Posté par: yunp Il y a 4 semaines, 1 jour
《Fragments 1-11》
Fig 1. Multi-dimensional transform between 2d to 3d
《Fragments 1-11》 is a cyclical journey, navigating through dimensions via diverse forms such as spoken language, images, video, and sound, all derived from an initial text to approach the essence through translation. This work seeks methods of genuine “communication”—approaching the original meaning—by engaging with today’s multidimensional and multimodal mediums, where the residual elements across physical and non-physical dimensions emerge as evidence of the journey and interpretation.
From the perspective that “communication is translation,” this work refrains from traditional language or media, instead viewing programs, AI technology, and algorithms as modern tools of communication. For the artist, such tools represent means of interpretation that transcend human limitations, moving beyond any single mode of meaning to enable translation across the material and the immaterial. By navigating these interdimensional translations, the artist extracts objects that serve as cornerstones for new interpretations. The compression and expansion of data in the process are bolstered by technology, carefully preserving the integrity of the original material while intricately filling in the relationships and empty contexts woven between them.
Fig 2. Multi-device communication between the main screen and audiences.
《Fragments 1-11》 consists of various dimensional translations stemming from a single dataset, symbolizing a cyclical structure. The initial text is converted into an image via an AI generator; this image then undergoes programming to manifest as a three-dimensional object. The physical object is once again digitized and projected on-screen, representing the dataset. In this cyclical process, visitors encounter fragments that have broken off or been reduced in dimension. What lies before them is the residue of this cycle, a remnant of technology and a piece of something archeological. Through this, the audience recognizes the need for further translation to approach the cyclical structure’s meaning and the significance of these remains.
Fig 3. Multi-device communication between the main screen and audiences.
As the saying “translation is betrayal (traduttore traditore)” suggests, translating one meaning into another medium can distort the original, and multiple interpretations of a text have led to misunderstanding and even misfortune. This work extends the limits and gaps created by translation beyond time into dimensional stages. The artist concentrates on the materials and data produced repeatedly beyond the limits of human labor and the potential that resides behind these processed outcomes. Rather than viewing translation as inferior to the original, the work acknowledges the potential to discover an intrinsic value previously undisclosed. AI and technology, as collaborators in this cyclical journey, become tools that help us approach essence and balance in a fragmented and dispersed era. Through iterative translation, the artist fills in the missing pieces between the compressed and expanded, selectively eliminating what has become excessive. This approach aims to provide clues to understand the world beyond oneself in finer detail and broaden one’s scope of understanding.
The cyclical processes and actions condensed within this work resemble the reality of our fast-paced, compressed world. Spaces and objects constructed in our real world exist both as complete entities and as fragments or cases of affirmation or negation. Even seemingly contrasting skyscrapers and period houses are pieces separated from an original source, inherently containing the essence, like “mirrors emitting light of their own.” Using multidimensional fragments as evidence, 《Fragments 1-11》 illustrates that technology has the potential to transcend the physical requirements and temporal constraints of reality, providing a means to reach the essence and break down boundaries across perspectives.
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