REAR/REAL
video/installation 3'10
2020
该作品利用当下AR自动翻译机器所制成的一系列图像语言所构成，智能时代下语言结构的图像化及符号化，使得其“表层结构”令人震撼的多样性不是用来对“深层结构”进行或然的语言表达，而是对语言本身叙事体系的逃离。
韩炳哲在著作中提到，希区柯克的《后窗》（Rear Window) 展现了屏蔽物的图像之间的关系，而随着普遍化的想象，现代的数字窗windows实则比后窗更有效地把我们屏蔽在现实之外。
作品中所呈现翻译器的两端窗口就如后窗一样，语言系统在AR实时图像的转换中相互桎梏，成为一个闭合且无法解离的自我循环的同时，图像本身又自我铸成了一种脱离现实的“机器语言”。机器语言看似作用并服务于透明的“数字窗口”中，可当此类语言主导了人们的想象并构成自己的语言体系时，实则正在建立起一座由数字端所构成的“巴别塔”？
This work attempts to retranslate the enclosed circulation behind the generalized AR translation machines which is isolated in the unexplained liminality of technology and culture.
I personally intend, by presenting the exhibition, to bring the barrier between technology and culture, mother tongue and second language, ego and the Other, into a visible reality. In this way, the work itself can serve as an entrance and exit between subject and object, similar to the montage of inputs and outputs employed by video works, allowing this dialogue to take place between the moment of video and the viewer, the audience and their imagination, the algorithm structure and poetic syntax. On the other hand, considering a political and cultural perspective, I as a Chinese citizen growing up in a society full of censorship, during the process of the research I realized that the algorithm of linguistic translation has high similarity to Chinese internet censorship, which is applied to transform the linguistic inherent narrative, into images and symbols to be seized and filtered. It happens to begin with algorithmic sensing which is able to detect the operating habit of users and follow with interfering with their perception in order to clarify its underlying mechanisms. Furthermore, the subtle correction is being collected as an overload hyper-aesthetic which is an informational spasm, as Félix Guattari saw madness as a disjointed means of figuring out the world that breaks its bounds.
In this proposal, therefore, this dialogue is not only established between humans but should be reconsidered in terms of our dialogue with algorithms and censorship, objectivity and subjectivity, I will aspire to question, in this contemporary society inundated with digital media and devices, whether our mode of dialogue with ourselves is influenced by the authorities and the fact that we, in our self-talk understanding ourselves better?
