第六届艺术与科学国际作品展：作品导览（三）
<左右滑动>
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
《Quantum Fluctuations（量子涨落）》
Markos Kay（马科斯・凯）
视频
“量子涨落”系列是虚拟实验的产物，它展示了量子世界的复杂性和瞬时性，这本是不可能被直接观察到的。在科学实验室中，通过测量质子碰撞后的产物，并与超级计算机模拟的数据进行比较、推演，就可以得到基本粒子（构成物质的最基本的单位）的数据。在“量子涨落”系列中，粒子模拟程序成为用来创作抽象动画的画笔和颜料，将质子碰撞期间发生的事件可视化。这些可视化效果获得了欧洲核子研究中心的大型强子对撞机项目的相关科学家们的支持。
The "Quantum Fluctuations" series is created through virtual experiments, demonstrating the complexity and transience of the quantum world, which was originally impossible to observe directly. In the science laboratory, data on elementary particles (the most fundamental units of matter) can be obtained by measuring the products of proton collisions and comparing and extrapolating them with data from supercomputer simulations. In the "Quantum Fluctuations" series, particle simulation programs are used as brushes and paints to create abstract animations that visualize the events that occur during proton collisions. These visualizations were supported by scientists working at CERN's Large Hadron Collider.
《Fossil（化石）》
Bernado Cesare（贝尔纳多・切萨雷）
数字微喷
40cm×26cm
化石的偏振光摄影图像呈现出高度的多孔结构。黑色部分是骨细胞的原始位置。孔隙中充满了后期形成的玉髓，边缘处还有一层薄薄的碳酸盐。即使成为化石的古生物已经逝去几百万年，但在偏光显微镜下它们的骨骼结构依旧清晰，让人仿佛看见曾经的生命。
Fossils have a highly porous structure in polarized light photographic images The black part marks the original location of bone cells. Their pores are filled with chalcedony formed in the later period, and there is also a thin layer of carbonate at the edges. Even though the fossilized paleontology has passed away for millions of years, their skeletal structure is still clear under a polarizing microscope, showing people the past life.
《锦瑟》李薇
罗、宋锦；NFT数字时装作品/视频
60cm×170cm，3套服装
本系列作品包含5套数字时装作品以及4套实物服装作品（将其中4套数字作品转换而成）。作品灵感来源于中国丝绸博物馆馆藏文物“宋代蓝地对鹿纹锦”、“南宋鸾鹊缠枝叶纹纱罗裙”与“南宋如意山茶暗花罗”。图案上，将南宋纹样元素进行创造性的解构并再设计；面料上，与浙江理工大学数学服装制作团队不断沟通，力图以数字化的方式呈现宋锦与吴罗面料的精致肌理；造型上，既有中国宋代服装形制也融合了现代礼服形制，将宋代服饰文化与国际时尚相融合，呈现出既有宋代韵味同时兼具时代风貌的风格特色。同时，“锦瑟”服装作品将作为中国丝绸博物馆第一批馆藏数字藏品，充分表达了对中国传统服饰的研究成果与创新理念。
This collection consists of 5 digital fashion works and 4 sets of physical costumes (converted from four digital works). The works are inspired by the cultural relics in the collection of the China National Silk Museum "Song Dynasty Brocade with Two Deer on Blue Ground", "Southern Song Silk Gauze Skirt with Phoenix and Magpie on Branches" and "Southern Song Camelia Floral Silk Brocade". The Southern Song pattern elements are creatively deconstructed and redesigned; in terms of fabric, we constantly communicate with the Math costume making team of Zhejiang Sci-Tech University, trying to present the exquisite texture of Song brocade and Wu silk fabrics in a digital way. Both the Chinese Song costume and the modern dress style are incorporated, so that the Song Dynasty costume culture is integrated with international fashion, presenting the style characteristics of both the charm of Song Dynasty and the style of the times. Meantime, "Silk Brocade" costume works will be the first digital collection of the China National Silk Museum, fully conveying the research results and innovative ideas of traditional Chinese costumes.
《梭》
董研 、于汉杰、陈嫣然、张耿亮
天然大漆、树脂、电子元件
160cm×25cm×18cm
《梭》将传统大漆艺术与现代科技融合，创造出动态漆艺表面。作品通过3D打印胎体作为负形控制数字纹样的内部形状，利用漆面厚度、参数化内胎与灯光控制共同实现动态效果。
观者在作品周围环绕或触摸时，其会随着观者位置、行为的改变呈现动静交融的数字纹样，展现流体般的动态美学。在运动和变化的同时，又保持了一种静止的平衡。《梭》作为一个时间的容器，以梭为载体，穿梭于历史与现代之间。每一次变幻，都是对时间与空间的领悟。
The Shuttle combines traditional lacquer art with modern technology to create a dynamic lacquer surface. The work uses a 3D printed matrix as a negative shape to control the internal shape of the digital pattern, thus achieving dynamic effects by using paint thickness, parametric inner tube and lighting control.
As the viewer moves around or touches the work, it will present the digital pattern of static and dynamic integration with the change of the viewer's position and behavior, showing the dynamic aesthetics like fluid. It maintains a static balance in motion and change. As a container of time, Shuttle uses shuttle as a carrier to travel between history and modern times. Every change is an understanding of time and space.
《迷人的热度》刘桂羽、蔡嘉茵
智能可穿戴装置
作品通过智能可穿戴装置建构了身体与社交媒体数据的“物理”链接，穿戴者社交媒体中的信息热度能量被实时的转化为物理能量，包裹身体的柔性装置随着信息热度的升降而膨胀或收缩，形成了对身体的挤压或释放，同时反向影响着一个存在于虚拟空间中的化身，激发出虚拟与现实、化身与肉身之间不断的能量循环。作品表达了对人类象征物理身份的具身性“肉身”与指代虚拟身份的离身性“化身”是否可能耦合出一种新的身体的思考，试图以后人类的视角重新思考为身体赋予意义的方式。
The work establishes a 'physical' link between the body and social media data through smart wearable devices. The popularity of the wearer's information on social media is converted in real time into physical energy. The flexible device enveloping the body expands or contracts with the changes in information heat, exerting compression or release on the body. Simultaneously, this also inversely affects an avatar existing in virtual space, initiating a continuous energy cycle between virtual and real, avatar and flesh. The work explores whether the embodied 'flesh' representing physical human identity and the disembodied 'avatar' representing virtual identity can combine to form a new body type. It attempts to rethink the ways of imparting meaning to the body from a post-human perspective.
《Imagine User Interface（IUI）——想象力控制器》
刘强（主创团队：张昊天、黄晟昱、赵志龙、徐作彪、阮立清、郭雯静、郑家瀚(马来西亚)、刘嘉澍，邢泽明、胡钰、赵哲析）
交互装置
人工智能（AI）的迅速发展，使人类与智能体之间的主权和协作关系开始转变。脑机接口（BCI）作为超越人体限制的手段，是未来人类与AI互动的革命性媒介。团队将BCI作为与生成式AI创作的交互载体，提出面向人机共同进化的交互新范式——IUI（Imagine User Interface），用户通过大脑进行AI创作，无需文本输入。项目核心在于“想象力交互”，以动物为视觉媒介，以用户的脑力值为输入，AIGC输出机械进化的图像，通过创作启发观众对人与智能体之间关系的思考。
The rapid development of artificial intelligence (AI) has begun to shift the sovereign and collaborative relationship between humans and agents. Brain-computer interface (BCI), as a means of going beyond human limits, is a revolutionary medium for future human-AI interaction. The team uses BCI as a vehicle for interaction with generative AI creation, and proposes a new interactive paradigm for human-machine coevolution - Imagine User Interface (IUI), where users create AI through their brains without text input. The core of the project is "imaginative interaction", using animals are visual media to input the user's mental value, and AIGC outputs images of mechanical evolution, thus inspiring the audience to think about the relationship between humans and agents through creation.
《Oil Spill Series（漏油系列）》
Fabian Oefner（法比安・奥夫纳）
动态装置
60cm×60cm，12张
将水倒入一个黑色的水槽中。在注射器的帮助下，将小滴油滴到水面上，油开始膨胀并形成宏伟的结构。宇宙何辽阔，遥期黑洞瀛。
In a black sink where water is poured, small drops of oil are dropped onto the surface of the water with a syringe, and the oil begins to expand and form magnificent structures. How vast the universe is, and how far away the black hole is.
《Ocean Jasper（海洋碧玉）》
Bernado Cesare（贝尔纳多・切萨雷）
数字微喷
40cm×26cm
海洋碧玉产自亿万年前古生物活动最为频繁的东非深层海域，现常见于马达加斯加。它的特点是存在直径只有几毫米的球形聚集体﹙球晶﹚，这些聚集体源自火山凝灰岩和流纹岩流的蚀变和硅化过程，其横截面会呈现出花朵纹样，这些不足1毫米的“藏在石头中的花朵”，正是大自然亿万年地质作用的产物。
Ocean jasper originates from the deep seas of East Africa, the most active area of paleontological activity hundreds of millions of years ago, and is now commonly found in Madagascar. It is characterized by the presence of spherical aggregates (spherocrystals) with a diameter of only a few millimeters, which are formed during the alteration and silicification processes of volcanic tuff and rhyolite flows, and whose cross-sections take on the pattern of flowers. These "hidden in stone" flowers of less than 1 millimeter are the product of hundreds of millions of years of geological action by nature.
《水上烟》丁荭
绢本设色
42cm×175cm
《水上烟》以水与太湖石为载体，以石与水的动静关系为线索展开布局，运用绢的通透特点将具象形态与平行时空的色域绘制重叠，表达对同一意象的多样解读，将具体而抽象的时空同构，将精神的空灵悠远与交错融合的视觉意象相结合，以中国传统绘画材料绢、水性和矿物质颜料绘制完成，以传统中国工笔画绢本设色技法层层晕染，通过绢的透叠效果营造对平行时空的一种解读视角。
With water and Taihu Lake stone as the carrier and the dynamic-static relations between stone and water as the clue, the Mist on the Water overlaps the concrete form and the color gamut of parallel space-time using the permeability of silk, and expresses multiple interpretations of the same image. With the isomorphism of concrete and abstract space-time, the spiritual ethereal distance is combined with the intermingling visual imagery, which are then rendered on the traditional Chinese painting silk, plus water-based and mineral pigments. The tinting techniques of traditional Chinese meticulous brush painting on silk are rendered layer upon layer, thus creating a perspective of interpretation of parallel space-time through the overlay effect of silk.
《Outbreak（爆发）》
Rogan Brown（罗根・布朗）
数字微喷
41cm×19cm 1幅, 19cm×19cm 6幅
作品灵感来自于生活在我们身体表面和体内的巨大细菌群。这件作品审视着我们对微生物世界的恐惧，从培养皿中冲出的虫子，仿佛充满了凶猛且无法控制的能量。
The work is inspired by the huge bacterial flora that live on the surface and inside our bodies. It examines our fear of the microbial world, with bugs rushing out of a Petri dish as if filled with ferocious and uncontrollable power.
《焦点流转 Focus Flux》任续超、马赛、黄晶
视频
《焦点流转（Focus Flux）》是一件基于增强现实（AR）技术，结合了LED显示技术的视觉艺术作品。这件作品通过分析观众佩戴AR眼镜观展时的视觉追踪数据来创作，包括记录了观众的眼动路径、焦点、时长等等。作品揭示了当人们身处同一物理空间，即使面对相同的信息，不同个体的认知路径和感知却完全不同，这与平行时空的想象相呼应，即在多元的认知维度中，我们每个人都在自己独特的“宇宙”中构建着认知和体验。
The Focus Flux is an AR-based work of visual art incorporating the LED display technology. It is created by analyzing the visual tracking data of the audience while wearing AR glasses, including their eye movement path, focus, and duration. It reveals that in the same physical space, different individuals are completely different in their cognitive paths and perceptions even in the face of the same information. This echoes the imagination of parallel universes, i.e., in the multiple cognitive dimensions, each of us constructs cognition and experience in our own unique "universe".
《磁力水墨》张燕翔
视频
传统水墨以笔作为颜料的依托，笔的材质和制作工艺很大程度影响笔触的效果。如果让颜料摆脱笔刷的束缚，在画面上受艺术家的控制同时又能够自由地流淌，会获得什么样的艺术效果？
这个作品把磁流体当成墨水，磁铁对其虽有束缚，但又给了它极大的自由。
Traditional ink painting relies on a pen as a pigment, and the material and manufacturing process of the pen greatly affect the effect of the strokes. What kind of artistic effect would be achieved if pigments were freed from the constraints of brushes and allowed to flow freely while being controlled by the artist on the screen?
This work treats magnetic fluid as ink, and although magnets constrain it, they also give it great freedom.
《光年流转 乐影翩跹》
陈洛奇、刘森、陈辉、王嘉、胡清宇
高晓玥、李圳、林幸怡、邹洪
新媒体艺术
基于本届展览主题“平行时空”，作品以传统水墨意蕴在数字空间中的创新性表现为创作基础，旨在探讨作为与物理时空平行的数字时空是如何从存在形式、表达方式上与其产生关联与延伸的。通过数字技术中的抽象参数，以具身性的视角对物理世界的艺术形式实现创新表达，探讨其呈现在数字时空中的可能性。
Around the theme of this exhibition "Parallel Time and Space", the work is based on the innovative expression of traditional ink painting implication in digital space, aiming to explore how digital space-time, parallel to physical space-time, is related to and extended from the form of existence and expression. With the abstract parameters in digital technology, we can realize the innovative expression of the art form of the physical world from the perspective of embodiment, and explore the possibility of its presentation in the digital space-time.
左右滑动查看更多
《Virus Garden（病毒花园）》
David Goodsell（戴维・古德塞尔）
数字微喷
23cm×40cm, 30cm×30cm, 30cm×30cm,
40cm×40cm, 30cm×40cm
埃博拉病毒
Ebola Virus
图中绘制的是埃博拉病毒的横截面，多种蛋白质密密麻麻地交织在一起。浅紫色的是病毒的包膜，最里面能隐约看到黄色的核糖核酸基因组。
The painting shows a cross-section of the Ebola virus, with multiple proteins densely intertwined. The material in light purple is the envelope of the virus, and the yellow ribonucleic acid genome can be faintly seen in the innermost part.
这幅图让作者获得了2016年惠康影像奖。
This painting won the author the 2016 Wellcome Image Awards.
寨卡病毒
Zika Virus
图中绘制的是寨卡病毒，覆盖病毒表面的包膜蛋白为黄色、橙色和红色，糖基化为蓝色。膜蛋白的部分呈粉紫色，但是大部分被包膜蛋白遮挡住。
The Zika virus is shown in this painting, with the viral envelope proteins in yellow, orange, and red, and glycosylation in blue. The membrane proteins are pinkish-purple, but most of them are obscured by the envelope proteins.
被抗体包围的寨卡病毒
Zika Virus with Neutralizing Antibodies
医学界正在研究人类抗体与寨卡病毒的结合，目的是开发疫苗来对抗寨卡病毒感染。覆盖病毒表面的包膜蛋白质为黄色、橙色和红色，抗体与病毒结合部分为蓝色。
The medical community is studying the binding of human antibodies to the Zika virus with the goal of developing a vaccine to combat Zika virus infection. The envelope proteins that cover the surface of the Zika virus are in yellow, orange, and red, and the part where the antibody binds to the virus is blue.
冠状病毒
Coronavirus
图中描绘的是一种冠状病毒刚刚进入肺部，周围环绕着呼吸细胞分泌的粘液、分泌的抗体和几种免疫系统小蛋白。病毒被一层膜包围，该膜包括介导附着和进入细胞的S（刺突）蛋白、参与内部核蛋白组织的M（膜）蛋白，以及E（包膜）蛋白，它是一个膜通道，参与病毒的出芽生殖，并可能在此过程中被并入病毒中。病毒内部的核蛋白包括许多与基因组RNA结合的 N（核衣壳）蛋白拷贝。
This painting depicts a coronavirus that has just entered the lungs and is surrounded by mucus secreted by respiratory cells, antibodies, and several small immune proteins. The virus is surrounded by a membrane that includes the S (spike) protein that mediates membrane fusion and viral entry, the M (membrane) protein that is involved in the internal nucleoprotein organization, and the E (envelope) protein, which is a membrane channel that is involved in the viral budding reproduction and may be incorporated into the virus in the process. The nucleoproteins inside the virus include many copies of the N (nucleocapsid) protein that bind to genomic RNA.
冠状病毒的生命周期
Coronavirus Life Cycle
图中描绘了感染冠状病毒（如SARS-CoV-2）的细胞横截面。展示了病毒正在积极复制、新病毒正在产生的时刻。粉紫色和黄绿色为细胞分子，蓝色和青色是病毒分子。这幅插画综合当前的病毒知识，进行的推测性绘制。病毒及其生命周期的许多方面仍在积极研究之中。
This painting depicts a cross-section of a cell infected with coronaviruses, such as SARS-CoV-2. It shows the moment when the virus is actively replicating and producing new viruses. Cell molecules are in pinkish-purple and yellow-green, and virus molecules are in blue and cyan. This illustration is a speculative drawing based on current knowledge of the virus. Many aspects of the virus and its life cycle are still being intensively studied.
《钢轨探伤系统设计》
蒋红斌、张鑫、金志强
视频
本设计考虑采用人机分离的形式，设计一套无人自运行的钢轨探伤系统。由探伤机器人自主进行探伤工作，通过工业互联网技术将探伤的数据实时回传到控制器，探伤人员仅需在工程车里即可监控探伤工作的情况。车内人员观测、车外机器探伤，内外空间平行推进，在确保铁路安全工作顺利进行的同时，提升探伤人员的工作幸福感。
This design considers the use of man-machine separation to design a set of unmanned self-operating rail flaw detection system. The flaw detection robot independently carries out the flaw detection, and sends the flaw detection data back to the controller in real time through the industrial internet technology. The flaw detection personnel only need to monitor the flaw detection in the mobile machinery shop. The observation by personnel inside the mobile machinery shop and the flaw detection by robots outside are advancing in parallel, which can improve the job-related happiness of flaw detectors while ensuring the smooth progress of railway safety.
《Microwave Universe（微波宇宙）》
Jonathan Feldschuh（乔纳森・费尔德舒）
动态装置
“微波宇宙”这幅作品是乔纳森·费尔德舒对宇宙全景图像（主要由银河系组成）的艺术绘制。从计算机图像编辑器开始处理，选择颜色描绘轮廓，接着将图像底稿投影到画布上，最后用流体丙烯酸绘画，允许颜色混合和旋转，展现出银河系独特的结构。当凑近了看，斑斓的色点与细节处的流动感让我们感到一阵轻微的晕眩，仿佛借用了宇宙的眼睛。这是真实尺寸近7米的的壁画，壮观的烟羽在银河系高密度物质中心燃烧。
"Microwave Universe" is an artistic drawing of a panoramic image of the universe (composed primarily of galaxies) by Jonathan Feldschuh. It is first processed through a computer image editor, where colors are selected to depict the outlines. Then the sketch is projected onto a canvas, which is finally painted with fluid acrylics through color blending and spinning techniques, revealing the unique structure of the Milky Way Galaxy. When looking closer, we may feel a slight dizziness in the colorful dots and the fluid-like details, as if we are caught by the eyes of the universe. This is a mural of nearly 7 meters in real size, with a spectacular smoke plume burning at the center of the galaxy's high-density matter.
图文来源/艺科中心
编辑/若涵