#define Moon_
[#define Moon_ ] consists of 9 rotating kinect light installations. It presents different postures of moon shape, exerting new sense experiences. The audience is allowed to explore through various ways of looking and bring curiosity to the installation by watching from different angles. By thinking of the science spirit, once again, viewer can define and understand the concept of this work of their own.
“Arrival’s narrative plays out in four languages: English, Mandarin, Russian and Heptapod. Though they are not spoken in the film, we learn that Louise is also fluent in Farsi, Sanskrit and Portuguese (and possibly others). The language learning process and the growing translingual bond between Louise and the heptapods forms the film’s narrative arc and the majority of its plot. Thus language, and specifically the mechanics of ←215 | 216→multilingualism, is Arrival’s central theme. Within this context, the ability to communicate across language barriers is an asset, and the flexibility to navigate new linguistic challenges is invaluable. The heptapods are pure science fiction, but serve a powerful metaphorical function. As Emily Alder (2016) writes in The Conversation, “ultimately, Arrival is less about communicating with the aliens than with each other – internationally but also individually […] The film’s message is that difference is not about body shape or colour but language, culture and ways of thinking. It’s not about erasing that difference but communicating through it”. Gemma King
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语言学习过程以及路易丝与七足动物之间越来越多的跨语言联系形成了电影的叙事弧线和大部分情节。 因此，语言，尤其是←215的机制| 216→使用多种语言是到达中心的主题
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Процесс изучения языка и растущая межъязыковая связь между Луизой и гептаподами составляют повествовательную дугу фильма и большую часть его сюжета. Таким образом, язык и, в частности, механика ← 215 | 216 → многоязычие – центральная тема Арривала.
Sol LeWitt Upside Down
Haegue Yang’s expansive installation, titled Sol LeWitt Upside Down – Structure with Three Towers, Expanded 23 Times, Split in Three, consists of over 500 independent components made of Venetian blinds that together recreate one of LeWitt’s signature works from 1986 – connecting LeWitt’s work to her own attempts to be liberated from the urge to compose, and the way modular thinking leads towards proliferation. Magnifying its size 23 times and hanging it upside down, this is the first work in her Sol LeWitt Upside Down series.
Princess of Parallelograms
What will happen when our imagination itself is externalized in machines? Artificial intelligence constructs its own world-truth that is beyond our sensory perception. Generative Adversarial Networks (GANs) use algorithms to synthesize and generate images in a completely new way. These images have almost uncanny aesthetic characteristics, seeming to emerge from an ocean of data, a kind of pixel soup. Rather as if we were observing the emergence of artificial “thought.” The machine learns to understand the “essence” of a thing, be it an animal, the face of a celebrity or a body of text. It is then able to generate new images of this thing, including faces of celebrities who do not exist, mutant animals, or new texts. Eventually, AI will be capable of instantaneously and dynamically emulating all representations. The era of the optical machine and the capture of reality will then be at an end, supplanted by the era of machines that generate their own reality.
גיאורג קנטור, לודוויג בולצמן, קורט גדל, אלן טיורינג
dangerous knowledge documentary
whose genius has profoundly affected us (infinity; entropy; incompleteness; thinking machine) , but which tragically drove them insane and eventually led to them all committing suicide.
MANSAI: Kaitai-Shinsho No.30 Special Edition “5W1H”
5W refers to the five interrogatives; “When, Where, Who, What and Why”, while 1H refers to the interrogative “How”. In this work, Manabe attempts to encode humans’ attitudes to these six enquiry words in an effort to explore the primitive roots of interpersonal expression, and illuminate the fundamental sources of human behavior. By converting such factors into numerical information, while drawing also on analog thinking, the piece is a search for further understanding human nature.
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Planned by Mansai Nomura
Visual Design/Technical Direction：Daito Manabe＋Motoi Ishibashi＋Rhizomatiks Research
Music: Daito Manabe + Hopebox
Cast: Mansai Nomura, Yuichi Otsuki, Mansaku no kai
BEHAVIOURAL COMPLEXITY
Design Research Laboratory (AADRL) and the experimental design studio Minimaforms examining a behavior-based agenda that engages experimental forms of material and social interaction. Cybernetic and systemic thinking through seminal forms of prototyping and experimentation will situate the work through continued experiments that have manifested since the early 1950s as maverick machines, architectures and computational practices exploring the generative potential of self-regulating phenomena as proto-architectural environments. Through explicit models of interactions, observable patterns and proto-animalistic agency; the research will discuss the capacity of these systems to evolve, adapt and self-structure through computation.
parallel supercomputer
Connection Machine CM-1(1986) and CM-2 (1987)
The Connection Machine was the first commercial computer designed expressly to work on “artificial intelligence” problems simulating intelligence and life. A massively parallel supercomputer with 65,536 processors, it was the brainchild of Danny Hillis, conceived while he was a doctoral student studying with Marvin Minsky at the MIT Artificial Intelligence Lab. In 1983 Danny founded Thinking Machines Corporation to build the machine, and hired me to lead the packaging design group. Working with industrial design consultants Allen Hawthorne and Gordon Bruce, and mechanical engineer consultant Ted Bilodeau, our goal was to make the machine look like no other machine ever built. I have described that journey in this article, published in 1994 in the DesignIssues journal and republished in 2010 in the book The Designed World.