities), consumption (e.g., the financial system, mobile payments, online shopping, and the use of third-party platforms), information circulation (e.g., online communities, social media, and news), movements (e.g., transportation and logistics networks), surveillance, and other technologies capture everyone all at once, and individual bodies that have not completed the above data-fication find it difficult to move about in the contemporary moment. The data-fication of people is happening silently, without the individual even realizing it.

是什么让我们相爱 | 2018 | 装置 | 文皆俊杰 

叠加时态

Layered Tenses

采集时代，人被大自然驯化；农业时代，人被土地、被农耕驯化；机器时代，人被机器驯化；算法时代，人被数据驯化。不同的文明时期相对应的是不同的身体机能、认知系统和时空观–此处暂且用“文明时态”一词来概括。比如对“速度”的理解与感受，采集时代是以四肢的发达程度作为参照的；而农业时代，则借助马、马车这种原生工具来作为参照；到了机器时代，人对速度的参照借助火车、飞机来完成；而算法时代，速度的参照来自光纤的传播、来自算力、来自信息的更新频率等。较之前面三个文明时期，算法时代多出了虚拟时空的维度，而当代的身体不仅处在算法的时态里面，同时置于采集时代、农业时代、机器时代等“文明时态”的遗留与延伸中，在多重时态中重叠摇摆，在不同维度时空中切换。

In the gatherer era, people were tamed by nature. In the agrarian era, people were tamed by the land and tilling. In the machine era, people were tamed by machines. In the algorithm era, people are tamed by data. Different phases in civilization correspond to different bodily functions, cognitive systems, and visions of space and time—which we’ll call the “tense of civilization” for now. For example, we could also see the issue as the understanding and feeling of speed. In the gatherer era, the development of a human’s own four limbs was the reference, and in the agrarian era, people looked to the early tools of horses and horse carts. By the machine age, people’s reference point for speed was the train and the airplane. In the algorithm era, the reference for speed comes from fiberoptic transmission, computing power, and information updating frequency. Compared to the previous three stages of civilization, the algorithm era more often appears in a virtual temporal and spatial dimension, and contemporary bodies not only exist within the tense of the algorithm; they are also situated within the traces and extensions of the “tense of civilization” of the gatherer era, agrarian era, and machine era, within the layering and oscillation of multiple tenses, and within switches between different dimensions of time and space.

Don‘t Eat Duck大卖场 | 2018 | 搪胶 | 11x10x12cm | 童垚

当代人再也回不到过去单线的完整时态中去，而过去时态遗传下来的机能将逐步被分解丧失。身处多重时态交织叠加的当代人成为了飘散在不同维度里的碎片，纠缠和分裂将成为常态。此时，需要召唤的是能够在不同时态里自如切换，在碎片化中重新粘连线索、生成主体的能力。

Contemporary people can never return to a single, integrated tense; functions bequeathed by past tenses gradually disintegrate and disappear. Contemporary people who are placed within multiple layered tenses become fragments floating between different dimensions, and entanglements and divisions have become the norm. Now, we must awaken the ability to smoothly switch between different tenses, fuse clues back together, and produce subjectivity from the fragments.

艺术家调试作品

布展现场-1

布展现场-2

猜一猜这颗脑袋是属于哪位参展艺术家？

大健身

AMNUA国际计划叁

2018年9月19日- 10月17日

南京艺术学院美术馆，南京，中国

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