Palace of Oblivion
遗忘宫





Palace of Oblivion

"Palace of Oblivion" is a collaborative work by Xiyue Hu and Xing Xiao in 2020, created during the epidemic. It takes the form of a virtual space for games, which can be displayed through projections, screens, etc., with variable dimensions. On the one hand, the work is based on Simonide de Céos's "Memory Palace" method, through the retrospective of concrete objects, reconstructing the space where one of the authors lived during 1997. On the other hand, we created a crawler software to collect relevant images from the Internet of the same year, locating and displaying them in virtual space. This is used to explore the possible nexus on the question of the individual-collective relationship between personal memory and external memory (exosomatic memory or Internet collective Memory). At the Internet protocol layer, there is an absence of a clear definition of data storage (stateless protocols), resulted in a state of "amnesia". Under the circumstance of this state, search engines, data centers, blockchain and decentralized storage protocols contest for capabilities to construct collective memory. Bernard Stiegler, in his discussion of the relationship between technical objects (machines) and humans, refers to two kinds of games: finite games and infinite games (concepts by James P. Carse). While finite games aim to win, have clear boundaries and follow a fixed pattern of play, infinite games have no purpose in themselves and create infinite possibilities in the process of continuing the game. We believe that art's game of viewing ought to be an infinite game, that there is no "right way to play", and that its meaning emerges from the network of relationships between the viewer and the artwork, between the artwork and its creator, and between all participants and collective memory. The virtual characters in our gaming space would observe the spectator through the camera, adjusting the angle of the lens in accordance with the position of the spectator; the spectator and the characters in the virtual space gaze at each other, so that the identities of the viewer and the viewed is referred and entangled reciprocally.



​​遗忘宫

《遗忘宫》是淡水(Xiyue Hu)和十方(Xing Xiao)于2020年合作的作品,创作于疫情期间。形式为游戏虚拟空间,可以通过投影、屏幕等媒介展示,尺寸可变。一方面,作品以Simonides of Ceos的“记忆宫殿”方法为参照,通过对具体物品的追溯,重新构建了其中一位作者在1997年间生活的空间。另一方面,我们制作了一个爬虫软件对互联网上同年的相关图片进行搜集,将这些图片放置并展示在虚拟空间中,以此来探索集体-个体化的关系问题,即个人记忆与外置记忆(Exosomatic memory)/ 互联网集体记忆(Internet collective memory)之间可能存在的联系。互联网在其协议层缺乏对数据储存的明确定义(无状态协议stateless protocol),因而处于一种“失忆状态”。环绕这一状况,搜索引擎,数据中心,区块链以及去中心化储存协议展开角逐,以争夺构建集体记忆能力。施蒂格勒( Bernard Stiegler )在论述技术物(机器)与人的关系时提到两种游戏:有限游戏与无限游戏( 概念出自James P. Carse )。有限游戏以获胜为目的,边界明确并遵循固定的玩法,而无限游戏本身没有目的,在延续游戏的过程中创造出无穷的可能性。我们认为艺术的观看游戏应该是种无限的游戏,这个游戏没有“正确玩法”,它的意涵涌现自观众与作品,作品与创作者,以及所有参与者与集体记忆所形成的关系网络。在我们的游戏空间中虚拟人物会通过摄像头观察观众,通过观众的位置调整镜头观看的角度,观众和虚拟空间中的人物相互凝视,观者与被观看者的身份相互指涉,纠缠在一起。