流水落花Floating Petals

2023, Digital Writing

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This work is inspired by Yip Yuk Yiu’s work False Words. Yip Yuk Yiu was my professor at the School of Creative Media. In that work, he created a computer program to continuously reconstruct Liu Xiaobo’s famous quote, “I have no enemies(我沒有敵人)”. The program repeatedly prints the result on a screen, layer by layer. Slowly, the other characters became fully colored blocks, and only the character 人(human) stood out to be recognizable. But in the end, it is still gradually buried by the words that are constantly printed on top of it.

The act of writing over and over on top of the text produces huge tension. It symbolizes an extreme obsession but still gives the audience plenty of room to imagine where the obsession comes from—whether it’s because someone doesn’t want to forget, or because of some strong emotions. That’s why I love this way of presentation.

In this work, I made the computer program to continuously transcribe part of the poem by Polish poet Wisława Szymborska, Children of the Age. The famous Hong Kong indie band My Little Airport read part of this poem at their 2021 concert as a response to the new normal in Hong Kong after the social movement in 2019 and the epidemic in 2020. After countless repetitions, the machine became tired, and typos and mistakes gradually appeared in the written content. In the end, it seemed to lose its mind totally and began to write nonsense. In the process, the word “political” emerges from the repeated letters, showing the quantitative characteristic of the text, then gradually gets buried under the random tokens.

I named the work 流水落花 Floating Petals. 流水落花(floating petals on flowing water) is a Chinese saying, first written by Li Yu, in his verse “流水落花歸去也,天上人間(Petals floating on streams, returning to their end. The past and now is like the haven and the earth)”. If you are familiar with Hong Kong pop culture, you may also think of Wyman Wong’s lyrics and Sing-Fung Ka’s movies. 流水落花 resembles the opposite of obsession, which forms a strong contrast with the behavior of the computer program in the work. To be obsessed and then insane, or to let go and then forget, is the biggest problem in this post-XX era.

Plasmodata

2023, Generative Animation

Plasmodata is a generated animation based on the study of slime mould.

Slime mould is an interesting life form. For most of their lifetime, they are free-living single-celled individual entities. However, those simple cells developed a very sophisticated system of communication using acrasins which is highly similar to the nervous system of animals. In a sense, the slime mould cells form a coordinated “brain” which appears in highly intricate structures.

Inspired by recent studies of how slime mould transmit information, I digitally simulated their behaviors. These simple virtual lives collaboratively generate convoluted and aesthetically pleasing visuals.

Plasmodata is a sandbox, a cosmos, a question of our definition of life and intelligence.

Exhibition view at WAAITT2023

Plasmodata

2023, 生成動畫

Plasmodata 是基於對粘菌的研究而創作的生成動畫。

粘菌是一種有趣的生命形式。在他們一生的大部分時間裡,他們都是自由生活的單細胞個體。然而,這些簡單的細胞能使用化學信息素構成一個非常複雜的與動物神經系統高度相似的通信系統。從某種意義上說,粘菌細胞形成了一個協調的“大腦”,以高度複雜的結構呈現。

受最近關於粘菌如何傳遞信息的研究的啟發,我對它們的行為進行了數字模擬。這些簡單的虛擬生命共同生成了這些復雜而美麗的圖像。

Plasmodata 是一個沙盒,一個宇宙,一個關於我們對生命和智能的定義的質疑。

於WAAITT2023的展覽現場

聯覺機械@Tate Modern

2023, 裝置

聯覺機械提供給觀眾一種特別的多感官體驗。裝置邀請觀眾觸摸蜂巢格子中的不同材料製成的雕塑。隱藏在雕塑內部的傳感器將觸摸轉化為聲音和象徵流動性和柔軟性的生成圖像。該作品邀請人們通過相應的三種感官探索物料的不同特性。正如一位觀眾所說,“(這)就像我在用手指聽,用耳朵看。”

為Beyond Surface—Tactile Presence x Tate Modern Late 2023 年 3 月製作

Mechanic Synesthesia @ Tate Modern

2023, Installation

part of The Hive

Mechanic Synesthesia provides a special multi-sensory experience. The audience is invited to touch the sculptures made with different materials residing in the cells of The Hive. Sensors hidden inside the sculptures translate the touch into sounds and generative visuals representing fluidity and softness. The installation invites people to explore the different materiality of the sculptures through the three corresponding senses. As one of the audience said, “(it is) like I am hearing through my fingers and seeing through my ears.”

For Beyond Surface – Tactile Presence x Tate Modern Late March 2023

Up to 100% Pure

2023, video collage

with Ophir Amitay, Agnes Wu, Xianshuo Zhai

We watch a few hundred videos from conspiracy/fake-news channels on YouTube and cut out the clips of them saying words like “actually”, “absolutely”, and “really” to peek into the linguistic structures of those videos – how do they convince people to believe in their narrative and “truth”.

Premiere on the CAP symposium 2023 – Platform

可達100趴純

2023,影像拼貼

與Ophir Amitay, 吳雨殊, 翟獻碩

我們在 YouTube 上觀看了數百個來自陰謀論/假新聞頻道的影片,並剪下了他們說 “actually”、“absolutely”和“really”等詞的片段,以窺探這些影片中的語言結構—他們如何說服人們相信他們的理論和事實。

於CAP 2023研討會 – Platform 平台首映。

The Textbook of Disappearing

2023,影像裝置

與Zoë Schnegg, 阮自牧, 張曄合作

The Textbook of Disappearing 是一本有趣又有用的關於如何在這個數位時代消失的教科書。本書的特色是奇怪幽默與低質視效的結合。沒有枯燥的說教,百分百的寓教於樂。由the Disappearing Committee於2023年在倫敦發行。

在十年內我們大躍進了一個數字技術高度先進的社會,但直到最近我們才意識到這其實是我們創造的一個束縛自己的繭房。智能手機和社交媒體正在奪走我們的生活。在本教程中,你將學習如何通過簡單的幾個步驟收回控制權。

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