interactive engineers. Cross-disciplinary creative concepts
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CM-5 —— 2010
作品位置：杭州
LOCATION：HANGZHOU
金属、纸、墨水、舵机、控制器 | 尺寸 170cm×120×410cm
Metal | Paper | Ink | Steering gear | Controller
2010年的时候，我在思考一个问题：在不久的将来，随着人工智能技术的不断发展，机器人逐渐替代人类从事某项特殊行为从而成为我们身体的另外一种存在。它们在与人类互动过程中所得到的结果是否能够被大众所接受而成为艺术品是这件装置所要尝试探讨的问题。
未来的城市是媒体的城市，各种技术和文化交织在一起成为我们人类生活的组成部分。然而技术只是一种工具、一种手段，我试图透过技术回到文化本身来考虑身体、材料、空间这三个关键词。
在这个过程中，我尝试制作了一个我们无法进入的空间，而这个空间中有一个特殊装置在听候我们的指令，但是它又不是完全地受我们所控制，这正像作品中所呈现的代表人工智能时代的机器和通过互动行为得到的无序的墨迹符号一样，它们的这种矛盾、冲突跟相互融合、和谐构成了这件作品本身。
未来的城市是媒体的城市，各种技术和文化交织在一起成为我们人类生活的组成部分。然而技术只是一种工具、一种手段，我试图透过技术回到文化本身来考虑身体、材料、空间这三个关键词。
在这个过程中，我尝试制作了一个我们无法进入的空间，而这个空间中有一个特殊装置在听候我们的指令，但是它又不是完全地受我们所控制，这正像作品中所呈现的代表人工智能时代的机器和通过互动行为得到的无序的墨迹符号一样，它们的这种矛盾、冲突跟相互融合、和谐构成了这件作品本身。
In 2010, I was contemplating a question: In the near future, with the continuous advancement of artificial intelligence technology, robots will gradually replace humans in performing certain specific behaviors, thus becoming another form of existence for our bodies. The results they achieve through interactions with humans—can they be accepted by the public as artworks? This is the question that this installation seeks to explore.
The city of the future is a media city, where various technologies and cultures intertwine to become integral parts of human life. However, technology is merely a tool, a means. I attempt to look beyond technology and return to culture itself, considering the three key elements: body, material, and space.
In this process, I tried to create a space that we cannot enter, yet within this space, there is a special device that awaits our commands. However, it is not entirely under our control. This is akin to the machines representing the era of artificial intelligence and the chaotic ink symbols generated through interactive behaviors presented in the work. The contradictions, conflicts, mutual integration, and harmony between them constitute the essence of this piece.