Curator
Group Exhibition
Curator
Group Exhibition
DP-1 playlist, version 1.1.0. 7 items: Cao Shu, Guo Cheng & Weihao Qiu, He Zike, Shi Zheng, Lin Ke, In_K, Studio Above&Below.
Scan the code with a Feral File Toko, an FF1, the app or ff-cli to display this playlist, or copy the link and open it there.
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"text": "Cao Shu mainly works in new media art, and is based in Hangzhou, China. More recently, Cao Shu has begun to use personal and historical memory as a work interface, while continuing a creative practice that includes a variety of media-based interactions. In recent years, Cao Shu has been an artist in residence at atelier Mondial in Basel, Switzerland(2017), Koganecho Bazzaar Art Festival, Yokohama (2019), and Muffatwerk, the venue for international art and culture, in Munich (2020).\nCao Shu’s works have won such awards as the Exposure Award 2021 of PHOTOFAIRS Shanghai, the New Narrative Award from the Long Week of Short Films, and the Beijing International Short Film Festival Award for Outstanding Artistic Achievement. Recent exhibitions include Cao Shu Solo Exhibition-The Ocean of Solaris（Zhejiang Museum，Hangzhou，China，2019)；Cao Shu Solo Exhibition-Flux(ShanghaiTech University，Shanghai，China); Solo Programme-Monster outside the windows(Koganecho，Yokohama，Japan,2019), and others.\n曹澍1987年出生，他所运用的媒介包括且不限于数字模拟影像装置、空间环绕式配乐以及互动游戏装置等，他通过对日常经验的跨媒介转化和数字空间搭建来构造出潜在的关联，称自己的工作类似于一种在迷宫中不断迷失并寻找线索的侦探行为。曾于浙江美术馆，上海科技大学展览厅，日本横滨太平庄等地举办个展和个人项目。曹澍近年分别作为瑞士巴塞尔Atelier Mondial （2017），日本横滨黄金町艺术节（2019），德国Muffatwerk文化艺术中心（2020）驻地艺术家。曾获2021PHOTOFAIRS|Shanghai曝光奖、上海短片电影周新叙事奖、北京国际短片联展杰出艺术探索奖等。近期作品展出于UCCA沙丘美术馆，亚洲协会香港中心，北京民生美术馆，OCAT 深圳馆，汉堡法尔肯贝格大厅等。除此之外，曹澍的作品也在世界各地的影展主竞赛单元展出，包括莱比锡纪录片与动画电影节，米兰电影节，昂西国际动画节，渥太华国际动画节，汉诺威国际短片节等。作品收藏于澳大利亚白兔美术馆、以色列尧山当代艺术基金会、浙江美术馆等。现生活工作于杭州。"
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"description": "Cao Shu’s poetic piece “The One Who Lived Yesterday” uses vivid simulation to illustrate a scene of distorted time, as well as the oscillation between objective data and subjective memories. Using computer pre-rendered images, the piece explores the possibilities of digital existence, multi-angle views, and spatial narration.\nIn the piece, a voice runs through the film featuring an anonymous, dream-like speaker who tells a story about yesterday. The voice seems to come from a different place, echoing the perspective of a “Progress-tracer” to some degree, from a different “incarnation,” while the speaker himself is hiding. Each of its incarnations is the shape of “this yesterday,” and yesterday just made up the future.\n曹澍的诗意作品《活在昨天的人》用栩栩如生的模拟技术，刻画了一个扭曲的时空，作品充满了客观数据和主观记忆之间的震颤。他用计算机渲染的图像探索数字存在，多视角和空间叙事。一镜到底的3D数字模拟影像中，一个声音贯穿始终。这个声音仿佛来自别处，仿佛是困在数字世界的“进程追踪者”，而讲述者始终没有踪迹。声音把5年来作者在早晨醒来记录下的散碎梦话，编织成了一段寓言故事……作者的脸被扫描成3D数字图像，出现在房间里的桌子上、草丛中、石头上、高楼上。每一次声音的轮回都是“这个昨天”，而这个昨天创造了未来。"
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"text": "Guo Cheng 郭城\nGuo Cheng is an artist currently living and working in Shanghai. His practice mainly focuses on exploring the mutual impacts and influences between established/emerging technologies and individuals in the context of culture and social life. In recent years, his practice has dealt with themes such as the Anthropocene and second nature, digitized interobjectivity, and the ideologies behind various infrastructures. Guo Cheng's works often use humorous yet calm language to link grand issues with seemingly arbitrary objects, and to provide critical perspectives for discussion.\nHis recent solo exhibitions include: Almost Unmeant (Magician Space, Beijing, 2020), Down to Earth (Canton Gallery, Guangzhou, 2019). Group exhibitions include: Terminal>_ How Do We Begin? (X museum, Beijing, 2020), The Eternal Network (exhibition of Transmediale 2020, HKW, Berlin), The Process of Art: TOOLS AT WORK, (Power Station of Art, Shanghai, 2019), Notes from Pallet Town(UCCA Dune, Qinhuangdao, 2019), Open Codes. Connected Bots (Chronus Art Center, Shanghai, 2019), and others.\nGuo Cheng has obtained such awards as Ars Electronica Honorary Mentions, Linz (2020); CAC://DKU Research & Creation Fellowship, Shanghai (2020); STARTS Prize Nomination, Linz (2020); the Digital Earth fellowship (2018-2019); the Special Jury Prize of Huayu Youth Award, Sanya (2018); and the Bio-Art & Design Award, The Hague (2017).\n郭城1988年生于北京，现工作生活于上海。先后获得上海同济大学学士学位（2010）与英国皇家艺术学院硕士学位（2012）。他的艺术实践着眼于既有/新兴科技对社会与文化方面的冲击与影响，以及置身其中的个体与社会生活之间的关系。郭城的作品常以雕塑/装置的形式呈现，他经常使用幽默又冷峻的形式语言，将宏大议题与看似随意的日常物品相连结，为想象和讨论提供了批判性的视角。\n郭城近期的个展有：“近乎无意”，魔金石空间，北京（2020）；“地气”，广州画廊，广州（2019）。群展包括：“终端>_How Do We Begin?”, X美术馆，北京（2020）；“永恒网络”，世界文化宫，柏林（2020）；“平行，似存在，未完成：行进的艺术工具”，当代艺术博物馆，上海（2019）；“真新镇日志”，UCCA 沙丘美术馆，秦皇岛（2019）；“机器人·间”，今日美术馆，北京（2019）；“开放代码.连接机器人”，新时线媒体艺术中心，上海（2019）；“追踪末日松茸”，泰康空间，北京（2019）；“魔都の鼓動”，当代艺术博物馆，熊本（2018）；“Life Time”, MU空间，埃因霍温（2017）；“时间的狂喜”，何香凝美术馆，深圳（2017）等。\n郭城曾获得奥地利电子艺术奖荣誉奖，林茨（2020）、STARTS奖提名，林茨（2020），CAC://DKU研究与创作学术奖金，上海（2020），数字地球学术奖金（2018-2019）、华宇青年奖评委会特别奖，三亚（2018）、生物艺术奖，海牙（2017)。\n郭城曾任上海新时线媒体艺术中心执行总监（2015-2017），荷兰自由大学环境与健康学院访问研究员（2017），并从2013年起兼职任教于上海同济大学至今。\nWeihao Qiu 邱伟豪\nWeihao Qiu is a California-based media artist. He has been practicing visual art creation with creative computation since completing his undergraduate study in Computer Science. Weihao works with photography, data, algorithms, data visualization, and interactive installation. His works have been exhibited in the Wolf Museum of Exploration and Innovation and the Beijing Times Art Museum.\nWeihao is currently a Ph.D. candidate in the Media Arts and Technology (MAT) program at the University of California, Santa Barbara. His research focuses on AI-based art with movement data.\n邱伟豪是目前位于南加州的媒体艺术家。自完成计算机科学本科学习以来，一直致力于通过创造性计算进行视觉艺术创作。 他的热情在于摄影、数据和算法，并从中获取灵感用于创作数据可视化和交互式装置。其作品曾在The Wolf Museum of Exploration and Innovation和北京时代美术馆等地展出。\n邱伟豪目前是加州大学圣巴巴拉分校媒体艺术与技术 (MAT) 项目的博士候选人。他目前的研究重点是基于人工智能和人体运动数据的艺术。"
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"description": "“Abstract Oracle Miner 0009328437\" is an iteration of Guo's installation work, “Abstract Oracle Generator.\" The “miner\" is a virtual device producing different acronym combinations, which act like prophecies responding to questions raised by participants—or whoever is wandering in the digital world. Through rendering several complex 3D scenes, the algorithm takes the hardware performance evaluation values as random seeds to generate a “virtual oracle.\" During the process, the temperature of hardware running the webpage may rise, the cooling fan may generate noises and the image rendering may slow down. In other words, the “oracle\" takes the offering from the hardware—the foundational structure of the virtual world, reminding viewers that the “virtual\" is by no means effortless, weightless, or light as a feather. The “oracle” produced by the computing power consumption is objectively “better\" than other forms of human divination, and the abstraction of the conjured visions can expand participants’ imagination.\nPlease view in full screen.\n“抽象神谕矿机 0009328437”是郭城作品“抽象神谕生成器”的迭代。这台“矿机”是一台虚拟设备，不断产生不同的缩略语组合，它会给参与者——或者任何游弋在数字世界的人——提供“神谕”。通过渲染数个复杂的三维场景，这套算法将用户电脑的硬件网络性能评估值作为随机种子，并生成“虚拟神谕”。在整个过程中，运行作品的硬件温度可能会上升，冷却风扇可能会发出噪音，图像渲染速度可能会下降。换言之，这个“神谕”以硬件这一虚拟世界的基础结构作为祭品，它不断提醒着观众，“虚拟”从来不是轻如鸿毛、无中生有的。而这套由计算机算力消耗产生的“神谕”似乎客观上比人类占卜更为客观，而它所变幻出的抽象场景也扩充了观众的想象力。\n请全屏观看作品。"
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"text": "He Zike is an artist currently based in Beijing. Her works focus on personal perception, an individual’s fate under the flow of information, and the uncertainty of narrative and meaning. Her recent projects explore patterns, visions, and imagination through the lens of digital and consumer life—specifically in relation to databases, material libraries, memory, and the physical and temporal extension of all three. Most of her works take the form of video, writing, installation, and computer programs. Her works have been exhibited in shows including “AI Delivered：The Abject\" (Chronus Art Center, Shanghai, 2021), “Hic sunt leones\" (798 Art Center, Beijing, Surplus Space, Wuhan, 2019), “Lying Sophia & Mocking Alexa\" (HYUNDAI motorstudio Beijing, 2019, Yuz Museum, Shanghai, 2020), “Gender Travel\" (Hongcheon Museum, Korea, 2019), “Sichtbarkeit\" (Museum für Neue Kunst, Freiburg, Germany, 2017), and others.\n贺子珂是一位艺术家，1990年生于贵阳，现工作生活于北京和贵阳。作品关注信息流动下个体的感知与命运，以及叙事和意义的不确定性。近期项目围绕特定的数据、记忆和素材库展开，探索其在物质和时间维度上的延展，以及数字和消费生活中的模式、愿景与想象。媒介包括影像、文本、装置、计算机程序等。作品曾参与的主要展览包括”人工智能的兑现：卑弃“（新时线媒体艺术中心，上海，2021），“此地有狮”（画廊周新势力单元，798艺术中心，北京，剩余空间，武汉，2019），“撒谎的索菲亚和嘲讽的艾莉克莎”（现代汽车文化中心，北京，2019，余德耀美术馆，上海，2020），“Gender Travel”（洪川美术馆，韩国，2019），“Sichtbarkeit”（弗莱堡当代美术馆，德国，2017），“朋友圈+：文化馆线上艺术计划”（OCAT，上海，2017），“为什么表演？”（明当代美术馆，上海，2016），“你正常吗？”（博而励画廊，北京，2016）等。\n贺子珂2018年获中央美术学院未来媒体艺术专业硕士学位。2017年于德国卡尔斯鲁厄艺术与设计学院媒体艺术系学习。2012年毕业于中国传媒大学，获数字电影制作学士学位。"
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"description": "He Zike’s “E-dream: We’ll stay, forever, in this way (2020 selected)” can be seen as a connecting portal between the real and the simulated. This real-time website hosts an intelligent program that constantly adapts stories written and broadcasted by the media. Information is then processed into dialogue which creates a fragmented story between Jack and Rose—the two protagonists of the site, whose interview with the media will never end.\nThis work is made possible by a deep learning algorithm that follows a set of rules. While dramatically playing text from mainstream English international news, it simultaneously translates the results, and searches for associated sounds and images on Chinese websites. As a result, the original meaning of the news gradually dispels, transforming from documentary records into ambiguous narratives. Over time, the content of the piece varies due to current events and changes in the media world.\nThe program has been running online since 2018, and this special video edition was created from hundreds of thousands of results in 2020.\n贺子珂的《 电子梦 : 我们将如此继续 》（2020年选段）可以被视为现实世界和模拟世界之间的一个链接端口。这个可实时访问的网站搭载着一个不断从被媒体书写和传播的现实中挖掘素材进行故事改编的智能程序。 这些信息被处理为主角 Jack 和 Rose 的对话和碎片故事 ， 他们将在此与媒体世界永久共生。\n作品涉及深度学习算法和一系列规则设置的应用，对主流英语国际新闻文本进行了戏剧化的演绎， 同时对结果进行在线翻译，获取声音并在中文网站进行图片联想。由此，信息原始的含义被逐步消解，从纪实记录转向含义模糊的叙述，并产生可能错位的匹配。 随着时间的推移，作品的内容将随着当下的发生与媒体世界的改变而发生微妙的变化。\n这个程序自2018年以来，一直在线上运行，这次展出的特别影像版本为2020年生成内容的精选合集。"
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"text": "Shi Zheng is an artist based in Shanghai and New York. Shi Zheng’s artistic creations range from audio-visual installations, to digital music, to live performance, and demonstrate his ongoing interest in simulation and “machine vision.\" Shi Zheng further explores the philosophy of technology, digital voyage, and “latent time\" by extending the audience's visual and audio experience.\nIn addition to his individual work, Shi Zheng also collaborates with other outstanding artists in various fields. In 2013, the artistic group RMBit was founded by Shi Zheng in collaboration with Nenghuo, Wang Zhipeng, and Weng Wei as a way to focus on the current context of social media. Both Shi and Nenghuo are also members of the audio-visual performance group OSC (Open Super Control).\nShi Zheng’s individual and cooperative works have been presented in a wide range of museums, art institutions, and media art festivals at home and abroad—including TANK Shanghai, MOCA Yinchuan, Sound Art China, FILE Electronic Language International Festival, Ars Electronica, Institute of Contemporary Arts London, Castello di Rivara, The Lumen Prize, Shanghai 21st Century Minsheng Art Museum, and OCT Contemporary Art Terminal Shenzhen.\nShi Zheng holds a B.A. from China Academy of Art and an MFA from the School of the Art Institute of Chicago.\n施政现⽣活、⼯作于上海和纽约。他的创作形式涉及视听装置、电⼦⾳乐以及现场演出，开展⼀系列以模拟和“机器视觉”为出发点的艺术实践，通过扩充观众视听通感体 验，体现其对技术哲学、数字漫游和“潜在时间”的持续思考。 施政在集中创作个⼈作品的同时，也和其领域内的优秀艺术家进⾏合作。2013年他 与能⽕、王志鹏、翁巍共同成⽴媒体艺术⼩组 RMBit（⼈⺠⽐特），结合当下的社交媒体现 象进⾏创作。他和能⽕也是 Audio-Visual 演出团体 OSC（Open Super Control）的成员。 其个⼈与合作作品也曾多次出现在国内外重要的美术馆、艺术机构、媒体艺术节中， 包括上海油罐艺术中⼼、银川当代美术馆、Sound Art China（中国声⾳艺术⼤展）、FILE Electronic Language International Festival、Ars Electronica（奥地利电⼦艺术节）、伦 敦当代艺术中⼼、都灵Castello di Rivara美术馆、伦敦The Lumen Prize、上海⼆⼗⼀世纪 ⺠⽣美术馆、 OCT当代艺术中⼼深圳馆。\n2014年毕业于中国美术学院跨媒体艺术学院，2019年获得芝加哥艺术 学院硕⼠学位。"
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"description": "Shi Zheng’s “Free Fall Study III” documents experiments in falling simulation from the video installation “Free Fall.” The vertical, narrow perspective of the work captures computer-simulated white sheet masks that keep falling downwards. As another layer in the work, a computer-vision recognition system surveils and detects how the image is moving. The facial recognition system then identifies whether the image of each falling mask matches the features of a human face. Numbers between 0.0 and 1.0 represent the approximation value of “human\" identified by the machine compared to “real human.”\nIn today’s highly observed, studied, and analyzed world, vision machines powered by algorithms exist everywhere. Meanwhile, visual images are gradually becoming a computational product that has impacted the way we see and understand the world, and “meat vision” has to be mixed with and controlled by computer vision. The face-detection algorithms in this work programmatically translate complex human face information into numbers, which end up overly simplifying the diversity of what a face looks like. Thus, the falling “masks” in the work not only physically embody products—including facial processing and digital filters—but also epitomize what it means to be “human” in our data-flooded era.\n施政的作品《自由落体III》中，由计算机模拟而成的纯白面膜无限下坠，纵向连接的显示屏幕呈现了作品自上而下的观看视角。作品的另一层画面则由机器视觉识别系统构成，即对影像内容的监控与识别，系统根据面部识别算法判断画面中坠落的面膜是否与人脸的特征吻合，蓝色显示框内，不断在“0–1”区间浮动的数值则代表了被机器辨别出的 “人” 与 “真实人类” 的近似值。在当下被机器与算法观察、研究、分析的世界里，视觉机器（vision machine）无处不在，而视觉图像也逐渐成为一种计算产物（computational product），影响着人类的自然视觉以及人类理解世界的方式。人的自然视觉不得不被计算机视觉（computer vision）混合、控制，算法程式化地将复杂的人脸信息转化为数据、过度简化了人类面部的多样性，因此作品中坠落的“面膜”既是对面部处理、数字滤镜等产物的物理体现，也是数据洪流时代中“人”的缩影。"
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"text": "Since 2010, artist Lin Ke has turned his attention to the behavioral science of the computer age by making himself his own guinea pig. Converting his laptop into a studio, Ke extracts material from computer software and the internet as the fodder and form for his art. The mundane act of exploring the vicissitudes of the world wide web and various applications becomes the catalyst for art making and self-portraiture. He records operational behavior and conceptual images by using screenshots and screen recording software. His work takes the form of installation, image, sound, text, video, and computer painting.\nIn his work, Lin Ke uses software to set its various functions free from their original purpose in the same way that language is liberated from its communicative functions when it becomes poetic. If poetry expresses the joy of language, Lin Ke’s work brings out the pleasure of the graphical user interface.\nLin Ke has gained major critical acclaim for his work by winning the OCAT - Pierre Huber Art Prize in 2014, and the Chinese Youth Artist Award of the 9th AAC Art in 2015. His work has been shown at ZKM, Karlsruhe; Museum Folkwang, Essen; Museum of Contemporary Art Tokyo, Tokyo; Minsheng Art Museum, Shanghai, Museum of Contemporary Art Cleveland; Centre for Chinese Contemporary Art, Manchester, and Ikon Gallery, Birmingham. His work is featured in the collections of M+ Museum, Hong Kong, The New Century Art Foundation, Beijing; and K11 Art Foundation, among others.\n从2010年开始, 林科将自己变成自己的实验对象，投身于计算机时代的行为艺术之中。林科将笔记本电脑作为其艺术工作室，从计算机软件和互联网中提取素材作为其艺术作品的素材与形式。日常互联网的探索和对应用软件的操作催生出他的艺术创作和自画像。他使用屏幕截图和 屏幕录制软件记录操作行为和概念图像。他主要的作品形式为装置、图像、声音、文字、视频和 电脑绘画。\n在他的作品中，林科以非常规的方式使用电脑软件，在软件原本设计的意图之外寻找新的功能，从而使的语言从基本的交流功能中得以解放而获得诗性。如果诗歌表达了语言的乐趣,那么林科的作品则呈现了软件用户图像界面的愉悦。\n林科的创作实践为他赢得了2014年OCAT-皮埃尔·于贝尔奖与2015第九届AAC艺术中国年度 青年艺术家大奖。他的作品曾在，OCAT当代艺术中心，ZKM媒体艺术中心，Folkwang博物馆， 东京都现代美术馆，民生美术馆, 上海当代艺术博物馆，何香凝美术馆，克利夫兰当代艺术博物 馆，曼切斯特华人当代艺术中心,伯明翰 Ikon Gallery等艺术机构展出。他的作品亦被广泛收藏， 香港M+视觉文化博物馆，北京新世纪基金会，及K11美术馆馆藏。"
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"text": "Bi Zhenyu, aka In_K has been using computer languages to create his artworks for the past 10 years. His works usually involve computer algorithms, programmatically generated visuals. AI algorithms are also being used in his new works. In 2011, In_K established visual group “Neuron” which has performed at underground parties, music festivals, and other events in different scales. In 2017, In_K formed a new media art group “DROWYEK.” The works are combined with diverse forms such as audiovisuals, interactive images, immersive installations, and more.\nIn_K pays a lot of attention to “technology.” He believes that technology is not only a creative tool but also an extension of our senses. Together with technology, he believes we are shaping and expanding the boundaries on both two sides. Through programming and real-time image generation, In_K is continuing his creations including audiovisuals, interactive & immersive installations, VR, MR, AI art, and more.\n毕振宇（In_K)在过去十年一直使用计算机创作艺术作品。他的创作通常包括计算机算法和基于程序生成的视觉表达。他新近的作品中也会运用到人工智能技术。2011年，In_K创立了视觉艺术小组“Neuron”，在地下派对、音乐节和其他场合进行过不同规模的演出。2017年，In_K创立了新媒体艺术小组“DROWYEK”。他们的作品结合了不同的形态，包括声音视觉，交互图像，沉浸式装置等等。\nIn_K对“科技”有深度关注。他相信技术不仅仅是创造性的工具，也是我们感知的延伸。他和科技一起工作，并坚信我们在双向地塑造和扩充边界。通过编程和实时的图像生成，In_K持续在声音视觉，交互和沉浸式装置，虚拟现实，混合现实，人工智能艺术等领域进行工作。"
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"description": "The circle is a simple, intuitive, and common image. It possesses eternal secrets, like the transcendental number, π, the exact value of which remains as elusive as ever; we’ve used many ways to calculate it, but we’ve never managed to arrive at its precise value, however close we may have gotten.\n“The circle” is an “absolute truth” lying right before our eyes. We have countless ways of approaching it: the cyclotomic method, infinite series and continued fraction, etc. Among these, the most incredible one was devised by the brilliant mathematician Srinivasa Ramanujan, whose remarkable insight produced a series for π that seems irregular at first, but is both accurate and converges extraordinarily rapidly. Still, humans are not the only ones who have insight; an A.I. program developed by Google, the “Ramanujan Machine\", can solve mathematical constants like π without any prior information, because it has the ability to reveal hidden mathematical structures to produce intuitive, Ramanujanian formulae.\nI installed a Ramanujan Machine. I set it up, let it run, and came up with several formulae. Like Ramanujan's intuitive formulae, these A.I. formulae are called “conjectures\", which are “shortcuts\" to absolute truth. They say if I could prove one of them, they would name it after me.\nIt is fortunate that I could not prove these formulae; I will not obscure the miracle of mathematics with failed words and arrogant power.\nI know that new shortcuts do not increase or decrease the infinites paths to absolute truth, that the symbolic poems we sing do not enhance or diminish the nature of truth.\nI believe I can waste every single representation of existence.\nLet them exhaust your seas in vain. Let them exhaust the sun, seen through Ramanujan's magical eyes, in vain.\nAs I perceive eternity.\nAll the formulas in this web program are found by the Ramanujan Machine. You can browse all the 81 formulas, and find your comfortable perspective to immerse yourself in the ocean of representation composed by “forms and concepts”, doing nothing but feel it.\n圆是一个如此简单直观又随处可见的图形，却又隐藏着最永恒的秘密，例如圆周率π是最有名的超越数，π的准确数值看起来无限的遥远。不管用什么样的计算方法，我们只能无限接近而不能真正的抵达它的确切数值。\n「圆」就是这样一个直接呈现在眼前的「真理」。我们有无数种不同的方式去接近它，比如割圆法、无穷级数、连分数等等，有一个被称为天才的人拉玛努金凭借直觉写出的求 π的公式最为神奇，这个公式像诗一样看似无规律但又准确且有着惊人的收敛速度。\n然而「直觉」并不一定只是人类的特权，谷歌的一个人工智能程序也可以不需要任何先验信息就能求解数学常数，这个程序被命名为拉玛努金机。拉玛努金机可以求解π这样的常数，正是因为数字本身潜在的结构可以被人工智能程序识别出来，从而能给出一个拉玛努金式的「直觉」的公式。\n我安装了拉玛努金机，部署完成后点击运行，得出了若干条公式，这些人工智能发现的公式也被称作「猜想」，如同拉玛努金的直觉公式一样，是一个个通往真理的「捷径」。\n如果你能证明其中一条公式，这个公式甚至可以以你的名字命名。\n如果你不具备这种证明能力，你也不必使用一个失效的词语或自大的权力去隐匿数字的奇迹。\n我知道每新发现的一个捷径，并没有增加或缩减通往无尽的真理的路程。每吟唱一个象征意义的诗，也不能增添或减少关于真理的本质。\n你可以挥霍存在的所有表象。\n让他们在你身上徒劳地挥霍大海，徒劳地挥霍透过拉玛努金神奇的双眼看见的太阳。\n当你感知永恒。\n程序中的公式都是通过运行拉玛努金机寻找出来的。你可以随机查看找到的81个公式猜想，也可以挑选适合的角度然后沉浸在「形式与概念」构成的表象海洋中，除了感知什么都不做。"
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"text": "Above&Below is a London-based art and technology duo made of Daria Jelonek (DE) and Perry-James Sugden (UK), working together since graduating from the Royal College of Art in London. Their digital artworks combine computational systems, speculative storytelling, and data in order to draw together unseen connections between humans, machines, and the environment. Over the last years the duo has created groundbreaking artworks using immersive technologies such as AR and XR with live data inputs in order to make the invisible visible and give our environment a voice to express itself.\nTheir work has been shown internationally at institutions and festivals including the Royal Academy, Tate Late, V&A London, Nottingham Contemporary, Photophore during the Venice Biennale, Today Art Museum, WRO Biennale, WIRED Japan, HeK Basel, and Sonar+D. Previous prizes and fundings include Broadway’s NEAR NOW fellowship, Collusion commission, Lumen Prize (shortlisted), Bloomberg Bursary, the Battersea Sculpture Prize, Factory Berlin x Sonar+D Artist in Residency and the S+T+Arts City of the Future prize.\nAbove&Below是一个位于伦敦的艺术与科技小组，由Daria Jelonek和Perry-James Sugden组成。他们自毕业于皇家艺术学院后，一直一起工作。他们的数字艺术作品包含运算系统，思辨叙事和数据研究，以架构人类，机器和环境之间的不可见的关联。在过去的几年，他们一直运用增强现实和混合现实创造作品，并运用实时数据输入，将无形转为有形，并让环境拥有自我表达的声音。\n他们的作品在全球多个机构和艺术节展出，包括皇家艺术学院，泰特美术馆，诺丁汉当代艺术中心，威尼斯双年展Photophore项目，今日美术馆，WRO双年展，日本《连线》项目，巴塞尔电子艺术指甲和Sonar+D艺术节。他们曾经获得的奖项和自主包括百老汇“接近当下”奖项，Collusion委任项目，Factory柏林和Sonar+D艺术家驻地项目和S+T+Arts未来城市奖。"
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"description": "Above&Below tells elegant stories about nature with code. “Steering Pixels” was born through a fluid simulation interpreted from a GAN, which was trained on hundreds of images of ever-changing water surfaces—data collected and sculpted by the artists. Taking computer vision to analyse motion of pixels of a neural network outcome, a fluid system initially inherits the velocity and therefore flow of the system. Using machine vision and machine learning techniques to document changing environments, computerised systems allow to not only create 1:1 replicas of environments or copies of real worlds, but allow for multiple, unexpected, and diverse perspectives.\nAbove&Below用代码优雅地讲述关于自然的故事。“像素舵轮”是产生自一个对抗生成网络的动态模拟，这一网络的训练数据来自上百个关转瞬即逝的水面的图像——这些图像来自艺术家的收集和整理。艺术家通过计算机视觉来分析每个像素的运动，这个液态系统内在地继承了这个系统的速度和流态特征。艺术家通过计算机视觉和机器学习去记录转瞬即逝的环境变化，他们不仅用计算系统1:1地复制既有的环境，或拷贝真实世界，而是在此基础上创造多样的，意料之外的，多样的视角。"
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"summary": "Topology-mancer:“Why can’t you understand that I cannot draw you a map?”",
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