第六届艺术与科学国际作品展：作品导览（二）
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第六届艺术与科学国际作品展于2024年1月14日开幕，以“平行时空——体验·包容·探索”为主题，汇聚了来自全球知名艺术家、科学家、工程师和设计师的近百件作品，以交互、光影、沉浸、绘画、装置等形式，展现艺术与科学交融的无限可能。
清华大学艺术与科学研究中心将陆续推送全部展出作品，欢迎持续关注。
往期推送请点击链接查看：
注：作品顺序不分先后。
作品导览
《Cut Microbe（剪切的微生物）》
Rogan Brown
（罗根・布朗）
数字微喷
28cm×35cm, 23cm×35cm, 23cm×35cm,
这件细菌纸雕长度超过112厘米，比真实细菌大50万倍。当放大到这种程度时，罗根·布朗必须依靠想象力来完成创作，但细菌的主要特征是准确的：鞭毛或触角状的附属物使细菌能够在肠道中游泳，而绒毛或毛发状的结构使其能够附着在肠壁上。
With a length of over 112 centimeters, this bacterial paper sculpture is 500,000 times larger than real bacteria. Though Rogan Brown had to create the work based on his imagination when it is zoomed in to this extent, the main characteristics of the bacteria were accurate: flagella or tentacle-like appendages allowed the bacteria to swim in the intestines, while villous or hair-like structures allowed it to attach to the intestinal wall.
《Cytokinesis：Glial Variation（胶质细胞的有丝分裂）》
Rogan Brown（罗根・布朗）
数字微喷
43×28cm，32×25cm
这幅作品描绘了神经胶质细胞的有丝分裂。在任何时刻，人体内的细胞都在精确地进行着这项操作，以补充人体各部位细胞。
胞质分裂是细胞分裂的末期环节。神经胶质细胞广泛分布于中枢和周围神经系统中，有多种功能，如围绕神经元并将其保持在适当的位置；向神经元提供营养和氧气；破坏和清除死去的神经元等。胶质细胞以其树状结构而著名。
This work depicts the mitosis of glial cells. At all times, the precise mitosis of cells is in process in the human body to replenish the cells in various parts of the body.
Cytokinesis is the terminal phase of cell division. Glial cells are widely distributed in the central and peripheral nervous systems and have a variety of functions, such as surrounding and keeping neurons in place, sending nutrients and oxygen to neurons, and destroying and removing dead neurons. Glial cells are known for their dendritic structure.
《Cymatics（音流学交互装置）》
AS科学艺术研究中心
交互装置
6盏台灯轮廓线条在墙上铺开，泛着荧荧光茫，观众轻轻触摸与按压展示台上的石块，轮廓被填满，伴随着清爽的声音，浮现石头内部在偏振光照射并放大的绚丽画面，由意大利岩石学家Bernardo Cesare拍摄，as科学艺术研究中心创作。数字技术赋予其微妙的动态与现场音乐交织，在惊喜之中，带给观众奇妙的沉浸式体验。
Six table lamps cast their silhouettes across the wall, glowing with a faint luminescence. As spectators gently touch and press upon the rocks displayed on the exhibition table, these outlines fill, accompanied by a crisp sound. This reveals the dazzling imagery within the stones, illuminated and magnified under polarized light – a spectacle captured by the Italian geologist Bernardo Cesare and created by the AS Research Center. Digital technology endows it with subtle dynamics interwoven with live music, offering a delightful surprise and a wondrous immersive experience to its audience.
《Human Genome（人类基因组）》
Lyndi Sales（琳迪·萨尔斯）
绳索
3cm×118cm×118cm
这组作品采用了刺绣丝线、绳子和绳索等材料。我设计了一种传统圆织机，在线的来回穿梭中进行创作。前几年，在我开始收集这些绳索时还不知道它们的具体用途。绳索上的颜色看起来像是什么编码。这些年我还收集了许多图案。这组作品的灵感也是来源于此。很明显，我的作品与图案中的人类基因组图非常相似。
在工作时，我常常会参考复杂图表信息中提取的科学数据，方便以更直观、更简单明了的方式对数据进行可视化处理。作品的灵感来源于染色体序列的放射状图和饼图，作者试图描绘人类物种的组成。
我的工作主要是量的积累。绳索一根接一根。线条一行又一行。图案一层又一层。在作品中，我试图采用重复的手法来扩大、增强甚至夸大观点或陈述的目的。绳子是线的象征。线揭示了新生命的起源。物理学、生物医学、天文学和神话中都曾出现过线的意象。从物理学中的亚原子超弦理论、生物学中的DNA，再到天文学观测到的星系团形成的细丝结构，它通常被称为“生命线”。人们常说，“命悬一线”。创世神话告诉我们，星辰、云彩、太阳、地球和月亮都是从天上的梭子中源起的。我们通过线与母亲建立连接，来到这个世界。生命与线紧密相连。在希腊神话中，线象征着朝圣者的祈祷。阿里阿德涅为忒修斯准备了一团线球，帮助他穿越克里特岛迷宫。凭直觉找路。这件作品是大型作品“隐遁境界（Elusive Evasive realm）”的一部分，借鉴传统圆形编织法，创新利用现有工业材料进行艺术创作。
The human genome artwork is created with embroidery thread, string and rope. I create a traditional style circular loom and then the price begins by weaving in and out the loom from the center outwards. I started collecting the rope years before I knew what I was going to do with it. I thought the colours in the ropes looked like some kind of code. I had also collected images of various radial graphs over the years. The human genome was one of them and it became perfectly clear that what I was weaving looked very similar to the coded human genome radial graphs that I had collected images of.
Often my work makes reference to scientific date captured in complex Info graphs for the purpose of visualizing data in a more pictorial and understandable manner. This piece titled “Human Genome” is inspired by radial graphs and pie charts of the chromosome code sequences, which delineate the make up of the human species.
My work is often cumulative. Rope upon rope. Line upon line. Layer upon layer. Through the use of repetition I hope to enlarge, increase or exaggerate an idea or the purpose of a statement. Rope is symbolic of Thread. Thread is an archetype for the genesis of new life. Thread imagery appears in physics, biomedicine, astronomy and myth. From the subatomic Super String Theory of physics to DNA, which is commonly referred to as the ‘Thread of Life;’ to the astronomical observations of cluster galaxies forming threadlike filaments. Life hangs by threads. Creation myths tell us that the stars, clouds, sun, earth and moon sprang from a heavenly shuttle. We entered into this world, threaded to our mother. Life and thread are closely linked. Thread symbolizes a prayer for pilgrims in the Greek myth where Ariadne gifted a ball of thread to Theseus to help him navigate the Cretan Labyrinth. Using intuition to finding his way.This piece is part of a larger body of work titled “Elusive Evasive realm”, which utilizes ready-made industrial material in an unconventional way to create an artwork, which draws upon the traditional craft of circular weaving.
《Glass Virus Sculpture（病毒玻璃雕塑）》
Luke Jerram（卢克·杰拉姆）
动态装置
107cm×66cm×170cm
病毒直径通常在20~300纳米，比可见光的波长 (400~700纳米)还要小，因此病毒是没有颜色的，故以透明玻璃制成。新冠病毒雕塑的直径为45厘米，比实际的新冠病毒大630万倍。牛津/阿斯利康疫苗雕塑的直径为34厘米，比实际的新型纳米颗粒疫苗大100万倍。
Viruses are usually 20~300 nanometers in diameter, which is smaller than the wavelength of visible light (400~700 nanometers). As a result, viruses are colorless, which is why transparent glass was chosen as the material for them. The novel coronavirus sculpture is 45 centimeters in diameter,which is 6.3 million times larger than the actual one. The Oxford/AstraZeneca vaccine sculpture is 34 centimeters in diameter, which is one million times larger than the actual new nanoparticle vaccine.
《屏风•山石水气》白明
瓷
10cm×48cm
作品为釉上彩大盘，作者作为在世界上具有影响的中国著名艺术家，赋予陶瓷釉上彩装饰新的语汇，以中国山水屏风为主题，巧妙地在盘状画面上安排元素，将时空意蕴的联想糅合到一起，表现山石水气的精神：云气缭绕，山峦起伏、石头质感、流水潺潺以及空间中弥漫的气韵生动。构图富有动感与平衡，呈现出深邃的自然景象。这不仅是对山水之美的赞美，更是对传统文化的致敬与延续。艺术家通过细腻的彩绘，赋予作品层次感和生动性，色彩雅致和谐。
The Chinese artist with global influence takes a novel twist on the canvas of a grand overglaze plate. Drawing inspiration from the venerable tradition of Chinese landscape screens, the artist orchestrates a symphony of elements on the plate's expanse, deftly weaving the tapestry of time and space. Within this ceramic panorama, the spirit of mountains, rocks, and water intertwines seamlessly - where lingering clouds dance, mountains undulate, the stone's texture perpetuates, and a murmuring stream meanders through the tableau, casting a spell of vitality upon the space. The composition captures a limbo state between movement and stillness and the very essence of nature's poetry. It is a profound ode to the landscapes, an homage, and a continuation of the venerable tapestry of traditional culture. Through the delicate strokes of the artist's brush, the work takes on a sense of depth and vivacity, with colors that dance in elegant harmony.
《Illuminate the Stone（点石成彩）》
AS科学艺术研究中心
交互装置
6盏台灯轮廓线条在墙上铺开，泛着荧荧光茫，观众轻轻触摸与按压展示台上的石块，轮廓被填满，伴随着清爽的声音，浮现石头内部在偏振光照射并放大的绚丽画面，由意大利岩石学家Bernardo Cesare拍摄，as科学艺术研究中心创作。数字技术赋予其微妙的动态与现场音乐交织，在惊喜之中，带给观众奇妙的沉浸式体验。
Six table lamps cast their silhouettes across the wall, glowing with a faint luminescence. As spectators gently touch and press upon the rocks displayed on the exhibition table, these outlines fill, accompanied by a crisp sound. This reveals the dazzling imagery within the stones, illuminated and magnified under polarized light – a spectacle captured by the Italian geologist Bernardo Cesare and created by the AS Science and Art Research Center. Digital technology endows it with subtle dynamics interwoven with live music, offering a delightful surprise and a wondrous immersive experience to its audience.
《风骨·南山 NO.5》《风骨·南山 NO.8》叶健
纸本水墨重彩
56cm×51cm
“风骨”系列，营造了魏晋山水的气格。格调与韵致，是传统中国诗学的两篇大文章，我以古老技法的工笔重彩，或清俊秀逸的空灵意境，或错彩镂金的精工写实，来表现丰富文化内涵的视觉新体验！
"Vigour of Style" series aims to demonstrate the characters of landscape paintings in Wei and Jin dynasties. Rhythms and charm are two topics of traditional Chinese poetics. The author adopts exact delineation with ancient techniques and exquisite realistic depiction with abundant colors and gold carving, so as to present an ethereal artistic conception of elegance and a new visual experience!
《玩牌者》
郭茜、唐林涛、潘洪凯、魏豪鹏、黄雅琳
改性PETG耗材、铝合金
200cm×200cm×250cm
本方案邀请两名志愿者分坐于桌子两侧，实时测量他们的脑波，并将各自的意识专注度转化为两种颜色的光强变化，显现于3D打印的黑色石块之内。两者的意识以光的形式在石头内“相遇”、角力、竞技”。在赛末点，专注度更强一方的颜色将照亮整个空间。此外，二人身后各立一块屏幕，实时传送各自脸部的细微表情，毕竟poker face 与“出牌策略”一样精彩。建立在“游戏是一种自主存在”的观念上，《玩牌者》以脑电、数字媒介、粗糙的岩石，在光电交错中创建一种专注度训练的感性新形式，是游戏也是教化。当我们反思AI将人”类”化的逻辑之时，成为“个体”正是我们的抵抗路径。
Two volunteers were invited to sit on either side of a table, their brainwaves were measured in real time, and their conscious concentration was converted into changes in light intensity of two colors, which were displayed in the 3D printed black stone. Their consciousness "meets", wrestles and competes in the stone in the form of light. At the match point, the color of the more focused volunteer will illuminate the entire space. In addition, a screen stands behind each of them, transmitting their subtle facial expressions in real time; after all, a poker face is as good as a "strategy". Based on the concept that "game is an autonomous existence", Card Players uses brain wave, digital media, and rough rock to create a new perceptual form of concentration training in the photoelectric mode. It is both a game and an education. When we reflect on the logic of AI making people "like", becoming "individuals" is our path of resistance.
《Black Hole Series（黑洞系列）》
Fabian Oefner（法比安・奥夫纳）
动态装置
1070cm×250cm×400cm
一个涂满颜料的钻头和一个高速摄像机，瞬间“冻结”高速旋转时飞溅的色彩，在向心力的作用下，发光的圆环围绕着一个至黑至暗的中心，如同被吸积盘包围着的黑洞，凭借其巨大的质量吸入一切，将周围空间扭曲到极致，即使光也不例外。一个宇宙级的神秘造物，在艺术家手里有了人们可以看到的色彩和形态。
There is a paint-coated drill bit and a high-speed camera, with instantly "frozen" splashes of color as they rotate at high speed. Under centripetal force, the glowing ring surrounds the darkest center, like a black hole surrounded by an accretion disk, sucking everything in with its enormous mass, and distorting the space around it to the extreme, even light. It is a cosmic mysterious creation, which has colors and forms in the artist's hands.
《The Flow（流动）》
Markos Kay（马科斯・凯）
视频
作品从视觉方面重新构思了无法直接观察到的微观运动。展示了从原子基本结构到真核细胞组成的演进。可视化内容由计算机模拟生成：夸克组成原子核；原子核与电子质子组成原子；原子进一步生成分子；分子间的反应创造出蛋白质、DNA、细胞膜等细胞器；细胞又聚集成器官和生物体；生物演化出复杂的处理能力，创造出人工制品、文化和虚拟世界……如同一个周而复始、无限循环的故事。流动建立代码，代码又创造出新的代码，每个版本都在前一个版本的基础上演化出更新更复杂的状态。
The work visually reimagines microscopic movements that cannot be directly observed. It shows the evolution from basic atomic structure to eukaryotic composition. The visualizations are simulated by a computer: quarks form nuclei, which combine with electrons to form atoms; atoms further form molecules, which react with each other to create organelles such as proteins, DNA, cell membranes, etc.; and cells aggregate into organs and organisms, which evolve complex processing capabilities to create artifacts, cultures, and virtual world. It's like a story that repeats itself over and over again, in an infinite loop. The flow develops codes, and the codes create new codes. Each version evolves a newer and more complex state based on the previous version.
《春霭》吴波、金泳萱、钟言
金属纳米镀覆香云纱
180cm×90cm×60cm
《春霭》以折纸形式结合香云纱面料形成独特的廓形，金属纳米镀覆工艺使传统香云纱呈现出引人注目的金属光泽感，云朵图案源自中国敦煌壁画中的云纹，通过人工智能的深度学习演变生成，用激光烧花工艺延展赋形，呈现出立体层次。现代科技赋能传统香云纱，令深沉厚重的历史积淀焕发新奇的未来感。
The Spring Clouds combines origami with gambiered Guangdong gauze to form a unique silhouette, and the metallic nano-plating process makes the traditional gambiered Guangdong gauze present a striking metallic luster. The cloud patterns are derived from the moire in the Dunhuang frescoes, and is generated by the evolution of AI deep learning, and is extended and shaped by laser burning technology to render the three-dimensional effect. Modern technology enables traditional gambiered Guangdong gauze, reviving a novel sense of the future.
《Microscopic Leaps（微观跳跃）》
Markos Kay（马科斯・凯）
视频
该作品是受霍华德·休斯医学研究所委托制作的视频。描绘了2014年诺贝尔奖获得者埃里克·贝齐格在超分辨率荧光显微镜开发方面的发现。这种显微镜技术可以提供微观世界的详细三维动画图像，开创性地揭示了复杂的细胞过程。其最大的优点之一，就是它记录下了细胞的动态图像。通过计算机软件，马科斯·凯创建了一个虚拟实验，来模拟这种显微镜技术记录的生物过程。他设置好初始参数，置入具有物理效果的环境中，之后的生物过程则通过程序计算完成。
The work is a video commissioned by the Howard Hughes Medical Institute. It depicts the discoveries of Eric Betzig, a Nobel Prize winner of 2014, in the development of super-resolution fluorescence microscopy. This microscopy technique can provide detailed 3D animated images of the microscopic world, groundbreakingly revealing complex cellular processes. One of its greatest advantages is that it records dynamic images of cells. Using computer software, Markos Kay conducted a virtual experiment to simulate the biological processes recorded by this microscopy technique. He set up the initial parameters, which were applied in a physically sound environment, and then completed the biological process through program computing.
《日照市科技馆》
科学及实验模型资料：Samuel C.C.Ting (丁肇中)教授团队
实验模型制作:台湾惟形公司
建筑设计：崔愷、关飞、叶水清、胡水菁、高凡、彭彦、伊拉莉亚、冯君
室内及展陈设计：苏丹、于立晗、闫工、关旭初、孙镜朝、高凯、金成勋、肖忠桥、金贤珠
建筑模型制作：吴平、宋建军
综合材料，180cm×180cm×30cm
日照市科技馆位于山东省日照市，馆内展示的是世界著名物理学家、1976年诺贝尔物理学奖获得者、祖籍山东省日照的丁肇中教授的六个著名实验的模型及丁教授毕生的科学文献、仪器设备及物品资料。
科技馆意向上表达黑洞上的"磁谱仪”的概念，分为上下两部分。覆土之下以“"黑洞”展厅为中心，以"隧道空间”串联清水混凝土界面围合的各实验展厅——在室外表现为微微隆起的覆土地形，让人产生深入地下探索未知的暗示，隐喻探索未知世界是物理学研究的核心和终极价值。覆土之上是八边形的轻钢结构体系，包裹着巨幕影院和模型展示区，展示国际空间站和AMS实验模型。采用预应力拉索结构，以钢筋混凝士剪力墻支撑屋顶钢桁架结构，悬挂可环视城市景观的坡道和观景平台，展示科学理念的同时也为公众提供了丰富的空间体验场所。
展陈设计方案以整体性控制、分阶段深入为思路，将建筑设计、室内设计、展陈设计三合为一，营造出沉浸式场所体验环境，也在竭力还原丁肇中先生和其领导下的科学团队进行科学探索时的空间状态。
Located in Rizhao City, Shandong Province, Rizhao Science Museum houses six famous experimental models of Professor Samuel C.C.Ting, a world famous physicist, 1976 Nobel Prize winner in physics, whose ancestral home is Rizhao City, Shandong Province, as well as his scientific literature, equipment and materials throughout his life.
Rizhao Science Museum intends to express the concept of a "magnetic spectrometer" on a black hole, which is divided into two parts. Below the soil cover, the "Black Hole" exhibition hall is centered to cascade all experimental exhibition halls enclosed by the interface of fair-faced concrete with the "tunnel space": Outside, it appears as a slightly raised covering of earth, which gives the hint of exploring the unknown deep underground, implying that exploring the unknown world is the core and ultimate value of physics research. On top of the soil cover is an octagonal system of light steel structures enclosing a giant screen cinema and model display area to display the International Space Station and AMS experimental models. The prestressed cable structure is adopted, the steel truss structure of the roof is supported by the reinforced concrete shear wall, and the ramps and viewing platforms with panoramic views of the city are mounted, showing the scientific ideas and providing the public with a place for rich space experience.
Based on the idea of overall control and detailed design by stages, the exhibition design scheme combines architectural design, interior design and exhibition design to create an immersive experience environment, trying to restore the space state of scientific exploration by Mr. Samuel C.C.Ting and his scientific team.
图文来源/艺科中心
编辑/若涵