混合現實、即興舞蹈、AI-3D、沉浸式空間
本作源自中國古代山水畫中的「遊觀」傳統，以沉浸式空間（技術物）為載體，探討混合現實（VR / MR / XR）技術光譜中可進入的感知潛力。「行旅」一詞指向古畫中觀者代入畫中之人，以心神遊歷山水的觀看方式。在本作中，內化為「觀者——MR媒介——舞者」之間的相互反饋經驗，由此構建出觀者、身體與技術彼此生成的「共仝現實」。
Wan Senman + Liu Yating
Mixed Reality, Improvisational Dance, AI-3D, Immersive Space
This work originates from the tradition of “遊觀”（youguan） — wandering observation — in classical Chinese landscape painting. Taking immersive space as its technological medium, it explores the perceptual potential of entering the technological spectrum of mixed reality (VR / MR / XR). The term “行旅”（xinglü） refers to a mode of viewing in ancient painting, in which the viewer identifies with the figure within the image and journeys through the landscape in spirit. In this work, this experience is internalized as a reciprocal feedback relationship between the “viewer — MR medium — dancer,” thereby constructing a “co-generated reality” in which the viewer, body, and technology mutually come into being.
混合現實、空間 AI、文獻
本作以「西湖」為文化樣本，在學者董蒔研究基礎上，探討地方誌書寫作為一種深層文化編碼機制，如何將自然地理轉化為集體記憶與身份認同的象徵，並追問這一文化經驗在數位虛擬空間中重新展開的可能。並藉由AI與混合現實技術，將詩化空間中沉積的審美結構與感知圖式轉譯為可感、可交互的沉浸實驗，探索一種植根於中國文化地理傳統、具有本土意識的虛擬空間經驗。
本項目由浙江省哲學社會科學規劃年度「高校基本科研業務費改革」專項課題（26NDJC002YBMS）資助。
Mixed Reality，Marble AI
This work takes "West Lake" as a cultural sample, building on the research of scholar Dong Shi, to examine how local gazetteer writing—as a deep cultural encoding mechanism—transforms natural geography into symbols of collective memory and identity, and to interrogate the possibilities of re-unfolding such cultural experience within digital virtual space. Through AI and mixed reality technologies, it seeks to translate the aesthetic structures and perceptual schemata sedimented in poeticized space into sensible, interactive, immersive encounters, advancing a methodology for virtual space construction rooted in the Chinese cultural-geographic tradition and informed by indigenous spatial consciousness.
This project is funded by the Zhejiang Provincial Philosophy and Social Science Planning Annual Special Project for "Reform of Basic Research Funds for Universities" (26NDJC002YBMS).
混合現實、AI影像、空間AI
立足传统文化空间形态与人工智能的媒介实验的交汇，探索混合现实感知的未来可能。以中国古代石像为视觉原型，基于 Stable Diffusion 进行定向训练与风格迁移，经由人工筛选、三维转译与空间交互技术，实现可沉浸体验的混合现实文化空间。“砼”作为20世纪50年代新造汉字，特指混凝土——自然界中并不存在的人造石，与人工智能生成“非自然存在”形成互文的灵感图景。
Mixed Reality, AI-3D
The project explores the future of mixed reality perception where traditional Chinese cultural space meets AI-driven experimentation. Using ancient stone sculptures as visual prototypes, it applies targeted training and style transfer via Stable Diffusion, then transforms the outputs through manual curation, 3D translation, and spatial interaction into an immersive cultural environment. Its conceptual anchor is "砼" (tóng) — a new Chinese character created in the 1950s for concrete, an artificial material absent in nature — echoing the "non-natural existence" that AI itself brings into being.
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.