10 issues I think are the most important or pressing to the idea of Being Human?

• Evolution of genetic engineering.
• immortality 

The transfer is means "cybernetic immortality" and the "artificial body".If this technology succeeds, we could escape our body, but how can we perceive time? The concept of time has disappeared which is very dangerous.

• Freedom / Liberty
• Moral / Ethics 

 This distinguishes us from animals.

• Consciousness
• Senses（the emotion)

That means we know what is Love, What is Fear.

• Privacy
• War and Terrorism 
• Nationalism

 Is a belief in the nation. If it gradually becomes blinded compliance, which can be fatal to a country and people.

• The lack of empathy in human connection due to the inundation of news, media, and images.

The issues from the list seem the most important to me as an individual is "The lack of empathy in human connection due to the inundation of news, media, and images."

This issue is I want to explore in this project.

Photography is a state of existence of messages.

News Photography is a message.

Message and Information are two different connotative concepts.

Photography and many other so-called imitational or re-creational arts combines two principles of the message: " one is to extend, as the analogue itself; second is a form of connotation, it is to some degree away society uses to interpret its way of imaging events.”

What is the context of photo messages?

What is photography delivering?

By definition, it delivers scenes, a rigid truth. Certainly, photos aren't the actual truth; However, it is a perfect analogue at the least. In theory, News Photography has never been a question of being an "art" photography. Photographs, being the actual subject's mechanical analogue, its primary message is to fill the entity completely to some extent, and not leaving the spaces for the possible form of the second message.

However, the person who holds the camera, could also consciously select and capture, on this basis, photographs generates controllable content, because this means before the photographer press the shutter and upload unto the news, it assumed the photographs' interpretation and the guidances to its interpretation. News photography, especially War Photography seems like it captures the reality and objectivity perspective of the war. However, it has also been " Injected into meanings". Connotative meaning comes from the subjects being photographed.

These subjects are often the mind' associative induce elements, which are the actual symbol.

For Example:

(bookshelves--intelligent, injured personage -- others' pains/suffering).

War Photography, full of bloodiness and cruelty, either intentionally or nonintentionally leads people to their opinions and comments on the war.

However, this is also the start of insensitive, when it fills our lives, it is just a matter of time for us to transfer from the shock to habitual. We get shocked by the cruel reality presented by the photographs, but we forgot photographs are just the carrier of reality, even this reality is just “unilateral“.

「Susan Sontag’s book, “Regarding the Pain of Others” and Roland Barthes’s book, “ I’bovie et I’obtus”」Really inspired my thematic approach of this project.

First, I set up a Suicide Scene, that was calm and metaphorical. In contrast to the bloody cruelty of war photography. The more direct of the trauma, the more difficult of the connotation. Perhaps, a photograph's "mysterious effect, is the inverse ratio of its traumatic. War Photography is this "traumatic photography", it gives excitements, realness, and the present feel. 

Then I took a photo of the scene and Placed it there. The documentary is another “presence” of the event. The “Truth(reality)” and the warrior of “Truth(reality)” exist together. 

Then it was “Double Presence” here. And I choose to use the hair element to mark the presence of the human. Because hair is unique to human, not animals.

About Installation site, I need to find a place which can hang it. And they must have a certain height.

 "Human" is absent from this work. I only kept this "Suicide Rope" symbol. In this work, I don't want to consume anybody, because it goes against my work itself.

Relationship between audience and object

interactive installation 

Keywords:

• Object
• Perception Conditions
• Presentness
• Visual Filed
• Simultaneity
• Perceptual Relevance

I don’t want my work to be in a chaotic space, or too close to other works. I want it to be spatially independent. Even if this is temporary work.

Perception is not what we observe, but how we observe. When perception changes, we don’t observe it, but we use it to observe the world.
It’s only visible when we are aware of the change in perception. After that, we can not only changed by it but also absorbed by it.

This is the original intention of this work, I want to set up a special context to clarify the behaviour of contemporary people communicating through electronic media.
When people participate in this work, they will find that electronic devices have been sneaking into our lives, changing the way we live and the way we communicate with others.
It’s an alarm bell. A reminder that we need to be aware of this change.

I set this work in the corner.
I blocked the side and put a computer that could show the image of the person sitting on their chair.

The viewer interacted with the screen. The person sitting in the chair should look directly at his face.
Participants also interacted with other viewers.

The audience behind and the participating audience can only communicate through the screen and see each other’s appearance.
The screen acts as a medium for people to communicate and see others.

INACCURATE GAZE

We were born and sunk in

A wasteland of human bones coated with moss and fungi

The marrow had long been drained by an indecipherable

external force, no possibility for seeking and no trace behind

I was peering through the void gap, being overboard

By the catastrophe called unifying

A predictable unified existing

The wind the rain the waves

Have no authority provoke an inner passion

No life experiences suffice more than Numbness

One only needs to corrode the lining and safely float in the tide

About this project, I wrote a paper about whether the body can be an installation, whether installation art can involve the body, and how installation art is different from performance art if the body is involved. I put that at Research part.

In this project, I attempt to use sound to create a flesh body, to perform. Use sound to imply the feeling of pre-substance existences, and to find a breakthrough point that could make sound figurative.

About the medium of sound. Sound is a medium that could instantly fill the space, its speed and occupying ability, which other mediums can not achieve. Human ears are always "open", it's more resolute than eyes because eyes are in opening & closing state.

I used a wooden board to create a topless and bottomless box. I choose wood board because it could create a sound stage that resilience sound. I decide to put a speaker inside the box, cover it's top with plastic paper, puts water on top of the paper, along with vibration caused by the sound wave, the water will occur in different shapes of ripple, even bounces up in rhythm. The first experiment, in order to not have the audience to clearly see the internally installed speaker, I sprayed over black spray to covers to plastic paper. However, after the experiment, it didn't work out as planned. The sprayed plastic paper has a frosted surface which makes the shape of the ripple seems less obvious. The second experiment, I used an ideal substitution, a grey plastic paper. If the audience observes from a distance, they wouldn't be able to see the sound speaker.

About the content of the sound.

I chose ten songs as my collection of sound. Which are Classical music and Black metal. Those two genres of music are completely different, but they are my most favourite genres. Both manifest its very specific personality, a strong personality, which both co-exist on me. However, it has a similarity between the two, they are both sadness. Classical music's sorrowfulness is a low pitched deep voice, elegance. Black metal's sorrowfulness is a shouting and roaring voice, it is destructive. They shape the personality of the sculpture to performance.

And I illustrated the things I like, and the things I don't like. Some are abstract, figurative, up to a theoretic, down to a simple movement.

When sound is being set into and contain meanings, contains strong personal characteristic, the sound becomes figurative through my control. These characteristics will instantly construct a form in the audience's mind. As the sculpture's "performance" continues, the form also continues to shape and change.

Without the participation of the body, this installation creates a "moving energy", a generated possibility.

I have been conducting a series of artistic activities which include installation, interactive installation, new media, photography, film, 2D painting, comprehensive material exploration and theoretical research. My artistic creation is influenced by many artists, theorists, critics, directors, philosophers, dancers, and poets: among them are Antony Gormley, Nam June Paik, Marina Abramoviqi, Susan Sontag, Roland Barthes, Theo Angelopoulos, Jean-Luc Godard, Francis Bacon, Pina Bausch, Paul Celan, Jean Baudrillard and Gilles Deleuze. Movies and poetry are my emotional support, at the same time philosophy, anthropology, semiotics, sociology and phenomenology is the spiritual support of my art.

For me, art is a language, a pure abstract text and a way to connect with the world. Diversity of perceptions and concepts constitute the spiritual core of my art. I usually take a critical view of everything; resistance to all inequalities is one of the driving forces to my art exploration. Art has become a part of my life. I am committed to deep practise and research on the inherent essence of art. The core of my artistic practice and research always involves the concept of “human,” like the relationships between people, between people and the world, between people and their identities; the changes of people in the times; the phenomenon that people are gradually virtualized and symbolized, etc. My daily life is flooded with thoughts on these issues.

In the world of art, I prefer to consider myself as water. What fascinates me is not only water's purity or it’s important but also the transformation between liquid and solid forms. During that very process, both the senses of dreamy flow and firmness reveal, meanwhile the awareness of the connection between individuals and the environment arises and lingers.

The course provides me with a friendly communication platform and a multidimensional model of thinking. Exchanging with classmates and teachers broaden my personal thinking and vision. What I can see is that students of the same project start from completely different perspectives and end up with very different works.  A School is a place with an artistic atmosphere which can inspire me more and greatly influence my creation. The workshop also helped me a lot with my work. There are many excellent teachers in the school, I really like communicating with teachers and get feedback. Meanwhile, I visited many exhibitions as much as possible, that I learned more about the works of art and the mind of the artist. Besides, the relationship between the work and space where it is located and the knowledge of exhibition arrangement are very helpful to me.

As a student who still needs to learn and explore more, I intend to use my university years to continue trying various art forms and media. I will also continue my research on the social issues and philosophical topics that I am concerned about, which determine the direction, depth and intensity of my works. I will also try to explore the medium, try to integrate with other media to find a new breakthrough. In my opinion, the most important thing in a piece of art is the expression. Work without expression is just visual garbage without a spiritual core. For me, art is an important means of transforming concepts and ideas along with expression.

Besides establishing the concept, it is also very important to choose an appropriate medium. My expectation for my works is that they should be straightforward, clear and dynamic. Complicated things would weaken the strength of the work itself. It is worth mentioning that among all the creative forms, I have a great interest in an interactive installation. I think it is an extension of installation art. Unlike for installation art, audience participation for interactive installation is an essential element.

In the foundation course, most of my works are interactive. The interaction and reaction of the audience are part of the work. And I also like to create a context for the work, these works are time-specific as well as site-specific: they are bound up with the given circumstances. They have a special presence.

Many of our projects are based on specific spaces when I observed the place, I was fascinated with the relationship between the interior and exterior of space,  I want to create the immersion, the interplay between inside and outside. I’d like to make it possible to go into space and cross it. Instead of reacting to space, I want to create a situation in space.

The sense of presence and the unique context entrusted by an artist could get the maximum volatilization in this form of expression. I will keep trying to explore in this direction.

 At, last, I think the most important thing for an artist is her context, which is her soil. I hope my art belongs to me, that is to say, it should not be labelled with Chinese, Oriental or other stereotypes. My works are inseparable from every breath and step of my life. They contain my emotions and explain my ideas. So I won’t consider applying for any other courses. Is not I choose the art but art has chosen me. This is the reasons why I will be engaged in art all my life.

Observed

I collection the Artificial landscape that I founded in my daily life.

Whenever I notice the artificial landscape in my life, I have a deep fear of the future. In the near future, will artificial landscapes become a common phenomenon instead of natural landscapes? Technological progress sometimes scares me. I'm afraid people forget the importance of nature. The natural beauty.

Construct the work

I want to build a theatre that consists of two parts, then cut them together so that they are juxtaposed, and finally present them as images.

The first part is the real world. The real world consists of real behaviour. This behaviour is best done daily rather than acting.
The second part is a completely artificial world. Everything is symbolic, fake grass, fake trees, fake landscapes, fake themes. It's a completely artificial, illusionary world.
Then I arrange them on a timeline, which means that in a certain dimension, they affect each other, intertwined, and the results of real-world behaviour will be reflected in the virtual world.

About the theatre

Theatre should be surreal, swinging between the reality and the virtual. The reality is based on the fact that the substantial material and the viewer’s emotion are real; the imagination is symbolic. The stage of contemporary theatre is no longer restricted to the box-type stage. Like public installation, theatre can be placed in a public place or occurs in a real environment. Under this circumstance, space itself is a symbol. In this field, the viewer’s judgment of the work, or even their judgment of their identity, will be changed: the space is substantially real but the content, the space within the theatre is symbolized, virtualized, theatricalized. The severe conflict between reality and imagination gives birth to theatrical hallucination. 
The theatre becomes an installation space except that it is aimed at creating illusions and dragging the viewer into the abyss of illusion.

Theatrical language
Sound, odour, scenery, light, dance, performance, language, technology—all these things work together to build the tower of dreamland in the space.
No concrete space is needed; instead, a combination of abstract theatre language is constructed. The actor’s language is incoherent and obscure. Their bodies flicker. Sounds are untraceable. Lights are dim. The scenery is abstract and simple. All the languages work for the whole space. The theatre space is constructed on the communication between theatre languages, and between the languages and the viewer. The absence of any of them will result in the collapse of the space.