Et Cetera 诸如此类

Fin 终 2017 - 2018

dimension variable 尺寸可变

real-time image data feed projection, laser-engraved mirror, mirror film, metal structures 实时图像数据投影,激光刻印镜面,镜面薄膜,金属结构

EveryLetterCyborg V1.2 字字赛博格 V1.2 2017 - 2018

dimension variable 尺寸可变

twitterbot @qletrcyborg, raspberry pi, thermal printer module, microphone stand, laser-engraved mirror 推特机器人@qletrcyborg,树莓派,热敏打印机组件,麦克风架,激光刻印镜面亚克力

What You See is Where You Go 所见即所达 2016

12'' x 24''

neon light, timer 霓虹灯管,定时器

“… I forget that if what you see is where you go, then all seeing is a censored prophet that fails (because of neurosis or paralysis) to act in accordance with its own oracles.

I forget the efficient linearity of human reading (frustrating; rusty with the will to make sense) and learn the stochastic programmability of the machine (nested recursions: birds in cyborg-synaptic teleport.) I become not apart from the humus of inhuman refuse, the floppy callousness of computer script.

I forget how to chart a course between the gravity of identity (flesh, father, hearth) and the anonymity of the digital.

I forget, rote fig, frig toe. I forget — ego rift — grief to forge it. Heal us, eros of foe grit. O He Fears Soul: I forget sentimentality and open-hearted relatability to forge a new, colder, but no less tender form of subjectivity.

I forget whether Zhuangzi thought voice was the dream of water or water the dream of voice. I barely remember vaporwave — soft subliminality that brought back visions of Sonic the Hedgehog — and the hard limits of nostalgia. I fully remember Freud’s primordial oceanic feeling of being one with the universe; but to feel it here, in the 21st century, means to feel it homelessly: even total unity cannot undo my nomad code.

I forget language like it was the lie of noise…”

— Fan Wu  “I Forget, etc. (after X.Y.)”

Et Cetera is woven together with five works that are essentially five bodies of writings as digital poetry — a poetic practice that is made possible by digital media and technology in which aesthetic possibilities are extended through the semantic impact of alphabets, visuals, data, etc. Interlaced by multimedial meaning-making, Et Cetera re(produces) installations that are engineered with utilizing real-time data feeds, animated letterforms, performative instructions and sensory synthesis.

Exploring different scenarios of human-machine coupling that consequently lead to multifarious illegibility, Et Cetera amplifies the noise of information overflow in the concurrent mediascape with its rhizomatic networks that are largely beyond our conscious apprehension. On the B-side, Et Cetera is also involved with writing about the alphabetic writing apparatus, the role of artist as author as human-machine-centaur and the networked subjectivity.

Related text: Et Cetera by Xuan Ye

《诸如此类》由五件作品交织为一体。这五件作品从本质上是作为数字诗歌的五篇著作 — 一种由数字媒体和技术促成的诗歌实践,通过字母、视觉、数据等的语义影响来扩展美学的可能性。《诸如此类》交错多媒介的意义制造,以实时数据馈送、动画字母形态、表演性指令和感官合成为材料(再)生产装置。探索了各种各样人机耦合的场景,从而导致了多重的不可辨认(不可读)性,《诸如此类》放大了根系网络中信息溢出的噪音,这些网络在很大程度上超出了我们的意识理解范围。在B面,《诸如此类》也关于“字母书写机器”、艺术家作为作者且作为人机半人马,以及主体网络化的写作。