Simulator Of Three Different Worlds

Simulator Of Three Different Worlds

The project is a virtual space experiment in the form of a game (cross-platform and VR available) jointly conceived and implemented with Xing Xiao in 2020. The virtual space is composed of Scene 1 (Forestial World) and Scene 2 (Exhibition Space), and the two are joined by a portal. We have gathered spoken-words of history themed poems(These poems are still censored and restricted) recorded by invited participants and placed them among the objects in the Scene 1 (Forestial World). Paintings are placed in the second scene (Exhibition Space) and the paintings move according to the observer’s sight: When the obever’s sight is not directly projected on the artwork, the piece will move randomly across the space. When the artwork is being overserved, it will gradually stabilize. We have used a noise algorithm similar to that of the mountains in the space in the renderer algorithm of the random motion to emphasize the isomorphism of the artwork and the space. The contents of these paintings continue our discussion and exploration on the themes of writing, memory, technology, as well as symbolism and translation.
The concept of “Three Different Worlds” comes from the description of Platonism: Objects and matter in the physical world are merely imitations to Ideas and that all Art is mimesis, imitation of the physical world. Through this theory of imitations, Plato constructed a hierarchical system based on the idea of “reality” and by whose criteria Art is considered at the lower level to the extent that it was concluded that the Poets should be expelled in Republic. This idea of reality has its variations in art history. For example, the hierarchy which is often confronted in Courbet’s works, the tug of war between photography and painting in revealing the reality or the rise of mass-reproduction technology as well as the pursuit of “spiritual reality” common with modern art. With the rise of virtual identity and the expansion of cyberspace, the boundary between the virtual and the real is blurred; the physical world and mathematical models are mapped to each other and eventually, the “Three Different Worlds” will become “Three Different Expressions” as there will no longer be a distinction in the sense of hierarchy.
The terrain generation algorithm used in the creation of the Exhibition Space requires a seed data as input and outputs a virtual terrain space. Its mathematical nature guarantees its certainty: the same seed data will always lead to the same terrain space. However, since the choice of seeds is arbitrary, in theory, we can generate a continuous world with infinite possibilities. While in the Forestial World, the model is based on the mapping of concrete things in reality, where geology, plantations and poetries are drawn out of their contexts and is saved in the cyberspace. In the Exhibition Space, a mathematical world of ideas attempts to capture the roughness of reality whereas the objects in the Forestial World are the reflections of real things in the physical world.


此项目是游戏形式的虚拟空间 (可VR化或跨平台移植),于2020年和 Xing Xiao 共同策划实施。空间分为场景一(林中世界)和场景二(展览空间),由传送门联通。我们联系并邀请了一些参与者,对他们念诵的与历史有关的诗歌进行了收集,并将这些声音放置于场景一(林中世界)的物体之中。在场景二(展览空间)中我们展示了部分绘画作品,这些作品会根据观察者的视线运动,当观察者的视线没有投射在画面上时,画面会进行不确定的随机运动,当画面被观察时,画面会逐渐趋于稳定。在画面随机运动的渲染器算法中,我们使用了与空间中山脉相类似的噪音算法,以制造作品与空间同构性。这些画作在内容上延续了我们对书写、记忆与技术,以及符号与转译的问题的探索。
“三种不同性质的世界” 概念来自柏拉图主义的描述,既1.理念世界比物理世界更实在,因为物理世界是对理念世界的模仿 2.艺术创作是对物理世界的模仿。通过这一模仿论描述,柏拉图构建起来一种基于“实在”的等级观念,这一观念将艺术创作置于“实在”的下游,以至于《理想国》中得出应该将诗人驱逐的结论。这种“实在”的观念在艺术史上也有其变体,例如库尔贝作品中对抗的“事物等级”,历史上照相术与绘画对纪实性的争夺,复制技术的兴起与现代艺术转向对“精神实在”的追求等等。随着网络空间,虚拟身份的兴起,“虚拟”与现实的界限变得模糊,物理世界与数学模型相互映射,“三种不同性质的世界”终将成为“三种不同的表达”,不再有等级意义上的差别。