**关于跨学科艺术的讨论甚嚣尘上，而这些学科交叉地带的作品，究竟如何破土而生，有何特征与困境，有何丰沛的人情事理，却是罕有被调查的课题——这是本项目的出发点。**

艺术内容和形式本身发展变化之余，艺术赞助者的身份及其在社会资本网络中的位移，也造成了艺术生产的组织关系和社会意义的变化。互联网、先端科技和资本全球化的时代诞生的艺术，由于其跨学科发展的潜质和适于以“综合媒介”形态呈现的性质，使得它成为新技术和观念的试验田或理想推广工具，这导致娱乐公司、互联网组织、科技公司甚至科研机构，在最近几年争相成为跨学科艺术项目的发起和赞助者。另一方面，我们也观察到艺术圈层的创作者主动出击，从“圈外”获取新技术、观念乃至市场的野心：艺术机构和艺术家开始就其发起的项目界定潜在技术和资金诉求，并寻求合适的支持方。


**我们将包括先端科技和实际资本在内的，影响上述现象的因素姑且统称为“跨学科生产资源”，它通常借由中间方——如本项目所调查的跨学科艺术机构或项目——进行周转，发放和落实。科技企业作为艺术赞助并非新鲜事，它可以追溯到贝尔实验室和施乐印刷公司，比利·克鲁佛和罗伯特·劳森伯格在“艺术与科技实验”（E.A.T）的早期新闻稿中，也明确提出该项目的信念在于一种受到产业支持的，艺术家与工程师之间的有效工作关系。这些历史样例都高度依赖人（发起者）的驱动，今天此类跨学科生产资源的流动则具备更为丰富的生态：包括非单一的发起者，清晰的商业目的（有些资本甚至直接来自于公司的推广和游说支出），较为标准化的赞助程序，更多线程的工作状态和更不受圈层束缚的投放机制——这也使得这一课题在今天再度具备讨论前提。2020年蛇形画廊发表的一份报告中，更是以“未来艺术生态系统”尝试统括这一现状。**


**本策展与研究项目意图穿透模糊的“跨学科合作”的表象与疑云，观测上述“跨学科生产资源”的具体建构和流动模式，以及现行生态的特征与困境——举例来说，长久以来美国的医疗和科技公司存在对学术行业的“偏好型”资金支持，以获取长期游说成本，那么，科技公司对于当代艺术的支持是否也有利于其获取对艺术（作为一种文化和话语资源）的长期代管权？跨学科机构如何通过议程设置，在艺术家与科技公司所提供的资金与技术赞助之间形成润滑界面，使创作与企业偏好之间的关系更为暧昧、灵活，甚至允许批判性创作存在？**


**本项目围绕以驻地、委任、专项支持、商业合作等方式参与到此类跨学科工作的12位（组）艺术家，及其在该合作中实现的作品展开，以数据分析、文献展示和线上动态调查报告的形式，结合网页开发与跨平台数据库管理，考据这一生产关系转变的种种细节与链条。我们试图将调查样本范围由“艺术家”扩大至参与生产过程的诸多“角色”，覆盖作品以外的生产资料，并尝试分析这一生产关系的转变，将如何影响未来当代艺术生产可能的发展模式，并提出更加具有结构优势的机构网络模型。同时，我们也想以这一线上展览作为契机，在线上同时测试一个驻地项目。最后，项目回应互联网的生命周期和链接、存储与分布属性，试图建立一种长期的线上观察机制，以如影随形的方式追踪跨学科艺术生态的动向，并扮演资料库、展示平台、研究资源和思考库的角色。**

**他方山上有佳石。跨学科研究的现状正如石砾自由滚动的丘壑，技术与资源似乎触手可得却又错综复杂，而“新代理人”或许可以在期间探寻规律与方法，玉英由此磨砺出。**

**The discussion of interdisciplinary, or more specifically, “art, science and technology”, has been on the hype for a while. However, the condition, context and mechanism within which these artworks emerge, are rarely thoroughly investigated in China.**

This curatorial project’s key concern is around an emerging, yet ambiguous tendency of “how art flows interdisciplinarily”. Nowadays, along with the identity and position shift of art sponsors amongst matrices of social activities and capitals, the content and form of art is iterating rapidly, leading to a transformative stage of the organisational relationship and new social impacts of art production. Art born in the age of the internet, advanced technologies and globalised capitals, are endowed with interdisciplinary potentials and lean more towards mixed media, on/offline presentations. This kind of art thus becomes ideal testbeds or promotional tools for emerging technologies and concepts. Meanwhile, practitioners from the art field are also eager to acquire tech-support, conceptual inspirations and marketing potentials from the “external world”. In recent years, we've observed entertainment companies, internet and tech firms, as well as science research institutions launching and sponsoring interdisciplinary programs, whereas art institutions and artists also are active in identifying potential tech and financial needs for specific projects. "The discussion of interdisciplinary, or more specifically, “art, science and technology", has been on the hype for a while. However, the condition, context and mechanism within which these artworks emerge, are rarely thoroughly investigated in China.

**To name it straightforwardly, the "interdisciplinary production resources", ranging from advanced technologies to diverse capitals, are often circulated, distributed and realised via the medium roles played by interdisciplinary institutions or programs. The history of tech firms sponsoring art can be traced back to Bell Labs and Xerox PARC, in an early newsletter of the E.A.T, Billy Klüver and Robert Rauschenberg cleared stated that "...E.A.T. is founded on the strong belief that an industrially sponsored, effective working relationship between artists and engineers will lead to new possibilities which will benefit society as a whole." (E.A.T. News, vol.1, no.2, June 1, 1967, p l.). The historical samples relied a lot on the human (initialiser) factor, whilst nowadays the flow of interdisciplinary production resources takes a richer look: non-individual initialisers, clear commercial purposes (some capitals are even sourced from promotional or marketing budgets from sponsoring companies), relatively standardized program mechanisms, multi-threaded workflow, and distribution patterns not limited within the world of art. In Serpentines xxxx, "To name it straightforwardly, the "interdisciplinary production resources", ranging from advanced technologies to diverse capitals, are often circulated, distributed and realised via the medium roles played by interdisciplinary institutions or programs. The history of tech firms sponsoring art can be traced back to Bell Labs and Xerox PARC, in an early newsletter of the E.A.T, Billy Klüver and Robert Rauschenberg cleared stated that "...E.A.T. is founded on the strong belief that an industrially sponsored, effective working relationship between artists and engineers will lead to new possibilities which will benefit society as a whole." (E.A.T. News, vol.1, no.2, June 1, 1967, p l.). The historical samples relied a lot on the human (initialiser) factor, whilst nowadays the flow of interdisciplinary production resources takes a richer look: non-individual initialisers, clear commercial purposes (some capitals are even sourced from promotional or marketing budgets from sponsoring companies), relatively standardized program mechanisms, multi-threaded workflow, and distribution patterns not limited within the world of art. In Serpentines xxxx,**

This curatorial research project anticipates to pierce through the clouds of ambiguity and suspicion surrounding the hype-word “interdisciplinary”, and investigate the construction, flows, features and dilemmas of the “interdisciplinary production resources” mentioned above. American medical science and tech companies have been providing “preferencial funds” to the academic field in exchange for long-term lobbying cost. Echoing this pattern, would tech companies’ support for contemporary art be beneficial to them in acquiring long-term voice in the field of art (as cultural and discourse capital), public attention, and an avant-garde or self-critical corporation image? How would an art institution mediate swiftly among artists and companies, to allow more subtle, flexible and critical intervention?

The project will embark on artworks produced within contexts of residency, commission, open-call and commercial collaborations between artists and tech-companies/science research institutions, and conduct data-analysis, present archives and reports, to unfold hidden details and patterns of the production relationship. The project’s research subjects will expand from case study of artists, into multiple roles within the process (initialiser, sponsor, developer, scientist, communicator, etc), and encompass multi-layered production materials, ranging from communication files between artists and institutions, administrative documents, to sketches and diagrams. We hope to analyze how this transformation of production relationship would influence the trajectory of art, and provide speculative institutional models. The project also establishes a long-term online mechanism, a “ghost observer” who follows emerging practitioners in this field, and serves as an online archive, presentation platform, research resource and think tank.

刘昕

汪洋&漆贞贞

林沛莹

陈抱阳

Maya Man

徐维静

刘艾真

陈逸云

黃智銓

纪柏豪

轻如鸿毛是何感受? 漂浮，自旋，脱身万物。《脱离》是一种幻想，也是一种宿命。作品中，一颗智齿被送到外太空，又回到地球。这颗牙齿由一个名为EBIFA的水晶机器人雕塑携带，它在外层空间变成了一个新生的实体，孤独地讲述着一个人类在浩渺宇宙中的故事，它无足轻重，但又无可替代。

What is it like to be so light? Floating spinning, detached from what we know. Living Distance is a fantasy and a mission, in which a wisdom tooth is sent to the outer space and back down to Earth again. Carried by a crystalline robotic sculpture called EBIFA, the tooth becomes a newborn entity in outer space and tells the inconsequential, but ever so unique story of a person in this universe.



脱离

Living Distance

《计算云雾》试图运用计算机算法，创造一个赛博空间，让我们可以暂时从计算机媒介化的过程中逃逸，并可以不受到极端化计算机意识形态的影响。通过这一系列的研究，艺术家调研了计算系统的倾向性，并试图揭示数字讯息的近似性，而非工具性——作品希望把人们放置在“不可计算” 的环境中。

The Computational Haze aims to utilize computational algorithms to create a cyber space for us to escape from computational mediation, and be free from its effect to radicalize ideology. Through this series of research, we investigate computation’s tendency to radicalize and explore the possibility for digital messages to be approximated but not instrumentalized – to situate one within the zone of uncomputable.

计算云雾

Computational Haze

“病毒驯兽师”是一个人与病毒之间的观念“舞蹈”，并深度地探讨一种替代性的人与病毒的关系。这个“驯服病毒”的项目是基于病毒学科研展开的，并展示给人们另一种看待“不可见，无生气”的病毒的角度——我们似乎认为病毒是敌人——并描绘了这些“中介”将如何重新给出人类和个人主义的文化定义。

Tame is to Tame is a conceptual ‘dance’ between humans and viruses and explores an alternative human-virus relationship in depth. The virus-taming program is built upon virology research and shows people an alternative way to look at the ‘invisible and inanimate’ viruses – which we consider as enemies – and illustrates how these ‘agents’ can redefine the cultural definition of human and individualism.



病毒驯兽师

Tame is to Tame

“谢谢马里奥，但我们的公主在另一座城堡中。”  20世纪的最后一个10年，他喜欢不停的按遥控器换台；21世纪的第一个十年他在 奔跑。如今这一个10年使他习惯了推荐系统——屏幕告诉他一切，但他不甘心成为一块生物电池。他不记得为何被黏在此， 他也不记得他从哪里来要到哪里去，耳边的声音不断地告诉他往前走，下一个，下一个，下一个也是好的，下一个会更好，下一个便是终点。有时候他觉得此刻似曾相 识，“X是划时代的”，“Y是改变人类命运的”，“Z的时代已经到来”，后来他就学会了Z之后的字母是AA。  经过神经网络训练的小车能高效的在迷宫里移动，他和马里奥的目标一样是向前，向前，再向前。头顶的投影机在小车到达迷宫的另一端时，会投出一张新的迷宫，小车再次上路，如此往复。下一个城堡里总会有公主的。 理应感激AI可以帮助解决问题，但不该忘记这个问题的出处。看客看着小车在迷宫里奔跑，他们都没有问为何。小车被训练在程序生成的迷宫中移动。小车解决的只是另一个程序所提出的一个本不存在的问题，产生出一种看似忙碌但虚无的循环。 该项目由“创客出手”支持得以实现。

In the last 10 years of the 20th century, they liked to change through the TV channels constantly; they were running around in the first decade of the 21st century. Recent 10 years has made them accustomed to the recommendation system - the screen tells them everything, but they are not willing to become a bio battery. They can't remember why they are stuck here. They don’t remember where they come from. The voice in their ear keeps telling them to go forward, next, next, next is good, next will be fantastic, the next one is the end. They feel familiar with at the moment, "X is epoch-making", "Y is the change of human destiny", "Z era has arrived", and later they have learnt that the letter after Z is AA. The small car trained by neural networks can navigate efficiently in the maze, both it and Mario's goal are always forward, forward, and forward. The LED screen displays a new labyrinth each time the car reaches the other end of the maze, and the car will hit the road again and again. Yes, there will always be a princess in the next castle. It should be appreciated that AI can help solve the problem, but they should not forget the origin of the problem. The spectators watched the car running in the maze, and they didn't ask why. The car is trained to move in the maze generated by the program. The car solves only one problem that is not present in another program, and produces a seemingly busy but empty cycle. This project is made possible by the support of Maker Onsite.



恭喜你，但是我在他的隔壁

Congrats X, The Y is in another Z. 

作品是和知名编舞Bill T. Jones共同完成的，创作于谷歌创意实验室的驻留期间。这一项目亦受到New York Live Arts及 Bill T. Jones/Arnie Zane company的支持。作品受到了Bill长期以来关于演讲和舞蹈之间交织即兴的启发，用人工智能技术进行了一系列的实验，邀请观众探索关于语言和运动之间的创造性可能，并通过一台电脑，重新发现和Jones的那件经典之作之间的关联。  Bill T. Jones于1983年首次上演了他名声卓著的项目“21”，在作品里，他循环着21种姿态，配合人声配音和关于身体本身及其文化含义的即兴评论。这次动态演出永远不可能重复。

Body, Movement, Language is a collection of experiments that resulted from a two-way residency between award-winning choreographer Bill T. Jones and Google Creative Lab. This project is also supported by New York Live Arts, and the Bill T. Jones/Arnie Zane company. Inspired by Bill’s long history of intertwining improvised speech and dance, these experiments use AI to invite users to explore the creative possibilities of speech and movement and make new connections with Jones’ iconic work, using nothing more than a laptop. Bill T. Jones first performed his iconic solo 21 in 1983. Bill cycles through 21 poses with spoken titles and improvised associations in a commentary on the body and its symbolism in culture. This dynamic performance is never performed the same way twice.



身体，运动，语言

Body, Movement, Language

哈罗德·罗森伯格（Harold Rosenberg）在1952年发表的《美国行动画家》一文中，对纽约画派画家的绘画方法进行了描述，其方法不是美学上的，而是他们的创作过程： 在舞台上表演……在画布上行走的不是图片，而是事件。”  作为一名舞蹈家和新媒体艺术家，这一分析辅助支持了我将近七十年后的实践。 “不是图片，而是事件”展示了我对“手势到画布”的数字解释。 我没有在物理画布上四处涂漆，而是在网络摄像头前移动，以在屏幕上的渲染图像代表我的运动像素。  最后三幅图像在纽约下东区的Lucy Risograph印刷，每版100张，并邮寄捐赠给Processing Foundation的2019年筹款运动。

In his 1952 essay The American Action Painters, Harold Rosenberg characterizes the painting method of the New York School artists not aesthetically, but instead by their process of creation: "At a certain moment the canvas began to appear to one American painter after another as an arena in which to act … What was to go on the canvas was not a picture but an event."

As a dancer and new media artist, this analysis speaks to my own practice nearly seventy years later. Not a picture but an event demonstrates my digital interpretation of "gesture to canvas." Instead of moving around a physical canvas to apply paint, I am moving in front of a webcam to render pixels that represent my form on screen.

The final three images were printed in an edition of one hundred each at Lucky Risograph on the Lower East Side in New York City and mailed to donors of the Processing Foundation’s 2019 Fundraising Campaign.



不是图片，而是事件

Not a picture but an event

“桑蚕计划”是一个由机械元件，实验和人造物共同组成的装置项目，它探讨了混合“生物-机器”世界的种种可能性，以及它如何可以生成自组织的蚕丝结构。这台桑蚕机器使用了一个闭合的反馈系统，建立在有机世界和人工世界之间，在作品里的生物元素——蚕，和电子/数字元素—电脑，共同创造了一个旋转的环境，一个流动的生态系统，可以完成几乎自主的自动生产。

The Silkworm Project is an installation series consisting of machine objects, experimentation and artifacts that explore the possibilities of hybrid bio-machine worlds that can generate self-organizing silk structures. The silk machines utilize a closed feedback system between the organic and the artificial, where the biological - in this case the silkworms, and the computational - the electronic and digital systems that provides a spinning environment for the worms, from one fluid eco-system demonstrating automated production that is autonomous in its nature.



桑蚕计划

Silkworm Project

“粉红肉渣凯撒扩散”是一个整合了实时表演与动画的录像作品，它的创意前提是四个在大批量生产的体外汉堡里改造DNA的提案，通过这个方式，来传递某个经济特区工厂里劳动者暴乱的秘密信息。

Pink Slime Caesar Shift is a video integrating live action and animation, whose premise is four proposals to alter the DNA of mass-produced in-vitro hamburgers to carry secret messages of labor insurrection on behalf of Special Economic Zone factory workers in China.



粉红肉渣凯撒扩散

Pink Slime Caesar Shift

Pink Slime Caesar Shift is a video integrating live action and animation, whose premise is four proposals to alter the DNA of mass-produced in-vitro hamburgers to carry secret messages of labor insurrection on behalf of Special Economic Zone factory workers in China.

横向的身体是否将逐渐静止，横向的身体将如何重构空间，横向的身体是不是错误的身体？“Long Live the Bedridden”项目与荷兰马斯特里赫特大学的新陈代谢科学家Patrick Schrauwen & Vera Schrauwen及其团队合作，获2018年生物艺术与设计奖。项目关注从社会中隐退的、静止的、宅居的、卧倒的人与身体。在隐退宅期间，艺术家持续佩戴可穿戴及侵入式仪器，监测身体生理数据；科学家团队对艺术家的身体进行全面监控和体检，并对比前后的身体变化。艺术家不主动与外界联系，复制隐退宅人群的生活模式， 期间保持文字和绘画纪录，作为心理变化的依据。4台摄像头持续拍摄，记录下一个多月期间艺术家在房间内的生活起居。

In collaboration with Prof. Patrick Schrauwen & Assoc. Prof. Vera Schrauwen of the Department of Nutrition and Movement Sciences at Maastricht University BAD Award 2018 Winner Project | Sponsored by ZonMw | Facilitate by MU ArtSpace It is said we spend about a third of our lives lying down. The bed is the most natural location for a directionless behavioral pause, as it is the place in the house most associated with inactivity and rest. But for the infirm and the elderly, bed(room)s are the world. For them, the bed is a symbol of limited bodily capability and physical dependency. And the long time spent lying down often gets the bedridden bad blood circulation, loss of muscle mass and social isolation. Being a paradox of health, the bed is a site of both recovery and deterioration. But today, lying down is also a choice made by the able-bodied. Post-industrialization brought work back into the home and live a functional life without leaving the bedroom. The Internet generation can not only work in bed but eat, read, exercise, socialize in bed, even entertain sexual relationships with people miles away. People have lived vertically for a long time, but maybe the horizontal posture will become popular in the 21st century?



上升的床

Horizontal Living – Long Live the Bedridden 

][阀限][使用了一种被编辑的，搭载了声音系统的半自动无人机构成的蜂群，来创造一系列的演出装置，并围绕关于在空间中生存的关系焦虑而展开。 在我们每天的无意识行动里，我们持续创造和占据着空间。在香港这样的高度密集和压缩的城市空间里，我们时常发觉自己被压缩在最小的单元里，才能穿越人群。 我们希望用最小的体积达到最高的流动性。这种行为创造了一种高度依赖瞬时协调的“暂时性存在和缺席”，一种在“空间之间”被建构出来的具身体验的张力。][LIMINAL][ 尝试通过作品去模拟这种人群中的过渡性、中间性的状态，去强化这种张力。 我们使用无人机在特定的地点进行表演， 探索我们如何能占据它们。这些无人机会通过声音的方式表达的这种变异中的空间里存在的不稳定性和焦虑感。通过无人机搭载音响所播放的声音充斥着空间，让人焦虑不安。这些声音也会根据每次的具体地点被重新编排，目的是更好地符合该地点的声景：空调，工业地带的机械声音，小巷里的窸窣作响。

][LIMINAL][ employs a swarm of hacked semi-autonomous flying drones equipped with loudspeakers to create a series of performances and an installation on the topic of relational anxiety of inhabiting spaces.

We keep on creating and occupying spaces in our unconscious daily movements. In a massively compressed urban space like Hong Kong we constantly find ourselves reaching for the smallest available spots to advance through crowds. We try to achieve the highest mobility in a limited volume. This creates a space that lies in a constant negotiation between temporary presence and absence, a tension embodied in inbetween spaces. ][LIMINAL][ aims at enhancing this tension while simultaneously creating an awareness of these transient intermediate states. The project will employ flying drones that will perform in selected places, exploring the spaces and the way we occupy them.

][阀限][

][LIMINAL][ 

本计划再现了能量转换的过程，选择以太阳能板做为媒介，将光的频率透过声音具体化。呈现上，在V2驻村时的阶段作品「Phonosynthesis 光合声响」，包含了太阳能板、手摇发电装置与悬挂的盆栽，由动能到光能，再转换为电能后，透过接触式喇叭由盆栽扩音，最后再由观者接收包括光与声音在内的状态波动，可应用于展览、表演或其他形式的合作。作品展出期间，观众创造声音的同时，光与震动同时也影响了植物的生长。将自然或人为的光影变化，以细微的声响流动将其具象化，反映自然界中种种不可预测性；在空间、人与感知的交互关系中，由另一角度体验习以为常的物理现象，延伸能量转换的可能并发展新音乐界面。

This work can be considered as art driven by scientific fact, the abstract concept of energy transformation passes the physical rules to enable the viewer to evaluate the changes in the space. Energy transformation occurs all around us all the time, yet we are hardly ever aware of it. Inspired on the ability of plants to convert light energy into chemical energy through photosynthesis, the installation Phonosynthesis converts light energy into chemical energy through a chain of energy conversions: The automatically controlled bulbs produce the lights, a solar panel transform this light into sound, and finally this sound is transformed into chemical energy inside the plants. The plants keep growing and affecting the sound during the exhibition period, just like a gradually evolving instrument playing an composition from the preprogrammed light pattern, giving the viewer a unique listening experience with both audible and visible feedbacks.

荒物述行

Phonovoltaic Effect

《荒物述行》是一个参与式装置作品，探讨了创造性科技的历史源头。作品创造了一种声音环境，邀请人们加入并交互，他们追随着日常的声音要素，探索声音记忆。通过把每天的日常转译到声音/音乐界面，参与者和一系列的物件共同创造一种带着回响的声音场。

在一个脊椎损伤的实验室中，大部分小白鼠被保留了作为研究对象的脊椎以及存档用的脑部和部分器官，而身体的其余大部分在解剖的过程中被切除、销毁。 艺术家对这只小白鼠进行了更“人道”的解剖，将原本会被随意切割并丢弃的“没用的”皮毛和内脏小心地剥离、保存。

The artist dissects a laboratory mouse and carefully preserves the face, the skin and fur, and the unwanted organs which are considered as ‘useless’ body parts for this particular laboratory mouse and supposed to go to the bio-waste bin.