A Message from Zeppra and Her Loyal Messengers, 2018
a multi-voice narrated video w/ syntax-highlighted transcripts displaying
* Headphone recommended *
This audio with its corresponding syntax-highlighted transcript is about the mapping of natural language division onto the digital sphere, structured texts and the structural proliferation of texts, and the mercy (also doom) machines enjoy — indefatigable loop and repetition.
I transliterated several Chinese paragraphs with Latin alphabets and English vocabularies which sounds most relevant to the origin, and transferred them into audio through a “English-spoken-only” text-to-voice software. The transcripts are pasted into a text editor and displayed paralleled with the audio. With modifying the configuration files of the editor, each language elements are abled to be shown in different textual styles (font color, weight, etc.).
At the kernel of the layers of Russian-doll-like quotational structure, an ambiguous cluster forms - an indecipherable paragraph from the Chinese-spoken artist. As the structured text gradually descending, five quoters meticulous complete their services, as loyal absurdly, as precise rigidly. The vacant original author and the untraceable original meaning forces the quotation into the state of a posthumous work. In the pre-history of this scene, I, the one left with the mysterious messages, acted as the Creator who had been absent once an array of demand of creating the world was ordered. While the machinery messengers will whisper and seek through the ages, like searching for the prefect infinite circle by constantly incising a square.
Name, *Title* (Year), Medium, Dimension; Name v. Name, Volume No., Reporter, Page, (Year), 2018
paper scraps, book piles, website (.html file)
🔗 text generator here: http://www.zeppra.info/testgenerator.html
The pedagogy of art or law shares a same component: cases.
In a piece of legal memorandum or an exhibition catalog, an individual work or case is referred by a caption. It is a formatted language snippet with the power to summon the historical players those are important for the discipline, no matter to preserve consistency and predictability, in the case of law, or to rethink, resist, re-contextualize or re-embrace a tradition, in the case of art.
Therefore the caption governs a way to archive and conclude a regime of human knowledge; it not only signifies a “something else” - the body of the work or the case - but also a self-sustain category, a literary genre.
Here, I cut out the captions of both artworks and legal cases from an array of used art books, catalogs and law school casebooks, and assemble a chronological matrix with that cluster of text scraps. Through the juxtaposition of the visually paralleled text bits, I try to trace the typographical hint of the two disciplines, and re-imagine a long-ignored tradition of visuality embedded in the text-centralized legal knowledge, as well as the textuality found in the vision-centralized art practice.
I also made a text generator which composes dummy artwork captions in the formatt of “name, title, year,” within which the title further consists of “party names, volume no., report name, page number…” , in keeping with the formatt of a dummy legal citation.
因此，”标题“ 规定了归档（archive）和建立人类知识体系的方式。它不仅指向某种”他物“——某件作品或案件的本体 ——同时还是一种自洽的范畴；一种文学体裁。
我还制作了一个文本生成器，以 “名字，标题，年份” 的格式生成虚构的艺术作品展签，其中，标题部分是以” 双方姓名，卷号，判例汇编名称，页码......” 为格式的虚构法律案例名称。
a scripted webpage, w/ archived images from viewer participation
🔗 see the work here: http://zeppra.info/main2.html
Browsing through the set of windows generated by the application, end-users were encouraged to stop at the point where she/he found a comfortable composition and palette, and screen-shot that moment. These are work generated by Zeppra, YJJ adn Zi Lin respectively
Looping inside rectangles, windows nested each other mediate a condition of contemporary information-obtaining experience: links are followed by other links, and by clicking links time are unfolded; the missing piece is always at the other end of the next window. The sense of searching for novelty is created by this repetitive action.
Also, the visual similarity and color palette of this application relate it with the historical context provided by Modernists, namely Piet Mondrian, and their efforts to capture the essential elements of the visible world using geometry and primary colors. However, Those rendering of the “eternal rules,” incarnated as paintings, in the contemporary eye, are merely applications of some codes – and what is that “code” beneath their practice? What is the “meta-meta”, beyond the realm of language?
2017 Technology, Error and Fetish:Through the Lens of Glitch Art
2015 Cickbait, heading, and name
Layered Vision, 2017
a video essay based on screen-recording from several resources
A documentation of “the subject being isolated” in today’s image production streamline, and a discussion on the contemporary human/non-human relation.
A portrait-mode photo with a blurred background taking with the new iPhone, a polygon model of artifact being reestablished by a 3D scanner and its corresponding software, an actor performing in the front of a multi-story-high green screen - just to name a few elements of image production today. The formal similarity those cases displays is a detachment of several layers being categorized into foreground or background, subject or object, character or its environment. And this sorting and parting is not only formal, but semantic: it fells into the story of animated/unanimated, organic/inorganic, human/nonhuman dualism. Nowadays, we experience this detachment in an unprecedented scale. Being touched by the cultural instruments such as iPhone and Adobe Photoshop, as well as processed by institutions such as the animation studio’s streamline, the reality is sliced, rendered and reconstructed under a visual pattern, “layered vision” as I name.
iPhone 相机中的“人像模式”将人背后的景物自动虚化；3D扫描物体后生成的物件模型在预览软件中有如位于空旷的舞台之上；演员在数层楼高的绿幕前表演着——仅列举几例今日图像之社会生产车间中的场景。若考虑这些场景形式上的共同之处，则是其中诸个被分门别类为“前景/背景”、“主体/客体”、“角色/环境”的层次之间的清晰剥离——我们以前所未有的频度体验着的剥离。经由数字生产设备如iPhone、Adobe Photoshop软件的点化，脱胎于例如动画制作工作室的流水线这样的机构，现实被气氛、渲染、重整——遵从一种特定的，我称之为“分层视觉”的图式。
I see this pattern as a collective unconsciousness incarnated in the forms of blur, contour and other visual elements that overwhelms the content production realm, as a condition of image making and the state of presence of the image being created under this condition, and ultimately marks the inherent tendency of imagery in our age. Witnessing this condition, I hope to explore several examples of “layer” metaphors called into image production emerging in various disciplines. Utilizing seemly mundane desktop-recording, youtube tutorial style video essay, I try to document and make sense of these metaphors, examining their cultural suggestions, and give a testimony of the objects/subjects relations, as which are hierarchically arranged in the spectacle of the world theater.
Lift, 2015-2016Digital sphere sets agenda with its norms.
With simplifying nature into 0 and 1, it describes, models, regulates and reconstructs the reality, lifting us somewhere extracted from the superficial appearance. With photos remixed with graphic elements, I employed smooth shades and highlight to objects in a real setting. To imitate "shades as pattern and concept" , I try to reverse, recognize and reorganize the physical world as GUI with an intrinsic anti-materialized manner.
That illusionary space — which maintained by our naturalism ancestors dedicatedly using high respective — is no longer necessary. Life is on the cloud, unquestionable and eternal.
Adobe AI Manual, 2016
Adobe Family software series hold the key encoding images for a whole generation. In these fake tutorial videos, I play with the toolbox of Adobe Illustrator to explore the possibilities embodied in their nature: Can gradient meshes be dragged out of the surface? What does “3D” effect literally mean? How many steps an MFA would take to access Art?