Three Worlds of Different Nature

Live simulation

The project was completed with Xing Xiao.Based in computer games, this project is a virtual space with multiple scenes connected by portals. Walking through lush woods mottled with shadows, players can find sounds of chanted poems hidden inrocks or trees. We set up a hidden hole in the deep woods -- through a tunnel, the player can walk into a room where some of our paintings are displayed. These paintings move randomly according to the observer's sight. In the render algorithm of the pictures’ random motion, we used a noise algorithm similar to the one used for mountains in this space to create the isomorphism of the paintings and the space. The content of these paintings is continuation of our exploration into themes like writing, memory and technology, as well as symbols and translation. The concept of “Three Different Worlds” comes from the description of Platonism. 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. 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 terrainspace. 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.



该项目于2020 年与Xing Xiao共同完成,是一个有声游戏虚拟空间。分为多个场景,由传送门联通。穿梭在一片 葱郁斑驳的树林,玩家可以寻找到隐秘 在石头或树木里的声音,它们来自于一 些诗歌的念诵者。在树林深处我们设置 了一个隐蔽的洞口,通过一条隧道,玩家可以走进一间布置着我们部分绘画作品的房间,这些绘画依据观察者的视线随机运动。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。 " 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。 展览空间中用到的地形生成算法需要 一个种子数据作为输入,经由一系列运 算输出一个虚拟的地形空间。其数学性 质保证了其确定性:同样的种子数据总 会得出同样的地形空间。然而,由于种 子的选择是任意的,理论上我们可以生 成一个无限而延绵的世界。而林中世界 里的模型来自于对现实中具体事物的映 射,在这里,地质、树木和诗歌被抽离 出它们自身的上下文,并被保存在赛博 空间中。展览空间中,一个数学的理念 世界试图模仿现实的粗糙,而林中世界 中的事物就像是现实事物在理型世界中 的倒影。