In the Name of Love 以爱之名 (2020)

In the Name of Love is a performatively audio-visual installation with non-linear and multi-layer interactions based on real time. By creating the installation, the artist aims to explore the ILLUSIONS generated by physical body movement between the technical system and the social system.

以爱之名是一件基于实时表演,同时具有非线性和多层交互的audio-visual装置。 通过这件装置,艺术家旨在探索技术系统和社会系统之间由于身体运动所产生的错觉。

Key words: Live art, narratives, cybernetic cinema, real-time computer film, non-linear and multi-layer interactions, system

Installation view:

Materials: Moving images, lasers, LED strips, Arduino Uno board, microphone, piezo sensors, speakers,  webcam, computational program, audience, wood 

Variable size 尺寸可变

‘What is the most real illusion at the moment?’ is the question that proposed by artist in this work. For example, in the context of all things connected through digital signal, seems we have been to every corner of the world, seems we are in various “party”, seems we understand happiness and pain, seems we have witnessed the war that took place, seems to have met tens of thousands of people, seems we have recognized the code of the world running, seems we owned the future, seems we have mastered the truth… We got all of these illusions from body movement at the most beginning, like we have a smart phone connected wifi, but still need moving fingers, swiping screens, typing keyboard to get information from website. This is the reason why I use an audio related to body training as the main audio.

There are two reasons why I choose a broadcast gymnastics as main audio as lots of musics for body trainning able to be found. Firstly, the broadcast gymnastic in my memory is the first time made me experienced that I am under a system. Because thousands of students do the same body movement together at 10am everyday on the playground. Secondly, the earliest broadcast was created by a young Germany for military around 200 years ago, then developed to all over the world. During the Second World War, especially when some country was colonised,  one of the main ways to do a brainwashing is broadcast gymnastics. This situation is quite like nowadays human was controlled by digital signal and number of data. For example, when phone message is ringed, we’ll take out phone, swiping the screen, typing on keyboard … It seems that there is a trigger in our brains. In broadcast gymnastics, people are trained by linstenning 1234 5678… then react with body position in their mind. This is quite similiar as people nowdays who are controlled by digital signal and data.

The first time Chinese people came into contact with “broadcast gymnastics” was from a humiliating history. After 1935, the Japanese and puppet government promoted the “Jianguo Gymnastics” and “Xinmin Gymnastics” which are very similar to broadcast gymnastics in “Three Eastern Provinces” in China. This is to strengthen the so-called “slavish education” and allow the Chinese people to accept the brainwashing of militarism. While, after the reform and opening in the 1970s, due to Chinese government’s vigorous publicity and encouragement, radio gymnastics began to become a positively physical activity. 

The use of computational media in this work, in addition to the purely technical level, the internal production system and technical logic that support the entire performance structure is hidden under the appearance that the audience can see. There are multiple inputs and outputs, as well as multi-layer interactions at the same point. The interactions are not only in computational way, but also in physical way. Thus, the entire structure includes and integrates the dissemination of sound, video and spatial information, as well as the visual, auditory and physical movements of the audience. The purpose of hiding behind is also to make it easy for viewers to experience “feeling” itself, including seeing, listening, surrounding, imaging and experiencing their own body movements.

“此刻最真实的幻觉是什么?”是艺术家在这个作品中提出的问题。比如说,在通过数字信号连接的所有事物的背景下,似乎我们去过世界的每个角落,似乎我们参加了各种“聚会”,似乎我们了解幸福和痛苦,似乎我们目睹了发生的战争,似乎已经遇到了成千上万的人,似乎我们已经认识到世界运转的规律,似乎我们拥有未来,似乎我们已经掌握了真理……而这一切幻觉都始于身体的运动,就像即使我们得到了一部已经连接了wifi的智能手机,但仍然需要动手指,滑动屏幕,敲打键盘来从网站获取信息。这就是为什么我将与身体训练有关的音频用作主要音频的原因。

关于身体训练的音乐其实有很多,对于选择广播体操的声音作为主要音频有两个原因。首先一个比较个人的原因是,在我的记忆中,广播体操这种几千个学生每天早上10点在操场上一起做相同的身体运动,是第一次使我切身体验到自己处于某种体制之下。其次,最早的广播是大约200年前由一个德国青年为军人创造的,然后被传播到民间和全世界。尤其是在第二次世界大战期间,广播体操是殖民者对被殖民者洗脑的主要方法之一。这种情况和当今人类受数字信号和数据控制非常类似,例如,当电话消息响起时,我们将拿出电话,在屏幕上滑动,在键盘上输入…似乎这个铃声是我们大脑中的一个开关。在广播体操中,人们会根据听到的 1234 5678……然后根据头脑中对应的身体姿势做出反应。这与当今受数字信号和数据控制的人们非常相似。

中国人第一次接触“广播体操”是一段屈辱的历史。 1935年后,日伪政府在中国“东方三省”推广了类似于广播体操的“健国体操”和“新民体操”。这是为了加强所谓的“奴隶制教育”,并使中国人民接受军国主义的洗脑。在1970年代改革开放之后,由于政府的大力宣传和鼓励,广播体操开始成为一种强身健体的积极性活动。

计算机媒介在这个作品中的使用,除了纯粹技术层面的之外,支持整个表演结构的内部生产系统和技术逻辑隐藏在观众可以看到的表象之下。在整个系统运作的过程中存在多个输入和输出,以及多层交互。交互不仅以程序算法的方式,也存在物理方式的交互关系。所以整个结构包括并整合了声音,视频和空间信息的传播,以及观众的视觉,听觉和身体活动。躲在后面的目的在于使观众更容易体验它本身,包括观看,聆听,周围,成像和体验自己的身体运动。计算媒体作为系统只是整个社会的一部分,所以实现与外界环境的关系。