混合現實、AI影像、空間AI
本作是由中國園林藝術中的石造像衍生，作Ai-3D生成物的再討論。「砼」在中文漢字中為上世50年代的新造字，用於特指自然物中不存在的人造石，實際上AI-3D生成物亦可視為不存在的模型，「象」在此虛實地帶中展開。英文標題前綴以梵語「Animitta」（無相）為題，試圖與中文宣物之法產生互文，並以「insight」（洞觀）指代作品中的混合現實體驗（空間中的模型，可穿透並實現聲音的聯覺），以求獲得對AI-3D生成物，肉身感官上的關照「物」的存在。
Mixed Reality, AI-3D
This work is derived from the stone sculptures found in Chinese garden art and presents a re-exploration of AI-3D generated artifacts. The Chinese character 「砼」 is a word coined in the 1950s, specifically referring to artificial stone, a material that does not exist in nature. In fact, AI-3D generated objects can also be seen as models that do not exist in reality, and the concept of "form" unfolds at the boundary between the virtual and the real. The English title is prefixed with the Sanskrit word "Animitta" (formless), aiming to create an intertextual dialogue with the concept of '宣物' (proclamation of objects). The term "insight" is used to represent the mixed reality experience in the work (models in space that can be penetrated, evoking synesthetic responses to sound), seeking to evoke an awareness of the existence of AI-3D generated objects in relation to the sensory perception of "artifacts."
温辰旻、嚴欣怡（即興舞蹈）
AI實驗影像、讲述展演
本作是由舞者即興動作與自訓練數據庫模型（神明造像）之間所展開的創作實驗。靈韻（Aura）被視爲一個上古藝術能量場遺存，在AI圖像修複技術再繪（Inpaint）中獲得 “人之靈性狀態的電子尋回”。
Wan Senman, Naomi Yan (Dance Improvisation)
AI experimental video, Lecture performance
This work is an experiment between the dancers' improvisational movements and a self-trained database model (the graphic of a deity). Aura is regarded as a remnant of an ancient artistic energy field, in the AI image Inpaint to obtain "the electronic restoration of the spiritual state of mankind".
温辰旻、嚴欣怡（即興舞蹈）
AI實驗影像、肢體演出、即興舞蹈
本作是由舞者即興動作與自訓練數據庫模型（神明造像）之間所展開的創作實驗。靈韻（Aura）被視爲一個上古藝術能量場遺存，在AI圖像修複技術再繪（Inpaint）中獲得 “人之靈性狀態的電子尋回”。
Wan Senman, Naomi Yan (Dance Improvisation)
AI experimental video, physical performance, improvisational dance
This work is an experiment between the dancers' improvisational movements and a self-trained database model (the graphic of a deity). Aura is regarded as a remnant of an ancient artistic energy field, in the AI image Inpaint to obtain "the electronic restoration of the spiritual state of mankind".
AI 科幻、三頻影像
本作品名“蘭芳”一詞，意指17-18世紀在南洋婆羅洲島上的華人建立的海外家園，一種烏托邦沖動營造的理想現實。歷史通過口述、傳說、儀式的方式不斷重新排演，「現實不是我們棲息其中的容器，而是我們依之而生的支撐，甚至是因我們而實現的東西」。人工智能以一種 “大他者”的形態，將人類文明建構的歷史成為整體的素材，本作試圖以藝術實踐的姿態，呈現文化中被隱藏在主流歷史之外的他者，在南洋華裔次族群文化的潛在空間中，發現一個可以被經驗到的中華歷史科幻。
AI Sci-Fi, Triple Screen Video
The word "Lan Fang" in the title of this work refers to the overseas homeland established by the Chinese on the island of Borneo in the South Seas in the 17th and 18th centuries, a kind of ideal reality created by utopian impulses. History is constantly re-enacted through oral narratives, legends, and rituals, and "reality is not a container in which we reside, but a support upon which we live, and even something that is realized because of us". Artificial Intelligence takes the form of” The Other", turning the history of human civilization into the material of the whole. This work attempts to present the Other in the culture that has been hidden outside the mainstream of history as a gesture of artistic practice and to discover a Chinese historical science fiction that can be experienced in the latent space of the sub-culture of the Nanyang Chinese people.
AI 科幻、全景影像、虛擬現實
本作品名“蘭芳“一詞，意指 17-18 世紀在南洋婆羅洲島上的華人建立的海外家園， 一種烏托邦沖動營造的理想現實。人類對生態的改造離不開文化深層記憶的投射與反思。“真實感”的營造，某種意義上是“那個世界”的裝飾性的表征，而人工智能正以一種大他者的“薄膜”覆蓋或接管了“真實世界”。本作以全景視聽裝置作為載體，爬取南洋華裔歷史空間中的全景圖像數據作為AI訓練模型，以科幻歷史想像為界，使用歷史上的失落與無法實現作潛能，擁有了書寫歷史的“特權“，並激活為一個可以被經驗到的考古現場。
AI Sci-Fi, Panorama, Virtual Reality
The word ”Lan Fang“ in the title of this work refers to the overseas homeland established by the Chinese in the 17th and 18th centuries on the island of Borneo in the South Seas, an ideal reality created by utopian impulses. The transformation of the ecology by human beings is inseparable from the projection and reflection of deep cultural memories. The creation of a sense of reality is in a sense a decorative representation of ”that world“, and artificial intelligence is covering or taking over the ”real world“ with a kind of ”film“ of ’the Other’. Using a panoramic audio-visual device, this work crawls panoramic image data from the historical space of Nanyang Chinese as an AI training model, and uses the lost and unattainable potentials of history as the boundary of sci-fi historical imaginaries, possessing the "privilege" of writing history and activating it as an archaeological site that can be experienced.
此作品以GAN對抗生成模擬，將藝術家手工創作之作品建立模型庫。其中所繪之物皆是想像出來的符號空間（作爲創作者與人工智能之間對于圖像所看到何物的異同），具有非視覺元素的心理層面，而機器學習時對于符號的抓取與模擬，其中存在的偏差使我在對吐出的生成圖像再次篩選能指靈感，比如：山水、撕裂、折疊、肌體等值得玩味的意象。創作者與人工智能協同工作，如攝影術與藝術家的共生，將技術工具與藝術實踐帶入新的語境。
This work utilizes GAN adversarial generation to establish a model library of the artist's handcrafted creations. The depicted items represent an imagined symbolic space, highlighting the similarities and differences in perception between the creator and AI. It incorporates psychological elements beyond the visual, and the biases present during the machine learning process influence my subsequent selection of generated images for inspiration, such as evocative motifs like landscapes, tearing, folding, and bodies. The collaboration between the creator and AI, akin to the symbiosis between photography and the artist, brings technical tools and artistic practice into a new context.
繪畫所劃破的痕跡，
那自然未有的方圓；
成了極精密的虛擬，
也是最基礎的真實。
The lines drawn by painting's hand,
Shapes not found in nature’s plan,
Become the most precise virtual,
Yet echo the simplest truth we understand.
「人間劇場」Parasite Theater(2020)
“當奧斯修斯回到伊薩卡島，當他醒來，沒有人辨認出他的身份，他是誰，他也認不出自己的家鄉。雅典娜只得現身，並向他保證這就是他的伊薩卡。”
"When Odysseus returned to Ithaca, when he awoke, no one recognized him—who he was, and he could not recognize his own homeland either. Athena had to appear and reassure him that this was indeed his Ithaca."
——
除了從社會事件的親曆者處得來創作的來源之外，圖像能否承載“純粹過去”的永生媒介和記憶支撐？在此，彌合“回不去的”客途下，重構一個象徵意義上完整的“家”。
Beyond drawing inspiration from social events as experienced by direct participants, can images serve as an immortal medium and support for “pure past” memories? Here, under the reconciliation of the “irretrievable” journey, a symbolically complete “home” is reconstructed.
“當奧斯修斯回到伊薩卡島，當他醒來，沒有人辨認出他的身份，他是誰，他也認不出自己的家鄉。雅典娜只得現身，並向他保證這就是他的伊薩卡。”
"When Odysseus returned to Ithaca, when he awoke, no one recognized him—who he was, and he could not recognize his own homeland either. Athena had to appear and reassure him that this was indeed his Ithaca."
——
除了從社會事件的親曆者處得來創作的來源之外，圖像能否承載“純粹過去”的永生媒介和記憶支撐？在此，彌合“回不去的”客途下，重構一個象徵意義上完整的“家”。
Beyond drawing inspiration from social events as experienced by direct participants, can images serve as an immortal medium and support for “pure past” memories? Here, under the reconciliation of the “irretrievable” journey, a symbolically complete “home” is reconstructed.
「人間築」 Monolith Series（2020）
記憶作為集體的情感紐帶,是將人們以共同的身份聯繫在一起,比如元宇宙的開發,依然以現實的空間進行構建,其中的遊園體驗某種程度上是依賴群體互動1記憶保持鮮活,在觀看視覺上的「奇觀」,某種程度上也是在重塑觀眾「他者」的體驗,以及嘗試捕捉住猿人在第一次觀看「黑方體」時的那不可知的神秘.
——
Memory, as a collective emotional bond, connects people through a shared identity. For instance, the development of the metaverse still constructs based on real-world spaces. The experience of virtual parks, to some extent, relies on the collective memory of group interactions to remain vivid. In viewing visual "spectacles," it is also, in a way, reshaping the audience's experience as the "other" and attempting to capture the same unknowable mystery that the early human felt when first encountering the "monolith."
記憶作為集體的情感紐帶,是將人們以共同的身份聯繫在一起,比如元宇宙的開發,依然以現實的空間進行構建,其中的遊園體驗某種程度上是依賴群體互動1記憶保持鮮活,在觀看視覺上的「奇觀」,某種程度上也是在重塑觀眾「他者」的體驗,以及嘗試捕捉住猿人在第一次觀看「黑方體」時的那不可知的神秘.
——
Memory, as a collective emotional bond, connects people through a shared identity. For instance, the development of the metaverse still constructs based on real-world spaces. The experience of virtual parks, to some extent, relies on the collective memory of group interactions to remain vivid. In viewing visual "spectacles," it is also, in a way, reshaping the audience's experience as the "other" and attempting to capture the same unknowable mystery that the early human felt when first encountering the "monolith."
繪畫所劃破的痕跡，
那自然未有的方圓；
成了極精密的虛擬，
也是最基礎的真實。
The lines drawn by painting's hand,
Shapes not found in nature’s plan,
Become the most precise virtual,
Yet echo the simplest truth we understand.
wansenmanvinson@gmail.com
Wechat:WanSenman
facebook：WanSenman
Instagram：wansenman2o2o
文創設計智造教育部哲學社會科學實驗室(Design-AI Lab)博士後研究員
Ph.D. Intermedia Art, China Academy of Art
Postdoctoral Researcher, Design-AI Lab, China
温辰旻，1995年生人，籍貫香港，現工作于中國杭州。中國美術學院跨媒體藝術學院(SIMA) 博士，文創設計智造（教育部哲學社會科學重點）實驗室博士後研究員，目前工作于藝術媒介混合現實實驗室以研究員身份從事理論研究、技術研發，曾在跨媒體藝術學院教學單位開設中國古代科技與元宇宙、空間書寫、科幻創作、開放媒體方法論等一系列研學相長的課程。先後加入未來書寫研究小組、virREAL虛擬現實實驗室研究員、未來學中心參與媒介研發與創作，如混合現實、人工智能生成等技術物如何在藝術場景應用中的開發，並在國家重要美術館與博物館中得到呈現，如浙江省美術館、中國國際設計博物館、上海西岸藝術中心、上海西岸穹頂藝術中心、國際跨媒體藝術節等。在藝術學領域的研究中，對于聲音、影像、文化研究、中國科幻創作等領域中擁有長期工作與教學經驗，並在威尼斯雙年展獨立單元、The Wrong全球數字藝術雙年展、韓國 Gyodong 藝術博物館、OPPO Renovators全球青年創享計劃等較大社會影響力的平台中獲得好評。同時與香港城市大學創意媒體學院、香港浸會大學視覺藝術院、香港中文大學新亞書院藝術系、台北藝術大學及海外研究相關單位保持長期合作交流。目前關注生成式人工智能、混合現實（AR/VR/MR）技術媒介如何在地化的從科技、藝術、文化中，構建屬于中華文化語境的藝術實踐。
Wan Senman, born in 1995（HKSAR），lives and works in Hangzhou. He is a postdoctoral researcher at the Design-AI（Media Mixed Reality）Lab, and a PhD in Intermedia Art (SIMA), China Academy of Art. he teaching at SIMA, offering a series of interdisciplinary courses: ancient Chinese technology with metaverse, artificial intelligence, and science fiction.
Wen has been involved with the Future Writing Research Group, served as a researcher at the virREAL Virtual Reality Lab, and participated in the Futurology Center, focusing on media development and creation. His work in mixed reality and AI-generated has been showcased in prominent national art museums and galleries, such as the Zhejiang Art Museum, the China Design Museum, the West Bund Art Center in Shanghai, the West Bund Dome Art Center, and International Intermedia Art Festival.
In the field of art studies, Wen has extensive experience in sound, video, cultural studies, and Chinese science fiction. His contributions have been well-received at platforms with significant social impact, including the Venice Biennale's independent section, The Wrong Global Digital Art Biennale, the Gyodong Art Museum in South Korea, and the OPPO Renovators Global Youth Creative Program. He maintains long-term collaborations with institutions such as the School of Creative Media at City University of Hong Kong, the Academy of Visual Arts at Hong Kong Baptist University, the Art Department at New Asia College of the Chinese University of Hong Kong, Taipei National University of the Arts, and other related overseas research units.
Currently, Wen is focused on how generative artificial intelligence and mixed reality (AR/VR/MR) technologies can be localized to construct art practices rooted in the context of Chinese culture, integrating technology, art, and culture.
2024 讲座-「仝形宣物：艺术媒介与人工艺能」，杭州师范大学晓风书屋，杭州
2024 「薰陶成艺｜艺术家阅读展｜亚洲艺术文献库」，天目里美术馆图书室，中国美术学院艺术管理与教育学院，杭州
2024 「全国美展｜数字艺术展区」入选，中华艺术宫，上海
2024 「人参数｜开放媒体系展」制作，之江文化中心，杭州
2024 期刊-「科技艺术的文化语境：AI艺术实践的文化潜在空间与异质经验」，画刊
2024 讲座-「媒介考古：人工智能艺术的新面向」，设计学博士后讲座，文创中心
2024 「东亚纽带｜双锚，海流」中日韩交流展，韩国Gyodong艺术博物馆
2023 「INTER-Youth｜1+1 」中国美院邀请展，上海西岸
2023 「向达芬奇提案｜国际跨媒体艺术节」张江科学会堂，上海
2023 「澜景未来媒体学院奖」新星奖，湖北美术学院，武汉
2023 「爱欲、死亡+机器人 」空间站艺术中心，798 艺术区，北京
2023 「Art.I.FICIAL 」开放媒体人工智能特展，世界旅游博览馆，杭州
2023 「林风眠创作金奖」，中国美术学院
2023 「感受力论坛 2023」中国美术学院，跨媒体艺术学院开放媒体分区
2023 哈尔滨工业大学第七届神州国际青年学术论坛
2022 「UHOO呦吼艺术生活节|杭州2022」运河发布中心，杭州
2022 「OPPO Renovators全球青年创享计划」Top100入围，线上
2022 「次元真空：未来学中心夏季展」策划，回响艺术空间，杭州
2022 「今夜不科幻」制作，浙江美术馆，杭州
2022 「万境共生｜威尼斯双年展独立策展单元」一吨计划，威尼斯军械库，意大利
2022 「 Future Writing｜The Wrong 」全球数字艺术双年展，线上
2021 「今天不科幻|Future Lab教博会」制作，西岸穹顶艺术中心，上海
2021 「约翰·莫尔绘画奖（中国）十周年巡回展」，烟台美术博物馆，山东
2021 「明日可及」大湾区青年艺术家计划，一等獎，澳门伦敦人，澳门
2021 「约翰·莫尔绘画奖（中国）十周年特展」，南京艺术学院美术馆，南京
2021 「大艺博| 武汉」，武汉国际会展中心，武汉
2021 「杭州艺术博览会」，浙江展览馆，尼则画廊，杭州
2021 「声音与情绪工作坊」，Vir-Real实验中心，杭州
2021 「黑镜第十季·后人类状况」制作，浙江美术馆，杭州
2021 「中国美术学院建设世界一流美术学院十五周年展」开放媒体系展区制作，中国国际设计博物馆，杭州
2021 「约翰·莫尔绘画奖（中国）十周年巡回展」，四川美术学院美术馆，重庆
2021 「叠加态」，Comeehere工作室，杭州
2021 「世界是你们的」 M50, 艺博画廊，上海
2021 「外滩BFC艺术季|艺博画廊」,BFC外滩金融中心，上海
2020 「约翰·莫尔绘画奖（中国）作品展」，民生现代美术馆，上海
2020 「声想重庆|实验艺术学院声音工作坊」，重庆
2020 「未来书写|Future Lab教博会」，西岸艺术中心，上海
2020 「意识圈|近未来·可能生活」国际跨媒体艺术节，宁波
2020 「台风眼-夏季群展」空山美术馆，杭州
2019 「重新定义」上海青年艺术博览会，上海
2017 「移情公园」当代艺术展，策展人，香港
2017 「重返地球-生态性艺术实践」工作坊，杭州
2017 「日落剧场」铜场T-Project驻地计划，杭州
2017 「几处叠合」当代青年艺术群展，江虹艺术馆,杭州
2016 「阿里巴巴｜星辰计划」大学生短片导演大赛,获奖者,杭州
2015 「此时虚造」INTE-YOUTH国际青年绘画展,中国美术学院美术馆,杭州
2024 Lecture - “Animitta_Insight:Art media & Artistic Intelligence”, Xiaofeng Bookstore, Hangzhou Normal University, Hangzhou.
2024 “Under the Influece:Books that Inspire Artists｜ Book Exhibition｜Asian Art Archive”, Library of Tianmuli Art Museum, School of Art Management and Education, China Academy of Art, Hangzhou, China
2024 Publish-”Culture Context of technology Art:The Cultural Potential Space and Heterogeneous Experience of AI Art Practices”.
2024 “National Art Exhibition｜Digital Art Zone”, China Art Museum, Shanghai, China
2024 “Ginseng Parameter｜Open Media Lab Show”, Zhijiang Culture Center, Hangzhou
2024 Lecture-“Media Archaeology: New Direction of Artificial Intelligence Art”, Postdoctoral Lecture in Design, China
Translated with www.DeepL.com/Translator (free version)
2024 “East Asia Moving Bridge｜Two anchors,a stream of sea“Gyodong Museum of Art，Korea
2023 "Inter-Youth｜1+1" Future Lab, WestBund, Shanghai
2023 “Proposal to da Vinci｜International Intermedia Art Festival, Zhangjiang Science Hall, Shanghai
2023 Enlightv-Future Media Academy Award, Wuhan
2023 "Lust, Death + Robot" Space Station Art Center, 798 Art District, Beijing
2023 "Art.I.FICIAL" Open Media AI Exhibition, World Tourism Expo, Hangzhou
2023 China Academy of Art, Lin Fengmian Gold Prize
2023 "Sensibility Forum 2023|Open Media Lab", China Academy of Art, School of Intermedia Art(SIMA)
2023 The Seventh Harbin Institute of Technology Shenzhou International Youth Academic Forum
2022 “UHOO Art Festival｜Hangzhou ”,Hangzhou
2022 “OPPO Renovators Global Youth Creativity Program” Top 100 Finalist, online
2022 “Dimensionless Reality : Futurology Center”（Production), Echo Art Space , Hangzhou
2022 “NON-FICTION-TONIGHT ” ”,(Production Team), Zhejiang Art Museum ,Hangzhou
2022 “All Realms Civilization” The 1st Annual METAVERSE Art @ VENICE, One Ton Project, Venice Arsenale, Italy
2022 “Future Writing｜The Wrong” Global Digital Art Biennial, online
2021 “NON-FICTION-TODAY | Future Lab “（Production) ,West Bund Dome , Shanghai
2021 “JOHN MOORES PAINTING PRIZE (CHINA)” 10th Anniversary Touring Exhibition”, Yantai Art Museum, Shang Dong
2021 “TIME IS ON MY SIDE ”Greater Bay Area Young Artist Scheme, 1st Prize ，Macao
2021 “JOHN MOORES PAINTING PRIZE (CHINA)” 10th Anniversary Touring Exhibition”, NanJing
2021 “WUHAN ART FAIR ”, Wuhan 2021 “HANGZHOU ART FAIR ” Nizart Gallery, Hangzhou 2021 “SOUND AND EMOTION WORKSHOP” ,vir-REAL Lab ,Hangzhou
2021 “BLACK MIRROR SEASON10 :THE POST-HUMAN CONDITION ”,(Production) Zhejiang Art Museum ,Hangzhou
2021 “OPEN MEDIA LAB”,( Production), China Design Museum ,Hangzhou
2021 “JOHN MOORES PAINTING PRIZE (CHINA)” 10th Anniversary Touring Exhibition”, Chongqing
2021 “SUPER POSITION”，Comeehere Design Studio, Hangzhou
2021 “THE WORLD IS YOURS?” M50, YIBO GALLERY, Shanghai
2021 “BFC ART FESTIVAL | YIBO GALLERY”, The Bund Finance Center, Shanghai
2020 “JOHN MOORES PAINTING PRIZE (CHINA) Exhibition”, Shanghai
2020 "SOUNDING CHUNGKING| Sound Art Workshop" , Chongqing
2020 "FUTURE WRITING | Future Lab " ,West Bund , Shanghai
2020 “NOOSPHERE| NEAR FUTURE: POSSIBLE LIFE ” Intermedia Art Festival, Ningbo 2020 "EYE of STORM-Summer" Exhibition, Ultramontane Gallery, Hangzhou