第六届艺术与科学国际作品展：作品导览（五）
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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。
本次展览社会反响热烈，为了让更多观众有机会近距离领略艺术与科学的魅力，第六届艺术与科学国际作品展“平行时空——体验·包容·探索”将延期至3月31日闭幕。可通过识别文章末尾图片上的小程序码预约参观。
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
《aDiatomea（电子人工硅藻）》
Markos Kay（马科斯・凯）
视频
该视频展现了一个人工生命系统，该系统以真实的单细胞生物硅藻为参考，应用了多种生命研究方法和概念构成。它不只是一件艺术品，更是一个具有生命周期的复杂系统。在系统中，存在着不同层次的数学复杂性，可以在模拟自然力的作用下生成单细胞藻类，其大小和形状是随机的。理论上，系统可以自行发展，导向无法预测的结果。视频中记录了5个系统各36秒的演化进程。
The video shows an artificial life system that uses a variety of life research methods and conceptual formation based on real single-celled biological diatoms. It's not just a work of art, but a complex system with a life cycle. In the system, there are different levels of mathematical complexity that can generate unicellular algae with random size and shape under the simulation of natural forces. Theoretically, the system can evolve on its own, leading to unpredictable outcomes. The video captures 36 seconds for each of the five systems as they evolve.
《紫气东来之三》林乐成
纤维艺术，145cm×295cm
传统视觉中的紫气，在古人眼中是祥瑞之气息，更有美好祝愿及幸运寓意。从成语中撷取灵感，探究意象表达的维度，能够看到：现实与非现实、自我与非自我，甚至是文学与艺术交相辉映的天地时空。
In ancient China, it's believed that purple air delivered best wishes and good luck and thus was auspicious. Inspired by idioms, the author seeks to explore the dimensions of imagery, where we see time and space between reality and non-reality, ego and non-ego, and even literature and art.
《随意·无限》于历战
家具设计，78cm×45cm×60cm
以金属铝材为材料的坐具，不用任何连接件，仅利用铝型材断面相互咬合的关系连接而成，这种连接可以随意做成任何形式，形成无限可能性。
The seat made of metal and aluminum is connected by the interlocking relationship of aluminum profiles without any connecting parts. This connection can be made in any form, creating endless possibilities.
《Western Totem（西部图腾）》
Anders Wolhar（安德斯·沃哈尔）
雕塑，44cm×23cm×79cm
图腾柱有传统上是亲属关系的象征。木画的象征意义图腾柱上的图像是社区的象征。动物是被描绘成代表部落的才能和力量。西方社会的价值观是什么？我们从哪里获得力量？我们开始相信一个可创造的世界。一个可以通过设备和技术西方图腾项目中的图像是可识别的家用电器。我们认为不能再做的事情没有它们给了我们便利，也给我们的身份增添了色彩。我们衡量人们的价值取决于他们的财产，而他们的成功可以通过表现来衡量他们已经获得了它们。
Totem poles have traditionally been a symbol of kinship. The wood painted image on the totem pole is a symbol of the community. Animals are depicted as representing the talent and strength of tribes. What are the values of Western society? Where do we get our strength from? We begin to believe in a world that can be created. One image that can be identified by devices and techniques in the Western Totem project is a household appliance. Without them, we can no longer do give us convenience and add color to our identity. We measure people's worth by their possessions, and their success can be measured by the performance with which they have acquired them.
《生命花园》费俊
影像装置
每一个生命都是独特的，因而是美丽的。中国古代哲学认为每一个生命的独特性来自“金、木、水、火、土”这五行元素的多元组合，而生命的能量则是由五行元素间相生相克的动态关系生发而成。《生命花园》以中国五行观念结合数字生成艺术，创建与个人的五行属性相对应的生命之花，这些由个体生命数据所生成的独特的五行生命体共同构成了一座不断生长和变化的生命花园。作品探索东方文化中独有的生命观与宇宙观，试图以艺术化的方式表现个体生命的独特性、复杂性和多样性，向每一个平凡而独特的生命致敬。
Every life is unique and therefore beautiful. Ancient Chinese philosophy holds that each unique life comes from the combination of five elements (metal, wood, water, fire and earth), and the energy of life is generated by the dynamic relationship between the five elements. The Garden of Life combines the Chinese concept of five elements with the art of digital generation to create the flower of life corresponding to the five attributes of individuals. These unique five elements of life generated by individual life data together constitute a garden of life that is constantly growing and changing. The work explores the unique view for life and world outlook in oriental culture, attempts to represent the uniqueness, complexity and diversity of individual life in an artistic way, and pays tribute to every ordinary and unique life.
《剩余价值——未知的纪念碑》徐小鼎
综合材料，100cm×200cm
《剩余价值——未知的纪念碑》《剩余价值》系列创作灵感来源于我一直思考的问题：当我们的财富变成手机上的一串串数字时，实体货币的价值和意义在哪里？将这个问题进一步升华：在信息时代，传统媒介与新媒介的底层架构和基本逻辑有什么样的相同和不同？
《剩余价值——未知的纪念碑》画面整体呈1：2的比例，借用“纸币”的形态和概念进行观念的呈现。左侧的图像来源于文艺复兴时期瓦萨里的《六位托斯卡纳诗人》，右侧的图像来源于大型强子对撞机，画面中间的图像源自塔特林的《第三国际纪念碑》，而加入的综合材料“晶圆”是制造集成电路的重要载体。组成画面的图像年代不同，背景不同，却都象征着人类对未知、真理和客观规律的探索与追求，生生不息，永不停步。
The Surplus Value: Monument to the Unknown is within the Surplus Value series, which was inspired by a question I've been thinking about: Where is the value and meaning of physical currency when our wealth becomes a string of numbers on our phones? Take the question one step further: In the information age, what are the similarities and differences between the underlying structure and basic logic of traditional media and new media?
The overall picture of Surplus Value: Monument to the Unknown is a 1:2 ratio, borrowing the form and concept of "paper money" to present the ideas. The image on the left is sourced from the Renaissance artist Vasari's Six Tuscan Poets, the image on the right from the Large Hadron Collider, and the image in the middle from Tatlin's Monument to the Third International; the added composite material "wafer" is an important carrier for the manufacture of integrated circuits. Regardless of different ages and backgrounds, the images in the picture symbolize human's endless exploration and pursuit of the unknown, truth and objective laws.
《甲骨文·宇宙》陈楠
视频
《甲骨文·宇宙》是一件两分钟的视频动画作品。罗盘是现代指南针的前身，是中国古人从事空间建筑规划设计的重要工具。罗盘上各圈层间的方位、间隔配合暗含了“磁场”的规律。罗盘的发明与应用是人类对宇宙及社会奥秘探寻的产物。通过甲骨文对于复杂圈层罗盘与天文星图、以及由中国传统造型塑造的星座角色叠加的象征性描绘与解构，从时空的本源揭示远古天人合一的宇宙观概念，以一条贯穿的轴线聚合成一个多维空间，建构出了一个具有东方哲学观念的“甲骨文宇宙”。
The Oracle · Universe is a two-minute video animation. Compass is the predecessor of the modern compass, and is an important tool for ancient Chinese people to engage in space architecture planning and design. The azimuth and spacing between the circles of the compass imply the law of "magnetic field". The invention and application of compass is the product of human's exploration of the mysteries of the universe and society. Through the symbolic depiction and deconstruction of complex circle compass and astrological star chart, as well as the superposition of constellations shaped by traditional Chinese shapes, the ancient cosmological concept of the harmony between man and nature is revealed from the origin of time and space, and a multi-dimensional space is converged with a through-line axis to construct a "oracle universe" with eastern philosophical concepts.
《矿界觉音》
汪文超、张申洁、闫昕
影像装置
曾经“因矿而兴”的城市，因资源枯竭而一度陷入困境。这些土地具有不平凡的历史并拥有重复性资源的特征，能够转换成另外一种全新的用途。作品以思考矿业型工业遗存空间为起点，进行虚拟文旅设计，打造沉浸式文旅乐园。实体装置为直观的乐园微缩模型，来呈现矿洞乐园的展演空间。数字影像内容主要描述地下矿业城市综合体，过去矿业型城市所承载的时代记忆，融合背后的人文内涵，思辨未来矿业的合作共创模式。
Cities that were once "built by mines" are in trouble because of the depletion of their resources. The land has an extraordinary history and is characterised as a repetitive resource that does not have any existing use and can be immediately transformed into a new use. The work takes as a starting point the consideration of mining-type industrial heritage spaces for virtual cultural tourism design, creating an immersive cultural tourism park.The physical installation is an intuitive miniature model of the park, presenting the exhibition space of the Mining Hole Park. The digital video content mainly describes the underground mining city complex, the memories of the past era carried by the mining city, integrates the humanistic connotation behind, and contemplates the co-creation mode of the future mining industry.
《基因华章：微宇生态》
赵超、郭士达、罗鑫、何萌、李盈、张凡、沈宇鸿、吴清珏、董凌山、李谭芷柔、何朝政、赵仲涵、赵文菁
工业设计、装置艺术、数字影像、交互设计
作品借助艺术与科学协同创新的思维，探讨前沿生命科学技术与人文艺术的交叉融合。基于人类在分子、基因、蛋白质等各组学领域的基础研究成果，作品以“生物芯片技术”为介质，将工业设计、数字影像、交互设计、装置艺术等进行整合应用创新，将观众引入生命科学微观世界的神秘演变中，并通过多模态交互技术的应用，让观众体验生命在数字虚拟空间中的生动演绎；同时以实体生物芯片艺术装置和临床分析检测仪器工业设计的集成创新，呈现微观与宏观、虚拟与现实之间的无限创新可能性，让观众了解生物芯片技术对基因筛查、重大疫情防控、健康养老产业、以及中西医结合的社区健康服务等领域的重大作用和贡献。
作品通过展现人类在系统生物学和转化医学领域的有机衔接，以及医学范式从“微观”到“宏观”的贯通，旨在构建未来生命科学从技术创新向价值和体验创新的转型，探讨艺科融合和医工结合对健康中国和设计创新的积极影响，为观众提供了一场亲身体验生命科学奥秘的美妙华章。
Through innovative collaboration between the arts and science, the artwork is able to capture cutting-edge life-science technology， arts， and humanities in the same frame. It builds upon research in the medical fields of molecular biology, genomics, and proteomics, using “biochip technology” as the medium to integrate and apply innovation to Industrial Design, Interaction Design, Installation Art, Digital Imaging, etc. This artwork guides the audience to the mysterious world of life-science, using multi-modal interaction technology to paint a picture that can be described as a vivid interpretation of life through a digital and virtual space. At the same time, by integrating a biochip art device and clinical medical analysis instruments, it showcases the infinite innovative possibilities of the ‘micro’ and the ‘macro’, virtue and reality, helping the audience to have a better understanding of the role biochip technology plays in genetic screening, epidemic prevention, health and elderly care and community and health services.
This artwork displays human beings’ ever-growing knowledge in the fields of Systems Biology, Translational Medicine, and medical paradigms. It further strives to construct the future of life-sciences as value and experience-centered rather than being purely technologically focused. Ultimately, this exhibition explores the positive impact of integrating science with the arts on the development of innovative design and a healthy China, providing the audience with a gorgeous chapter to experience the mysteries of life-sciences.
《靈巗山馆-汉字魔方》
魏立刚 x Seemingly Virtual
（Jonathan Warner [US]、郑臻泽）
互动装置、声音影像
这件作品将2D平面的方块字通过沉浸式体验和人工智能技术幻化为3D数字立体装置，邀请观众走进微观的汉字幻境——《靈巗山馆》。以变换无穷的汉字结构术与书法笔画元素为灵感，SEVR Lab训练AI GAN模型长期学习魏立刚的汉字魔块与跨学科元素——历朝历代的字体、诗词、文明图符、数学公式、生物元素周期表、物理机械图等——使得多维度平行时空在魔方中得以交融相织，缔造图形解构与重构的无穷变幻的视觉梦境。汉字的未来不仅仅是被看到，更是被深深地感受到，作品亦将观众带回象形文字的起源，感召天地气象，与万有同构，跨越地域文化的局限，使全球观众都能置身陶醉于艺术与科技共生编织的汉字视觉结构术的魅力之中。
Through immersive experience and artificial intelligence technology, this work transforms 2D flat square characters into 3D digital three-dimensional devices, inviting the audience to enter the micro-fantasy of Chinese characters -- Lingyan Mountain Garden. Inspired by the ever-changing Chinese character structures and calligraphy stroke elements, SEVR Lab trains the AI GAN model to learn Wei Ligang's Chinese character magic blocks and interdisciplinary elements (fonts, poems, civilization symbols, mathematical formulas, periodic table of biological elements, physical and mechanical diagrams of the past dynasties) over a long period of time, so that multi-dimensional parallel space-time can be woven in the Rubik's cube, creating an infinitely changing visual dream of graphic deconstruction and reconstruction. The future of Chinese characters is both seen and deeply felt. The work brings the audience back to the origin of hieroglyphics, evoking all things in heaven and earth, and transcending the limitations of regional culture. The global audience can immerse themselves in the charm of the visual structure of Chinese characters woven with art and technology.
《风骨·南山 NO.8》叶健
纸本水墨重彩，67cm×60cm
“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!
《Chladni figures（克拉尼图形）》
as科学艺术研究中心
互动装置，150cm×150cm×120cm
18世纪，德国自然科学家恩斯特1·1克拉尼（Ernst1Chladni）将声学变为一门独立的学科，他最重要的成就之一是发明了显示刚性表面上各种振动模式的技术：在1787年的实验中，他将细沙撒在均匀光滑的铜盘上，并在铜盘的边缘缓缓拉动小提琴弓，奇特的一幕发生了，沙子在几秒钟内形成了不同聚散形态的线条花纹——克拉尼图形就此诞生。
克拉尼盘上沙子聚合成的“克拉尼图形”实际上是二维驻波波形。当小提琴弓摩擦铜板盘使其以共振频率振动时，板面中有保持静止状态的区域和振动状态的区域，沙子在振动作用下向表面静止的区域集中，并最终勾勒出变化多样的节点线。并随着弓弦拉出的节奏的不断增加，图案也不断变幻和越趋复杂，形成各种具有数学对称美感的克拉尼图形，映照出声音的隐形世界。
In the 18th century, the German natural scientist Ernst Chladni made acoustics an independent discipline. One of his most important achievements was the invention of techniques for displaying various modes of vibration on rigid surfaces: In an experiment in 1787, he sprinkled fine sand on a uniformly smooth copper plate and slowly pulled a violin bow over the edge of the copper plate. A strange scene ensued: The sand formed different patterns of converging lines in a few seconds. Chladni figures were born.
The "Chladni figures" formed by the aggregation of sand on the Chladni plate are actually a two-dimensional standing wave form. When the violin bow rubs against the copper plate plate to vibrate at a resonant frequency, there are areas that remain static and areas that vibrate in the plate, and the sand is concentrated in the static area of the surface under the action of vibration, and finally outlines a variety of node lines. As the rhythm of the bowstring's pull increases, the patterns are constantly changing and becoming more complex, forming Chladni figures with mathematical symmetry, thus reflecting the invisible world of sound.
《Assembly Lines: Expanse [extending]
（流水线：扩展【延伸】）》
Sougwen Chung (鍾愫君)
视频
作为人机协作领域的先驱，加拿大籍华裔艺术家、研究学者钟愫君（Sougwen Chung）长期探索手工和机器制作标记，深入研究人类、人工智能系统和机器人之间的动态关系。
流水线（2022）涵盖研究、数据集、性能、安装和绘图领域，旨在对生物和机械之间共创的诗意探索，了解由冥想和生物反馈驱动的定制智能机器人系统（《绘图操作单元》-第五代）。机器系统是一种超越自动化的技术配置，通过人机共创探索绘图的本能节奏。
2022年，受芬兰埃斯波现代艺术博物馆（EMMA）和萨斯塔莫伊宁基金会委托，钟愫君的作品《流水线：拓展【延伸】》在“寻找当下（In Search of the Present）”展览首映，并于2023年进入该馆永久收藏。
电影导演：钟愫君
摄影导演：彼得·巴特沃斯（Peter Butterworth）
剪辑：彼得·巴特沃斯（Peter Butterworth）
制作：斯利塞特工作室（Studio Scilicet）
音效合成：阿克瑞恩（Aquarian）
A pioneer in the realm of human-machine collaboration, Chinese-Canadian artist and researcher Sougwen Chung has long explored the mark-made-by-hand and the mark-made-by-machine to delve into the dynamics between humans, AI systems, and robotics.
Assembly Lines (2022) spans research, data-sets, performance, installation, and drawing, demonstrating a poetic exploration of co-creation between the biological and the mechanical, featuring a custom multi-robotic system (Drawing Operations Unit Generation_5) driven by meditation and biofeedback. The machine system is a technological configuration beyondautomation, exploring instinctive rhythms of painting through human and machine co-creation.
Commissioned by Espoo Museum of Modern Art (EMMA, Finland) and the Saastamoinen Foundation in 2022, Chung’s performance film Assembly Lines: Expanse [extending] premiered at the exhibition In Search of the Present and entered the museum’s permanent collection in 2023.
Film director: Sougwen Chung
Photography director: Peter Butterworth
Film editor: Peter Butterworth
Film producter Studio Scilicet
Sound composition operator: Aquarian
《费米气泡》苏萌、王怡然、李志强
视频
费米气泡是一个从银河系中心向两侧展开的新发现的天体结构，就像两个气泡衔接在银河系中心两侧，向太空中延伸了数万光年。它揭示了大约350万年前，银河系中心黑洞可能发生过的一次巨大爆炸，释放出的能量大约是太阳在其100亿年的生命周期中释放的能量的100万倍。科学与艺术都是跨越时空的存在，现实和虚拟的结合在这个作品中不断地交织和融合，存在于先祖的记忆中，存在于人类文明的基因里，也在这个作品中绽放它绚丽的光彩。
Fermi Bubbles represent a newly discovered celestial structure that spreads out from the center of the Milky Way to the sides, like two bubbles connecting at the center of the galaxy, extending tens of thousands of light years into space. It reveals a massive explosion that may have occurred in the black hole at the center of the Milky Way about 3.5 million years ago, releasing about a million times more energy than the sun does over its 10-billion-year lifetime. Both science and art exist across time and space. The combination of virtuality and reality is constantly intertwined and fused in this work. It exists in the memory of ancestors and in the genes of human civilization, and also blossoms its brilliant brilliance in this work.
《褶裥叁缔（Pleat-the-Interfashionality）》
黄才骏、蔺明净
服装设计
《Pleat-the-Interfashionality褶裥叁缔》延续了2018年的获奖作品Fold-the-Interfashionality，新设计将前沿的数字虚拟技术、可穿戴科技和最新3D织物打印等技术与传统的折褶工艺相融合，独特地创造了两位主人公柳梦梅与杜丽娘的戏服，以演绎经典粤剧《牡丹亭》。这些科技戏服作品保留了粤剧服饰的传统形式，但采用了当代极简的设计风格，通过现代审美风格吸引了更广泛的观众群体。这扩展了传统文化传承和跨界发展的领域，以及对前沿科技和传统手工艺如何影响可持续设计的探索。
本作品的3D列印零件皆由香港理工大学 U3DP制作。
‘Pleat-the-Interfashionality褶裥叁缔’continues our award-winning project ‘Fold-the-Interfashionality’ from 2018. The new design seamlessly integrates cutting-edge digital technology, wearable tech, and the latest textile 3D printing with traditional pleating techniques. It uniquely creates costumes for two main characters, Liu Mengmei and Du Liniang, to interpret the classic Cantonese opera "The Peony Pavilion." These tech-infused costumes preserve the traditional form of Cantonese opera attire while adopting a contemporary minimalist design style that appeals to a broader audience with modern aesthetics. This bridges the gap between modern and traditional, new technology and craftsmanship, expanding the realm of traditional cultural heritage and interdisciplinary development, as well as exploring how cutting-edge technology and traditional craftsmanship impact sustainable design.
The exhibited works for this occasion include one complete costume design for the female character and material experimentation samples from the design process. These works redefine the relationship between technology and traditional attire by using advanced 3D technology to transform Cantonese opera costumes while incorporating wearable tech, such as optical fiber, preserving their cultural significance.
All the 3D printing parts are supported by University Research Facility in 3D Printing (U3DP), Hong Kong Polytechnic University.
《ad/ab Atom》黑川良一
综合材料
ad/ab Atom是一个基于纳米级数据和量子力学层面进行的微观检测材料进行创作的视听装置作品。该作品由7屏显示器和4组多声道音响组成。显示器采用相等相移的扭转结构进行排列。
该作品是与伊比利亚国际纳米技术实验室(INL)合作的项目，所有科学材料都是在INL与量子材料、科学和技术部门及量子实验室的科学家们共同收集的。通过电子显微镜/扫描观测到的图像数据，以及生成的2D/3D图像和数学建模等计算机数据被分析、过滤和变形，形成艺术图像。这些转化为人类可感知现象的亚可见模块被有序地组合成视听作品。
标题中的“ad”意为“向/朝向”，在词源上说是拉丁文词源的前缀，“ab”意为“远离”。它是新词“adatom/abatom”的重组，意思是“到原子/来自原子”，在这里，支配自然的法则变得模糊。
本作品通过以纳米级为目标对科学数据进行重建，开启了原子尺度的空间旅程，在那里，观众可以体验高度放大的变形世界。
ad/ab Atom is an audiovisual installation based on nanoscale data and microscopic examination materials at the level of quantum mechanics. The work consists of 7-screen displays and four sets of multi-channel sound. Displays are arranged in a torsional structure with equal phase shifts.
It is a collaborative project with the International Iberian Nanotechnology Laboratory (INL). All scientific materials are collected at INL in collaboration with scientists from the Department of Quantum Materials, Science and Technology and the Quantum Laboratory. Image data observed by electron microscopy/scanning, as well as computer data such as generated 2D/3D images and mathematical modeling are analyzed, filtered and deformed to form artistic images. These subvisible modules, transformed into human-perceptible phenomena, are organized into audiovisual works.
"ad" in the title means "toward/towards" and is etymologically a prefix to Latin etymology, with "ab" meaning "away". It is a recombination of the neologism "adatom/abatom", meaning "to/from the atom," where the laws that govern nature become blurred.
By reconstructing scientific data at the nanoscale, this work begins a journey through space at the atomic scale, where the viewers can experience a highly magnified world of transformation.
图文来源/艺科中心
编辑/若涵