Posthuman View

Xiaolei TIAN 田晓磊

The words “fragility” and “collapse” are often reflected in Xiaolei TIAN’s work, specifically, the sense of vulnerability and crisis that threatens to collapse. For him, the pandemic is the result of a chain of events, similar to a cascading reaction. No one realised at first that the virus would be so radioactive and that it would also lead to the interruption of all activities throughout society. Restrictions appear from country to country, people to people, and eventually, all life was messed up.

“脆弱“和“崩塌”这两个词时常体现在田晓磊的作品上,具体地说,是脆弱和有可能发生崩塌的危机感。对他来说,疫情是由一件事产生了许多链条,类似于一个连带反应。一开始谁都没有意识到这个病毒会有这么强的辐射性,还导致全社会中断了一切活动。国家与国家之间,人与人之间的限制,最后一切生活全都乱掉了。

Thrilling stabilization

惊险的稳定

The astronaut is a symbol of man’s exploration of himself or a human figure cultivated by the spirit of science. He is constantly exploring new planets, and when he gets to the next one, it becomes a ball light in a ballroom, but it slowly blows up like a self-cracking explosion. And when he goes to the next one, the last one is restored, and man is like a locust, passing and exploring one by one.

其中宇航员象征的就是人类对自己的一种探索,或者是一种科学精神培养出来的人类形象。他在不断得探索新的星球,走到下一个星球的时候,那个星球就变成了舞厅的球灯,但是它慢慢会自裂般得炸掉。而当他再次走到下一个的时候,上一个又恢复了,人就像一个蝗虫一样,一个个得去经过和探索。

Before reboot

重启之前

Even though they are dancing wildly, those two have started to take on distorted and dead features, and the background has changed from a starry sky to a blue screen, reflecting a kind of revelry before the reboot.

即使在狂欢跳舞,但是那两个人已经开始有扭曲和死机的特征,背景也由星空变成蓝屏,体现了一种重启之前的狂欢。

Sisyphus

西西弗斯

Islet

孤岛

Biography

Xiaolei TIAN: Young Chinese artist, a pioneering force in Chinese new media art

“The post-pandemic era may accelerate the arrival of the post-human era; the pandemic is actually accelerating the speed of man’s incubation in the virtual world, as well as man’s dependence on the internet, while also moving further towards a world like cyberpunk. In general, man is actually getting more comfortable with the evolution of machines and technology, and at the same time they are cycling faster and faster on man.”

田晓磊:中国青年艺术家,中国新媒体艺术的先锋力量

“后疫情时代可能会加速后人类时代的到来,疫情其实是加速人在虚拟世界的孵化速度,以及人对互联网的依赖程度,同时也向赛博朋克这样的世界更进一步。总的来说,人对机器,科技的进化其实也越来越适应了,同时它们对人的循环也越来越快了。”

Interview

The names are abbreviated as “Jackie”(Jackie GAO) and “TIAN”(Xiaolei TIAN)

下文中,人物姓名将被缩写为 “高”(高嘉齐)“田”(田晓磊)

Jackie: As R-Lab is an organisation that explores the transformation and changes in Art during the pandemic, so our discussion will focus on the potential discourse that the pandemic provides for the transformation of art.

First, have there been any changes in your life and work since the outbreak that have impacted you?

高:由于R-Lab是一个以后疫情视角,去探究艺术在经历疫情这一转折点时所发生的转向以及变化的组织,所以我们的话题会主要围绕疫情为艺术进行转向提供的潜在话语进行讨论。

那么首先,在疫情爆发后,您的生活和工作有发生一些另您印象比较深刻的变化吗?

TIAN: At the beginning it was very intense, but now I feel it has become very easier in Beijing, apart from that, sometimes, we still wear masks when going into public places.

田:一开始的时候会很强烈,但是现在我在北京感觉已经变得很微弱了,除了有时候大家在公共场所会戴口罩。

However, when the pandemic first broke out, the feeling of change was very noticeable, as if there was tension around us all the time. The city management also tended to be stricter and more closed off.  Whenever we went to some places, we needed to have proof of access and went through many checks which inevitably created more stress for us.

但疫情刚爆发时,变化的感觉非常强烈,仿佛时时刻刻都充满紧张感。城市管理也趋于严格和封闭,出入很多场所,都必须有相关的证明,并且还有很多环节,这也无形中为我们带来了更多压力。

This change has affected all aspects of society, the main impact was about traveling, and we all had to take activities indoors mostly. Everyone was like an island, seeking information with the outside world, and the only option had become the internet and our phones.

这种变化涉及到生活的方方面面,主要的影响就是出行,大家都基本在室内活动。所以每个人都像一座孤岛,在寻求跟外界的一个信息交流,工具就变成了互联网,和手机端。

Jackie: Right, we must be more proactive in order to connect with people.

高:对,我们要更主动一些才能和别人建立联系。

TIAN: Exactly. I think it is the same all over the world. During the pandemic, people’s emotions became negative, so we just had to go through such a lonely period. I was one who adapted quickly and was not too sensitive to this change. Then, I have made good use of this period because I was used to being alone, so instead I felt that I suddenly have plenty of time without so much strife.

田:对。 关于这个,我认为全球应该都是这样的。在疫情下,大家的情绪都会变得消极,所以我们就必须要经历这样一段孤独的时期。其实我是适应比较快的,对这种变化不是太敏感。我后来好好的利用了这段时间,因为我很习惯一个人呆着,所以反而觉得自己的时间突然变的非常充裕,没有那么多纷扰。

Jackie: Agreed, it needed to take a process and it might be negative at first.

高:对,这需要一个过程,一开始会比较消极。

TIAN: Exactly.

田:对,没错。

Jackie: Then after the pandemic, do you think your perception of art has changed compared to before? Like the focus of your Art creating or enjoying art.

高:那么在经历了疫情后,您认为您现在对于艺术的思考相较于疫情爆发前会有什么不 同吗?比如思考的重心,或者是关注的层面是否有所不同呢?

TIAN: I think the key words I am thinking about now are “fragility” and “collapse”. This may also be reflected in my work, specifically, the fragility of the status quo and the sense of crisis that there is a possibility of collapse. As the pandemic caused a series of events triggered by a single event, it is like a chain reaction. It was not acknowledged at the beginning that it would be so destructive, even leading to a state of almost stagnation throughout society. There were all sorts of restrictions between regions and between people, and eventually everything just went haywire.

田:我觉得我目前思考的关键词是脆弱和崩塌。这个也在作品上可能也会有一些体现,具体地说是,现状的脆弱和有可能发生崩塌的危机感。因为疫情是一件事引发的一系列事件,类似于一个连带反应。其实一开始也没有意识到这个病毒会有这么强的辐射性,甚至导致全社会几乎处于一个停滞状态。区域之间,人与人之间的存在各种限制,最后就一切都乱掉了。

It is as if our current situation cannot withstand any fluctuations, and a problem of any aspects could bring the whole society to a status of standstill. This vulnerability was much stronger than we thought. A problem in one area seemed to mean the whole world went wrong in an interconnected way. It felt like the current world order was not actually very solid, it only appeared stable on the surface, and it could not adapt to the change as quickly as we thought; like a wound, it takes a long time to heal, and its pain is global and continuous. So, I might rethink some of the topics about the sense of vulnerability, or the instability, etc.

我们的现状好像经不起任何的波动,任何一个层面出现了问题,就会导致整个社会发展停滞。这种脆弱性其实比我们想象中要强烈的多。一个地方出现了问题,全世界都会联动的出现问题。感觉本身井井有条的世界,其实并不是很坚固,只是表面看起来很稳定,而且它对变化的适应能力也没有想象的那么快,就像一个伤口一样,它需要很长的时间去调养,而且它的痛感是全球性持续的。 所以我可能会重新思考一些关于脆弱感的话题,或者是平衡崩溃和不稳定的关系等等。

Jackie: Yes, these two words are very concrete, and they are reflected in your work. In fact, I have noticed that you have used some visual expressions in many of your works, such as the LED gallery in Hangzhou, the ‘specimen form appeared on the flat screen’ presentation in Posthuman Zoo, and the ‘screen formalin’ concept. I think the concept of “screen formalin” is very clever, so how did you come up with the idea of using this kind of presentation? Do these works have a reflective effect on the context of the pandemic?

高:是的,我觉得这两个词非常的具象化,并且是您的作品当中有所体现的。其实我有注意到,您在自己的很多作品中都有运用到一些视觉性的表达手段, 类似于在杭州的led长廊,和《后人类动物园》中,这种在“二维屏幕上标本式”的呈现,以及“屏幕福尔马林”概念的提出都十分地巧妙,那么请问您是如何想到运用这种方式进行展示呢的?这些作品会对疫情这一语境有辐射作用吗?

TIAN: Actually, those works started as an attempt to do it inside a box, to create the screen itself as a space. I think that was a little proposition I gave myself or a little restriction. It was a spatial restriction so that it would be better organised. From a formalism point of view, I focus more on the spatial relationship of the content, that is, the relationship between the content itself and the container. Later, I felt that this was making patterns, so I created some of these imaginary patterns that I imagined to be related to post-humanism. Of course, it is a long-term project that will probably take a few years to develop and refine, and eventually it will become a series. And it will all be displayed side by side, probably in many boxes, each with a different object in it, and eventually it will be displayed like a museum and could be collected on screen.

田:其实那些形式一开始是想做在盒子里面,把屏幕本身当成一个空间来创造。我觉得这是我给自己的一个小命题,或者是一个小限制。那是一个空间上的限制,这样的话它会比较好的被整理。从形式感上来看,我会更着重于内容的空间关系,也就是内容本身跟容器的关系。到后来我就觉得这其实是在做标本,于是我就创造了一些我想象中的与后人类相关的这些假想标本。当然这是一个长期的计划,可能会用几年的时间去发展和完善,最后会变成一个系列。并且都会是并列展示的,可能有好多盒子,每一个盒子里都是不同的东西,最后会像一个博物馆一样进行展示,并且可以在屏幕中被收藏。

Jackie: I think this is a particularly great concept because including the ‘screen formalin’, which you mentioned earlier is a developing concept, which has porosity. What is also interesting is that long before the outbreak you proposed this concept, but once again when you look at it through the lens of the pandemic, its meaning has changed. I think this point also proves that the work does have an extensibility about it and a kind of prophetic quality too.

高:我觉得这个是一个特别好的概念,因为包括屏幕福尔马林,你刚才也提到它是一个发展中的概念,有多孔性的。同样有趣的是早在疫情爆发前其实您就提出过这个概念,但再次通过疫情的角度去看,它的意义又会发生变化,我觉得这一点也是证明这个作品确实有可延伸性和一定的预言性。

TIAN: Actually, I am better at working on the computer, which probably allows me to be more open and flexible than I would be. Because there are a lot of specific constraints, such as materials, costs, space, and time, and even a lot of mechanical or other specific problems, but on the computer, these are not really problems. In the future, it could be made into VR — VR is already being done, wearing 3D glasses, the world would be real, it’s like we are looking at exhibitions in a virtual museum, so the experience could be better.

田:我比较擅长在电脑上去创作,这可能会让我比在现实中更加放得开,或者更灵活一点。因为现实中有很多具体的限制,比如说材料,费用,空间和时间,甚至还有好多机械或者其他一些具体问题,但是如果在电脑中其实就不算问题了。现在展示出来的话,我觉得还不是最完美的状态,如果在未来,可以做成VR的—VR其实已经在做了,戴着3d眼镜看,那个世界它就是真实存在的,就真的是在逛一个虚拟的博物馆,这样体验感可能会更好一点。

Jackie: Right, so do you think the concept of ‘screen formalin’, is there some overlay or overlap of context between this concept and the pandemic?

高:对的,那么您认为屏幕福尔马林的概念,它和疫情有没有一些相覆盖的或者相重合的语境?

TIAN: The pandemic has catalysed the fulfillment of the concept.

田:疫情催化了这个事的发生。

Jackie: As an audience, from my point of view, the pandemic is a continuation of the concept of this series of works. You just said that the pandemic is akin to a push for the fulfilment of these ideas, which I think is indicative of the prophetic nature of the post-human perspective of this work, the pandemic is akin to a validation, which is also interesting.

高:以一个观者的角度来看,疫情其实会对这一系列作品的概念进行一个延续。您刚说疫情类似于推动了一这些观念的应验,我认为这是能体现出这个作品的后人类视角的预言性的,疫情类似于一场验证,这个也很有意思。

TIAN: Yes, the audiences are free to make associations. Although they might have different perspectives to what the artist initially thought, however, it is very normal and the artist would like the audiences to do so, to have various interpretations.

田:对,观众联想是很自由的。虽然这跟艺术家一开始的想法会有不同的角度,但其实这是特别正常的,而且艺术家也希望是这样的,拥有各种解读。

Jackie: It is. I think that is also one of the charms of art. Therefore, it has brought a lot of changes due to the pandemic, so what might be the most impressive change that the pandemic has imparted on the art world?

高:是的。我觉得这个也是艺术的魅力之一。那么,由于疫情带来了很多的转变,那么对于您来说,艺术界里面发生的,另您印象深刻变化是什么样的呢?

TIAN: I think it is the fact that there are more artworks online, or that people have a stronger desire to showcase it. It used to seem like people were a bit secretive and would not always post their ideas on public platforms. But then I found that people were trying to promote themselves in every way possible. However, there is probably so much information on the internet that even if you do speak up, you might not always be noticed. People only have a limited attention span and most of their attention was taken up by those platforms who have a way of knowing what could get people’s attention, even if it’s not necessarily what they really want or like. At the same time, because of the lockdown, there were more online exhibitions.

田:我觉得是线上的艺术变多了,或者说是大家的展示欲更强烈了。以前好像大家其实都有点深藏不露的感觉,有想法不会轻易发布在公共平台上面。但是后来我发现大家都想尽一切办法在宣传自己。然而,可能是在网上信息太多了,所以即使你发声的话也不一定会被人注意到。人的注意力是有限的,并且大部分的注意力都被有方法的媒体们给占据了,他们知道什么能博人眼球,虽然那并不一定是人们真正想要或喜欢的。同时,因为封锁,线上展览也变多了。

Jackie: That is right, you have been very specific about the profound shifts in the Art world. So, let us go back to your work. I have seen some short videos on your Weibo account, such as Before the Reboot and the Mythology series, which have some astronaut and planet elements in them. What are your thoughts on applying these elements in a post-human context?

高:对的,关于艺术界比较深刻的转变,您刚刚已经说的很具体了。那么我们还是回到作品,我在您的微博上看到了的一些短视频,比如说“重启之前”,然后“神话系列”等等,都会有一些宇航员还有星球的元素在,那么,您将这些元素运用在后人类语境中的思考是什么呢?

TIAN: These astronauts relate to the stability, fragility, and collapse that we just talked about. In The Thrill of Stability, for example, the astronaut actually symbolises a human exploration of himself, or an image of a human being cultivated by the spirit of science. He is constantly exploring new planets, and as he goes onto a planet, that planet would become a ball light in a ballroom, and then slowly collapse and blow itself up, and as he is walking towards the next one, the last one resume, which could give a feeling of a human being as like the locust, going from a planet to another for plundering.

田:这些宇航员其实就跟刚才聊的稳定,脆弱和崩塌都有关系。 比如说《稳定的惊险》,其实宇航员象征的就是人类对自己的一种探索,或者是一种科学精神培养出来的人类形象。他在不断的探索新的星球,走到一个星球上的时候,那个星球就变成了舞厅的球灯,然后它慢慢就会自我崩溃并炸掉,当人在走向下一个的时候,上一个又恢复了,这会给人一种人如蝗虫一般,一个个星球去掠夺的这种感觉。

That is also what Before the Reboot is about. They are having a carnival dance, but the man has started to take on a distorted and deadly character, and the background has changed from a starry sky to a blue screen, a sense of one last carnival before the end. That is how I interpret it, but audiences may see it differently.

《重启之前》也是这个意思。在狂欢跳舞,但是那个人已经开始有扭曲和死机的特征,背景也是由星空变成蓝屏,一种末日来临之前的狂欢之感。我个人是这样去解读的,但每个人的看法不一样。

Jackie: I think this is also a wonderful piece of work. And as an artist who mainly works in the field of new media art, what do you think is the relationship between Technology and Art?

高:我觉得这个也是很妙的一个作品。那么,作为一个主要以新媒体为领域尽行创作的艺术家,您认为科技和艺术发展之间的关系是怎样的呢?

TIAN: Technology and Art are closely linked. Historically speaking, technology and art are one and the same, but I think it is basically technology that drives art. Because art is only beneficial if people are well fed and clothed. Like the technological revolution, which invented so many technologies that are particularly useful for life, such as CT, and technology has in turn contributed to the development of art, rather than art contributing to the invention of technology. Because art does not have that much objective energy, it’s the economy that’s behind the technology, and the economy drives the technology, and then the technology drives the whole society from all aspects.

田:科技和艺术我认为是紧密连接在一起的。从历史上来说,科技与艺术是一体的,但我觉得基本上是科技在推动艺术的发展。 因为艺术其实是在人们丰衣足食的前提下才能体现出它的益处。 所以这就像科技革命,它发明了好多对生活来说特别有用的科技,比如CT。科技反向促进了艺术的发展,而不是说艺术促进了科技的发明。因为艺术并没有这么大的物质能量,科技的背后是经济,经济推动了科技,然后科技带动了整个社会各种层面的运转。

In fact, from the invention of pigments to the computer, the Internet, including VR and artificial intelligence, all these inventions have been promoting art and finding new possibilities for it. Some of them are material, some are directly conceptual. In fact, art and technology are one and the same, but technology comes first, and art comes second.

其实从颜料的发明,一直到现在的电脑、计算机、互联网,包括VR和人工智能等这些一系列发明,都是在推动艺术和在为其寻找新的可能性。有的是从材料上,有的是直接从观念上去转化。其实艺术与科技就是一体的,只不过科技在前,艺术在后。

Jackie: Well, yes, the economic base determines the superstructure. Then we come to the next question, the concept of the post-pandemic era was proposed in a way that overlaps with the context of the post-human era that you proposed earlier, can you talk about what would be potentially illuminating about the post-human era for what we call the post-pandemic era?

高:嗯,是的,经济基础决定上层建筑。 那么我们来到下一个问题,后疫情时代这个概念的提出,其实在某种程度上和您之前提出的后人类时代的语境是有所重叠的,您能谈谈关于后人类时代会对我们所说的后疫情时代有什么潜在的启发性吗?

TIAN: I think the post-pandemic would accelerate the post-human era because the pandemic is accelerating the rate at which people are incubating in the virtual world, people are becoming more dependent on the internet, and we are taking a step further towards a cyberpunk-like world. In general, man has become more and more adapted to machines, to the evolution of technology, and conversely man has become more and more updated to them. There is a heavy dependence on technology, especially in some big cities, people there has reached an unrealistic level of dependence on technology. It is as if people are handicapped once they have been removed from certain technologies. For example, if you do not have navigation app on your mobile phone, you may not even know where you are driving. The use of the Internet for express delivery, ordering food, having fun, etc. has also increased our dependence on it. So, I think people would probably be happier in the virtual world, and this process may last for a few hundred years. As the technology becomes more and more mature, people will spend more time in the virtual world than, for example, gaming time now feels like a lot, as well as brushing Jitterbug or some other social media software. Excitement and entertainment, this is the next direction. People’s time has slowly been taken over by some technology, so I think the pandemic is a kind of acceleration, I guess.

田:我觉得后疫情会加速后人类时代的到来,因为疫情其实是在加速人在虚拟世界的孵化速度,人对互联网的依赖更强烈了,我们也向类似于赛博朋克的世界更进了一步。总的来说,人对机器,科技的进化变得越来越适应了,反过来说人对它们的更新换代也越来越快了。人对技术有严重的依赖,尤其在一些大城市里,人对科技的依赖程度已经到达不太现实的程度了。好像人一旦脱离了一些技术,就像残疾人一样了。 比如,手机上如果不安装导航软件,可能开车都不知道向哪里行驶。还有互联网对一些快递,订餐,玩乐等这些生活中的技术运用,也加强了我们对它的依赖。所以我觉得人可能在虚拟世界会更快乐,这个过程其实可能会持续个几百年,随着技术发展越来越成熟,大家在虚拟世界里面的时间会比在现实中更多,比如说游戏时间现在感觉就会花上很多,还有刷抖音或者一些其他社交媒体软件,再下一步就是戴上VR眼镜,在另一个世界中沉浸,去寻找刺激和娱乐,这个肯定是下一个方向。 人的时间其实慢慢已经被一些科技给占领了,所以我觉得疫情是一种加速吧。

Jackie: According to what you have just said, technology might gradually take over our physical world and art world. Do you think this form of online art exhibition may gradually become mainstream in the future or even replace the physical art exhibitions completely?

高:那么根据您刚刚说的,科技可能渐渐的在占领我们的现实世界或者艺术世界,那么您认为线上的这种艺术展览形式,它是否在未来会有可能逐渐的主流化,或者甚至完全取代线下的艺术展览?

TIAN: It is impossible to replace the physical ones, because people have not lived completely online yet after all, and it’s only when they live completely online that offline is likely to be replaced. Exhibitions could become like games, where you could interact on your mobile phone, but right now we have not seen any exhibitions that are interactive enough to attract people, so there are still no big surprises comparing with physical exhibitions. A well-done online exhibition could complete the exhibition in the process of playing it, rather than still being a simple viewing experience.

田:取代肯定是不可能,因为人毕竟还没完全生活在线上,只有完全生活在线上,线下才有可能被取代。展览或许会变成游戏一样,在手机上就可以互动,但现在我们还没看到有能做到足够吸引人的这种展览互动,所以,与现场展览相对比,目前还是没有太大的惊喜。做得好的线上展览应该是在玩的过程中就把展览给完善了,而并非还是一个人的观看的感觉。

Jackie: It is saying that the development of online exhibitions is not very mature now, isn’t it?

高:等于说现在的线上展览的发展还不是很成熟,是吗?

TIAN: Yes, but I rarely see physical exhibitions now. It depends on who the audience is. For young people, they have a demand to go to physical exhibitions, for dating or socialising. They must be the main audience for physical exhibitions. However, the cost of physical exhibitions is relatively higher, mainly in terms of time. For example, if you are busy at work, the time cost of watching a film on your mobile phone is different from watching a film in the cinema. In the latter case you must spend several hours, or even half an hour preparing before leaving home. So now the exhibition must be attractive enough and famous enough or have a following to go and attract people. Otherwise, it is satisfied for people to go through exhibitions online.

田:对,但是线下展览我现在就很少看。这主要看受众是谁,对于年轻人来说,他们有需求去线下展览,比如说约会或者是社交。这部分人一定是线下展览的主要受众人群。但是线下展览的成本相对更高,主要是时间成本。 举个例子,如果你的工作很忙,那么在手机上看部电影,与在电影院看部电影的时间成本就是不一样的。后者你得花好几个小时,甚至出门前准备时间就得花半小时。所以现在展览必须足够吸引人,而且足够出名或者是有粉丝才有可能去吸引到人。除此之外一般,在线上看一看就满足了,人的注意力是会被转移的。

Jackie: Yes. There was some discussion about technology pushing art forward, could you talk about the impact this has on the future of the art industry? And how might this affect your future work?

高:是的。刚刚有讨论到科技推动艺术发展的一些话题,那么您可以谈一下这对艺术行业的发展前景会带来什么影响吗?并且这对您之后的创作会有一个怎样的辐射意义呢?

TIAN: In fact, the combination of technology and art in China is quite hot right now. Because to some extent, art has fallen into a big dilemma, so it needs technology to give it a new breakthrough. Firstly, there is a lot of potential for technology, because it appeals to young people and it is easy to create a buzz, and secondly, commerce likes it, for example, many shopping malls and advertisers would like to incorporate new technologies into art in their exhibitions. In China, the combination of technology and art has been very popular in recent years.

田:其实现在中国科技与艺术的结合还挺火的。因为某些程度上,艺术已经陷入了一个挺大的困境了,所以需要科技来给它一些新的突破口。首先科技它有市场,因为它比较吸引年轻人,并且也非常容易引起话题,其次商业也很喜欢,比如说很多商场,广告商。这些展览都喜欢把一些很新的科技融入艺术。 在中国,近几年科技与艺术的结合就很热门。

But I think artificial intelligence would be the thing most interesting in future. I think that artificial intelligence and mechanics could be combined with more virtual things. We could find a lot of potential directions in this area, and it will be interesting to see how each direction could be promoted. There is no direction that is better or more futuristic, so I think the state of technology now is that it is full of the possibility to be explored and rediscovered. Because there is no breakthrough in basic theory right now, it needs a process of accumulation, and there is a rhythm of quantitative change producing qualitative change. So, I think there is going to be a slow mix of technologies, there is going to be a lot of subdivision of new ways to play. I think it is going to be very great.

但我觉得未来更有意思的其实还是人工智能这方面。我觉得人工智能和机械,之后还可能跟虚拟的东西结合。从这方面我觉得其实能找到很多的出发点,每个点的拓展都会很有意思。它现在没有在特定哪个方向是被认为更好或者是更有未来的,我觉得现在科技的状态就是在各个点都有深挖和重新发现的可能。 因为其实现在基础的理论并没有较大的突破,这需要一个积累的过程,量变产生质变,这是有节奏的。所以我觉得各种技术会慢慢混合,但是这也会有很多细分的新玩法。我觉得这会是很热闹的。

Jackie: This reminds me of your previous work in which you mentioned that technology has a life of its own. Do you have an idea or thought about this?

高:这让我想起您之前在作品中提到过,科技是有自身的生命力存在的。您是有过这样一个想法或者是思考的吗?

TIAN: Technology itself is like a kind of life. Kevin Kelly wrote a trilogy that is actually talking about this. People are nurturing technology into life and trying in various fields to make artificial intelligence become like a life form, for example, it can control itself, make itself, and then he also wants it to be conscious at the end, in fact, they are all working on this. I think that after continuous experimentation, once the direction of evolution is determined, it will evolve successfully. It is just a matter of time because human beings have evolved over a long period of time. However, this is just a natural and slow evolution, but the time it took for man to cultivate technology was actually very short, and perhaps in another 1,000 years, this could break through even faster. It is giving a sense that human is cultivating a strong and powerful life from the point of view of the evolution of living things.

田:科技它本身就像一种生命。凯文·凯利写的三部曲,其实就在说这个事。人是在培育技术变成生命,人会在各种领域的尝试让人工智能变得像个生命体,比如它能控制自己,制造自己,然后他最后还想它有意识,其实都在这方面去努力。 但我觉得经过不断的实验,其实演化的方向一旦确定的话,他一定能演化成功的。我觉得只不过是时间长短的问题,因为人类的演变也经过了漫长的时间。这个只是自然的缓慢的演化,但是人培育科技的时间在很短的时间内就有了这种雏形了,或许再过1000年的时间,可能这个会突破的更快。 这是从生物的演化的角度来说,人在培育一个强而有力的生命的感觉。

Jackie: This is a brand-new point of view.

高:对的,这真的是一个全新的视角。

TIAN: All of these points are actually mentioned in Kevin Kelly’s book, which I do prefer, and some of them I’ve put it out in another way in my work.

田: 这些观点其实都是凯文·凯利的书中有提到过的,我是比较喜欢这种说法,有些说法会我在作品中用另一种方式将它表现出来。

Jackie: Exactly, I could feel your self-interpretation in your work. So that concludes our interview for today, thank you for sharing.

高:是的,能在您的作品中感受到您的自我解读。那么我们今天的采访就结束了,谢谢您的分享。

Staff

Host: Jiaqi GAO
Contact Person: Ifance FAN, Christy YANG
Planner: Christy YANG
Text: Ifance FAN, Christy YANG
Translator: Jiaqi GAO
Proofreading: Calum BAIRD

 

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