林佳斌

北京媒體藝術雙年展：科學與技術如何生成藝術？

林佳斌

展覽鏈接：

北京媒體藝術雙年展

主 辦：中央美術學院、北京國際設計周組委會辦公室、德國B3動態(tài)影像雙年展

展覽時間：2016年9月24日—10月30日

展覽地點：中華世紀壇藝術館、中央美術學院美術館

Exhibition Link:

Beijing Media Art Biennale

Sponsors: China Central Academy of Fine Arts, Beijing Design Week Organizing Committee, German B3 Biennale

Date: September 24—October 30, 2016

Venues: Art Museum of the China Millennium Monument, CAFA Art Museum

回望人類的文明歷史，從農(nóng)業(yè)時代、工業(yè)時代到當今信息爆炸的新語境下，科學技術的飛速發(fā)展雖然讓我們心安理得地享受著生活的便捷，但與此同時，好萊塢電影里的各種人機大戰(zhàn)、基因改寫、生物變異、機器覺醒、虛擬現(xiàn)實等看似天馬行空的情節(jié)已不再讓人覺得新奇，甚至引發(fā)人類內(nèi)心的稍許不安：在科學技術近乎失控的發(fā)展趨勢下，如何建構(gòu)一個防止技術濫用的倫理壁壘？

藝術作為文化、社會、技術等因素的混合產(chǎn)物，往往因那些具有敏銳嗅覺的天才藝術家的出現(xiàn)，而呈現(xiàn)出各

種文化浪潮的最前鋒，因而新藝術的誕生創(chuàng)造了一種可能——以“跨學科、跨領域、高科技”的綜合性為特征的媒體藝術當之無愧成為當下藝術界的時髦。此背景下，首屆北京媒體藝術雙年展應運而生，展覽打出了“技術倫理”的主題，試圖審視現(xiàn)有科技在實際應用中已經(jīng)導致的倫理危機，并嘗試探討科技在未來可能產(chǎn)生的新的倫理問題。

北京媒體藝術雙年展以雙展館的形式展開，分別是中央美術學院美術館的“實驗空間”特別展覽與中華世紀壇藝術館的“技術倫理”主題展。中央美術學院作為本屆“北京媒體藝術雙年展”的主辦單位，與北京國際設計周組委會、德國B3動態(tài)影像雙年展共同呈現(xiàn)展覽。

蓋里·希爾 墻 Gary Hill, Wall Piece

Looking back on the history of human civilization, from Agricultural Era, Industrial Era to the current new context of explosion of information, the rapid development of science and technology allows us to enjoy the convenience of life at ease on the one hand, and the seemingly arbitrary plots in Hollywood fi lms such as the war between man and machine, gene rewriting,biological variation, machine awakening and virtual reality no longer strike us as novel on the other. This undoubtedly implies a slight uneasiness in the human heart: How to construct an ethical barrier to prevent abuse of technology in the context of the nearly uncontrolled development of science and technology?

As a mixed product of culture, society, technology, etc.,art often tends to present itself as the vanguard in a variety of cultural waves as the result of the emergence of talented artists with a keen sense of s

mell, making the birth of new art possible. The media art characterized by the integration of“interdisciplinarity and high technology” is worthy of being described as fashionable in the world of contemporary art. In this context, the fi rst Beijing Media Art Biennale was held. With“Ethics of Technology” as its theme, the exhibition attempted to examine the ethical crisis caused by the practical application of existing science and technology, and to explore the new ethical problems that may be brought about by future science and technology.

Beijing Media Art Biennial consisted of two synchronous parts at two venues: the “Lab Space” special exhibition at Art Museum of China Central Academy of Fine Arts (CAFA Art Museum), and the “Ethics of Technology” thematic exhibition at Art Museum of China Millennium Monument. They were co-organized by China Central Academy of Fine Arts as the organizer of the “Beijing Media Art Biennale”, Beijing International Design Week Organizing Committee, and German B3 Biennial of the Moving Image.

北京媒體藝術雙年展“實驗空間”特別展于2016年9月24日晚在中央美術學院美術館開幕The opening ceremony of the “Lab Space” special exhibition was held on the evening of September 9, 2016, at the CAFA Art Museum

蓋里·希爾 我Gary Hill, Self

松田啟一 超現(xiàn)實Keiichi Matsuda, Hyper-Reality

“實驗空間”特別展覽：以專題模式呈現(xiàn)

北京媒體藝術雙年展“實驗空間”特別展于2016年9月24日晚在中央美術學院美術館開幕，此板塊以專題的方式展示，包括蓋里?希爾專題、VR專題、沉浸專題、電影專題、Experimenta專題、B3獲獎藝術家專題，以及演出專題，這些專題分別以不同的藝術形式對“技術倫理”這一話題展開討論。

在蓋里?希爾專題中可看到藝術家蓋里?希爾帶來的7件作品，作品涉及影像、互動裝置等。在短片《墻》中，可看到一個男人不斷將自己摔往一面黑色背景的墻上，而突然出現(xiàn)的刺眼閃光燈捕捉住了每一撞擊的瞬間；《大腿別哭》探討不同物體之間干涉彼此邊界的狀態(tài)；在互動裝置《我》里，當你被吸引著湊上那不同形狀的窺視洞內(nèi)時，看到的正是自己在“窺視”的畫面……

值得一提的是，本次VR專題是迄今為止國內(nèi)最大規(guī)模的對于VR作品的集中展示，在此專題中不僅有國內(nèi)藝術家田曉磊、朗雪波與王跖、劉言韜、周戭等創(chuàng)作的VR作品，更有德國B3動態(tài)影像展推薦的VR電影與短片，以及14部穹頂VR作品構(gòu)成的“沉浸專題”，這些專題都以全新的敘事邏輯重新開始“講故事”。

“Lab Space” Special Exhibition: Presented in the Mode of Special Subjects

The opening ceremony of the “Lab Space” special exhibition was held on the evening of September 24, 2016, at the CAFA Art Museum. This section was displayed in the way of special subjects, including the special subjects of Gary Hill, VR,Immersion, Film, Experiment, B3 Award-Winning Artists as well as Performance, which explored the topic “Ethics of Technology”in different forms of art.

The special subject of Gary Hill consisted of seven works brought by the artist Gary Hill, including videos and interactive installations. In the short video Wall Piece, the image of a man repeatedly fling himself at a dark wall, and a single flash of extreme high intensity strobe light captures every moment of impact; Big Legs Don’t Cry explores the state of different objects’ violation of each other’s borders; and in the interactive installation Self, when you’re attracted to the peep holes of different shapes, what you see is you yourself who are peeping…

It is worth mentioning that the VR special subject was by then the largest concentrated display of VR works in China. In this special subject, we had not only the VR works created by the domestic artists, such as Tian Xiaolei, Lang Xuebo and Wang Zhi, Liu Yantao, and Zhou Yan, but also VR films and short fi lms recommended by B3 Biennial of the Moving Image. The“Immersion special subject”, which consisted of 14 dome VR works, started “telling story” again with an entirely new narrative logic.

“技術倫理”主題展：五大板塊構(gòu)成

在中華世紀壇藝術館舉辦的“技術倫理”主題展于9月25日晚拉開帷幕。主題展分為科學、大數(shù)據(jù)、混合現(xiàn)實、人工智能、生物基因5大板塊，幾乎囊括了時下最熱門的技術話題。

科學。在好奇心的驅(qū)使下，人類踏上了探索宇宙奧妙的漫漫長路，我們用科學的方法論來建立和組織知識，用可驗證的理論解釋并推測宇宙世界。在此板塊中，藝術家將嚴謹?shù)目茖W理論與藝術巧妙結(jié)合在一起，它們面貌不一，或充滿難以言喻的視覺美感，或簡單直率，令人深思。生活和工作于柏林的藝術家金允哲，在作品《照耀》中從底部注入空氣，使光子晶體不斷升降，在有限、狹小的亞克力盒子空間內(nèi)生成異類的美感；布蘭德?沃爾夫德的《發(fā)話筒》是一個可穿戴的設備，人們可以把它戴在嘴部，內(nèi)部的手機屏幕上展示觀眾的嘴部視頻。代言人給每個人一個機會提問與我們的存在、倫理、價值相關的終極問題?！皩λ腥藖碚f，這些問題難以回答，甚至沒有答案，但是我們一定要問,雖然我們不知道如何問，問什么，或害怕去問?！?/p>

作為展覽策展人之一的中央美院設計學院副院長靳軍表示：“科學和藝術本就是殊途同歸的，也是我們追求并生存的方向。我們試圖用技術去呈現(xiàn)藝術的同時，也在試圖表現(xiàn)技術的問題?！?/p>

大數(shù)據(jù)。不可否認，互聯(lián)網(wǎng)已經(jīng)滲透于生活的每一個角落，不管你愿意還是不愿意承認，我們都正處于任何社會個體皆無法脫離的大數(shù)據(jù)時代。

以數(shù)據(jù)與敘事而聞名的藝術家喬納森?哈里斯，將電腦科學、制圖學、人類學、攝影結(jié)合在一起進行創(chuàng)作，他的作品探索人類如何通過不同的技術轉(zhuǎn)換現(xiàn)實；中國藝術家苗穎的影像內(nèi)容來自于具有“彈幕”評論功能的視頻網(wǎng)站bilibili中的熱門視頻；喬?漢密爾頓的《流》，將水流和互聯(lián)網(wǎng)進行了類比——瀏覽器窗口的結(jié)構(gòu)和運行方式成為嚴格的框架，它包含且挪移著成組的圖像與視頻流。瀑布、激流、河流、小溪和數(shù)據(jù)流從屏幕上流動而下。

朗雪波 體積 Lang Xuebo, Volume

吳玨輝 響尾蛇 Wu Juehui, Rattlesnake

鈴木有理 OTOTO Yuri Suzuki, OTOTO

松田啟一 超現(xiàn)實 Keiichi Matsuda, Hyper-Reality

混合現(xiàn)實?；旌犀F(xiàn)實（MR）可認為是虛擬現(xiàn)實（VR）和增強現(xiàn)實（AR）的融合，它是結(jié)合真實與虛擬世界而形成的一種新的可視化環(huán)境，物理實體與數(shù)字對象共存并能實時地相互作用。

我們可在本板塊中的藝術家松田啟一的概念電影《超現(xiàn)實》中一探究竟。在短片中，物理現(xiàn)實與虛擬現(xiàn)實融為一體,整個城市被各式媒介所包圍?？萍技冉槿肴藗兠恳淮蔚慕换ヅc體驗，提供各種美妙的可能性，又控制著我們觀察和理解世界的方式。

《體積》是中國藝術家朗雪波2016年的最新作品。此作品在虛擬情景中設置了一個全景式封閉空間，空間內(nèi)全部被黑色與黃色的斜條紋有序地涂裝，使觀者沉浸于一個抽象的環(huán)境里，在環(huán)視和熟悉環(huán)境的過程中，從墻面、地面、上空將不斷出現(xiàn)凸起物體向觀者襲來，使平面的墻體條紋出現(xiàn)變形，然后又不斷地消失從而恢復平靜，呈現(xiàn)出焦灼不安的聲音伴隨。

人工智能。英國哲學家尼克?博斯特羅姆（Nick Bostrom）曾在其2003年發(fā)表的論文中認為，我們生活的宇宙時空可能是由某種高緯度生物制造的計算機所模擬而生成的，并提出人類的遙遠后代可能會進化出或者創(chuàng)建出某種程序來適應計算機宇宙時空，以模擬過去發(fā)生的事件和重建遠古祖先的生活方式?！皺C器智能是人類永遠需要做的最后發(fā)明?！?/p>

音樂藝術家鈴木有理的“OTOTO”是一套音樂發(fā)明套裝，能讓任何人輕松快速地DIY自己的電子樂器。打開OTOTO，可以創(chuàng)造各種樂器，從平底鍋架子鼓到可觸摸發(fā)聲的折紙都能創(chuàng)造出來。套裝的核心在于PCB合成器，如果將導電物質(zhì)與合成器相連則可以觸發(fā)不同的聲響，通過將電子模塊連接到四個不同的聲音感應器來改變聲響。

《響尾蛇》作為藝術家吳玨輝“錯造物系列”的最新產(chǎn)物，是一個鋼筋鐵骨的動態(tài)裝置（動態(tài)雕塑）。作品源于“π”這一數(shù)理概念的猜想，公轉(zhuǎn)與自轉(zhuǎn)正反疊加，衍生出無限不循環(huán)的形態(tài)變幻，正如圓周率的不可窮盡。瞬息萬變的運動軌跡猶如宇宙天體的運轉(zhuǎn)，亦如機械生命的游擺，從而生成一種無目的而存在的機械生命。

生物基因。生物基因的改造直接涉及“倫理”問題的討論，在本板塊可看到藝術家的有關“基因改造”的系列作品。

愛德華多?卡茨著名的《綠色熒光兔》是一件轉(zhuǎn)基因藝術作品，卡茨運用分子生物技術將水母中的綠色熒光蛋白轉(zhuǎn)入到兔子的DNA中，使兔子在紫外光下呈現(xiàn)出綠色熒光。本作品展現(xiàn)的理念不僅包括創(chuàng)造綠色熒光兔阿爾巴本身，還包括由此產(chǎn)生的公共對話及社會對這只兔子的接納。

人造衛(wèi)星子的影片《姻緣紅線》，以一種輕松活潑的浪漫故事的形式去探討科學與神話的關系，人造衛(wèi)星子與日本農(nóng)業(yè)生物資源研究所合作，給蠶蛹加入制造催產(chǎn)素（催生“愛”的荷爾蒙）的基因和紅色熒光珊瑚的基因，讓經(jīng)基因改造的蠶吐出神話中的“姻緣紅線”。從伽利略認定地球圍繞太陽公轉(zhuǎn)到達爾文的進化論，科學一直在挑戰(zhàn)并消解神話世界。在不久的將來，科學是否會再造神話？

對于本次媒體藝術雙年展，中央美術學院院長范迪安在前言中寫道：“我們今天探討技術倫理，不在于探討技術已經(jīng)達到何種發(fā)達程度，而是討論人們能夠在多大范圍內(nèi)接受技術、利用技術，既不拘囿于技術，又不干擾技術?！笨梢哉f，正是技術的發(fā)展引發(fā)了現(xiàn)代社會的發(fā)展，而與此同時問題也隨之而來。德國哲學家海德格爾對技術發(fā)展導致的結(jié)果憂心忡忡，在他看來，現(xiàn)代技術的發(fā)展恰恰導致了人類的危險境況。在今天，這一點已經(jīng)表現(xiàn)得極為明顯——工業(yè)化技術的發(fā)展導致環(huán)境的破壞、人和自然的對立、地球的變暖等問題的出現(xiàn)。“媒體藝術的哲學命題遠遠高于藝術命題，因為后者實在是無法回應科學新創(chuàng)造的問題?！北敬坞p年展的策展人王春辰教授如此表示：這場命名為“技術倫理”的雙年展，不僅是一個充滿“問題”的體驗場，更是一個觸發(fā)“問題”的實驗室。

展覽現(xiàn)場 Exhibition view

“Ethics of Technology” Thematic Exhibition: Composed of Five Sections.

The “Ethics of Technology” Thematic Exhibition, held at the Art Museum of China Millennium Monument, opened on the evening of September 25. It was divided into five sections, including Science, Big Data, Mixed Reality, Arti fi cial Intelligence and Bio-Genetics, covering almost all of the hottest technology topics.

Science. Driven by curiosity, human beings have embarked on a long journey in questing for the wonders of the universe.We use scienti fi c methodology to build and organize knowledge,and to explain and predict the universe with testable theories. In this section, artists skillfully combine rigorous scienti fi c theory with art. Their works are different in feature. Some are full of indescribable visual beauty; some are simple, straightforward,and thought-provoking. The artist Yunchul Kim is an artist living and working in Berlin. In his work Effulge, photonic crystals ascend and descend by the force of air pumped from the bottom,thereby constantly creating new figures and patterns inside the acrylic box. The Mouthpiece created by Brendan Warford is a device that allows people to wear over their mouth with phone displaying video footage of mouths crowd-sourced from the street. The Dai Yan Ren (speak for me) gives voice to anyone to ask fundamental questions, which are all too hard to answer.These questions are existential, ethical, and values. “All the questions which are beyond everyday emergency matters need to be asked, even we don’t know how to ask, what to ask, or too scared to ask.”

Jin Jun, one of the exhibition curators and vice dean of School of Design, Central Academy of Fine Arts indicated,“Science and art are originally two aspects pursuing the same goal. The combination of the two is also the direction of our pursuit and survival. We try to use technology to present art, and at the same time, we also try to show technical problems. ”

Big Data. There is no denying that the Internet has permeated every corner of our life. Whether you like it or not, we are in the era of big data that no individual can divorce from.

Jonathan Harris, an artist famous for his data and narrative,combines computer science, cartography, anthropology and photography. He explores in his works how humans can transform reality through different technologies. The Chinese artist Miao Ying’s video content comes from a popular video of a video website bilibili that has a “barrage” comment function.Joe Hamilton’s Stream explores the analogy of water and the internet. The structure and movement in the browser window have become a rigid framework that contains and shifts an array of found images and video of water. Waterfalls, torrents, rivers,creeks and streams of data fl ow down the screen.

Mixed Reality. Mixed Reality (MR) can be considered as the integration of Virtual Reality (VR) and Augmented Reality(AR). It is a new visual environment, which combines the real and the virtual worlds. Physical entities coexist with digital objects and they can interact with each other in real time.

We’ll find out the mixed reality in the artist Keiichi Matsuda’s concept film Hyper-Reality in this section. In this short film, physical and virtual realities have merged, and the city is saturated in media. Science and technology are not only involved in every interaction and experience, offering amazing possibilities, but also control the way we observe and understand the world.

Volume is the latest work of the Chinese artist Lang Xuebo,created in 2016. In the virtual scene there is a panoramic enclosed space. The viewers are immersed in an abstract space that painted with diagonal black and yellow stripes. Convex parts emerge from the wall, the fl oor and the ceiling successively and hit the viewers when they are looking around and sensing the environment. With an anxious sound, the strips on the walls distort, disappear and then restore calm.

Artificial Intelligence. The British philosopher Nick Bostrom pointed out in his paper published in 2003 that the cosmic space and time in which we live is possibly simulated and generated by a computer made by a high latitude creature,and suggested that the remote offspring of human may evolve or create some program to adapt to the computer cosmic space and time so as to simulate the past events and reconstruct our remote ancestor’s way of life. “The machine intelligence is the last invention people will always need to make.”

“OTOTO” of the music artist Yuri Suzuki is a musical invention kit, which allows anyone to create their own electronic musical instrument. With OTOTO you can unpack the kit and make anything from a drum kit of saucepans to origami that sings when touched. The core of the kit is the PCB synthesizer. The synthesizer can trigger out different sounds if some conductive material is connected to it. The sound can also be changed by connecting electronic modules to four outboard sensor inputs.

As the latest product of “Wrong Creation Series” of the artist Wu Juehui, Rattlesnake is a dynamic metal installation (a kinetic sculpture). It originates from the mathematical concept“π”. The superposition of revolution and rotation in the forward and reverse directions leads to in fi nite irrecurring morphological changes, just as the endless numerical value of π. The changing movement trajectory, like the movement of celestial bodies or the travel of mechanical life, generates an aimless mechanical life.

Bio-Genetics. Modification of biological genes is directly related to the discussion of “ethics”. In this section, you can see the series of works of “genetic modi fi cation”.

Eduardo Kac’s famous GFP Bunny is a transgenic artwork.Employing molecular biology, Kac combined jelly fi sh and rabbit DNA to produce a bunny that glows green under blue light. This work comprises the creation of a green fl uorescent rabbit (‘Alba’),the public dialogue generated by the project, and the social integration of the rabbit.

Sputniko’s fi lm Red String of Fate explores the relationship between science and mythology in a lively and romantic story. Sputniko has collaborated with scientists from NIAS in engineering silkworms genetically to spin this mythical ‘Red String of Fate’ by inserting genes that produce oxytocin, a socialbonding ‘love’ hormone, and the genes of a red-glowing coral into silkworm eggs (photograph of the actual oxytocin-induced red silk). Science has long challenged and demysti fi ed the world of mythologies—from Galileo’s belief that the earth revolved around the sun to Darwin’s theory of evolution and beyond—but in the near future, could science be recreating our mythologies?

About this Media Art Biennale, Fan Di’an, President of China Central Academy of Fine Arts, writes in the preface:“When we explore the ethics of technology today, we don’t explore what degree of development technology has reached,but to what extent people can accept technology and use technology, and to what extent they are not confined by and don’t interfere with technology.” It can be said that the development of technology has led to the development of modern society, and at the same time problems have followed.German philosopher Heidegger is worried about the result of technological development. In his view, the development of modern technology in turn has led to a dangerous situation for human beings. Today, this has been very obvious—the development of industrial technology has led to the destruction of the environment, the confrontation between man and nature,and the global warming. The curator of the biennale, Professor Wang Chunchen said, “The philosophical proposition of media art is much higher than its artistic proposition, because the latter is unable to respond to the problem of new creation of science.”The biennale entitled “Ethics of Technology” is not only an experience fi eld fi lled with “problems” but also a laboratory that may trigger “problems”.

喬·漢密爾頓 流 Joe Hamilton, Stream

喬納森·哈里斯 網(wǎng)絡效應 Jonathan Harris, Network Effect

愛德華多·卡茨 綠色熒光兔 Eduardo Kac, GFP Bunny

展覽現(xiàn)場 Exhibition view

（本文附圖由主辦方提供）

林佳斌：中央美術學院藝訊網(wǎng)編輯部編輯

(Pictures are provided by the sponsor)

Lin Jiabin: editor at Editorial Department of China Central Academy of Fine Arts (Art Network)

Beijing Media Art Biennale: How Do Science and Technology Generate Art?

/Lin Jiabin

現(xiàn)代技術的迅猛發(fā)展使得“技術倫理”成為時下最熱門的話題之一。歷史學家埃爾斯佩思?惠特尼指出，沒有一種古代學科分類像現(xiàn)在一樣，將藝術全部置于技術之下。藝術作為文化、社會、技術等因素的混合產(chǎn)物，現(xiàn)今的人們已經(jīng)難以根據(jù)其媒介形式來確定某件作品是否為某一種藝術形式。首屆北京媒體藝術雙年展選取“技術倫理”為主題。這次雙年展不僅是一個充滿“問題”的體驗場，更是一個觸發(fā)“問題”的實驗室。

技術倫理；北京媒體藝術雙年展；大數(shù)據(jù)；混合現(xiàn)實；人工智能；生物基因

The rapid development of modern technology makes“ethics of technology” one of the most popular topics at present. The historian Elspeth Whitney points out that no ancient classification of disciplines put art wholly under technology as we do now. Art is a mixture of cultural, social, and technical factors, but it is difficult for people today to determine whether a piece of work is a form of art according to its form of media. “Ethics of Technology” is chosen as the theme of the fi rst Beijing Media Art Biennale, and this biennale is not only an experience fi eld fi lled with “problems” but also a laboratory that may trigger “problems”.

Ethics of Technology; Beijing Media Art Biennale;Big Data; Mixed Reality; Arti fi cial Intelligence; Bio-Genetics