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HOW云原生游牧｜武子杨展览作品介绍（下）

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武子杨：云原生游牧

Wu Ziyang: Cloud-Native Nomad

展期：2023年07月28日-2023年10月19日

艺术家：武子杨

策展人：郑果

地址：昊美术馆三楼展厅一

上海市浦东新区祖冲之路2277弄1号3楼

主办：昊美术馆

云原生作为一个始于2010的概念与技术名词，其含义随着时间与运用不断拓宽、演化。但如果我们从更具文学意味的字面上去拆分与解读，云原生代表的意义就是云端与本地/本土人，即云端上的原生居民。云原生架构下的应用在任意云端都具有与生俱来的优势，可以无缝运行与链接。“云原生游牧”共展出了艺术家武子杨不同时期的五个项目，包括《一个有科技的女人》、《美西去了哪里？》、《未来_预报》、《巴石河2030-6 Plus》和《事件模型》。这些作品探讨了算法控制与偏见、远程居家共同体、行星尺度计算与新地缘、云网络社会的演变、“AI考古”、和集体创世等主题，并通过本次展览将其中得复杂性与矛盾性呈现出来。

展览“云原生游牧”以篇章式的结构探讨了科技时代背景下新的社会叙事。

更多相关内容请点击阅读：

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HOW云原生游牧｜武子杨展览作品介绍（上）

”

展出作品

1.《未来_预报》

Future_Forecast

2.《事件模型 - 81⽇》

Event Modeling – AI Fossil

3.《事件模型 - #dump》

Event Modeling – #dump

4.《一个有科技的女人》

A Woman with the Technology

5.《美西去了哪里？》

Where Did Macy Go?

本期内容将介绍艺术家武子杨的《一个有科技的女人》、《美西去了哪里？》。

《一个有科技的女人》

A Woman with the Technology

武子杨+马克·拉莫斯，《一个有科技的女人》， 2019，档案，数据分析，三频视频，AI对话机器人，基于AI生成剧本的动画视频，VR，镀银人模，展览现场©️HOW昊美术馆

本项目是针对网络算法在网上不断制造的由互联网活动家Eli Pariser提出的“过滤气泡”（一种网络用户只会碰到他们感兴趣并认为正确的信息和观念的现象），使“我”（单个个体）经验日益极端化的试验性研究。同时呈现算法认为“我”的或者是为“我”构建的世界观。基本步骤为收集与整理 – 数据分析 – 训练AI – 通过AI生成内容。

第一部分—— 档案

《一个有科技的女人》第一部分，档案

选择了一系列和“我”的日常存在紧密相关的“关键词”，诸如身份、亚洲经验、人工智能、混合现实、后真相、K-Pop、5G、荒诞等等，并把它们作为初始数据“输入”到主要网络平台中（比如在Instagram上我会follow这些关键词，或者在YouTube上键入这些关键词）。只有第一天有“输入”的部分。从第二天开始，“我”每天会登陆，观看算法推送给我的内容，并且点赞、评论、转发“我”有兴趣的内容。这一部分包括了大量的基本文献：视频、录屏、Instagram和facebook图片下的说明文字、YouTube视频的字幕等。整个收集和记录部分的时间为3个月。

第二部分—— 数据分析

呈现了网络算法对“我”的塑造过程。它们是各类图表、图片和Excel表格呈现出来的关键词变化，比如当日出现频率最高的关键词，整个收集期间出现频率最高的50个关键词（即我自己的“过滤气泡”），以及关键词在整个记录期间的变化曲线等。

武子杨，《一个有科技的女人》，2023

展览现场©️HOW昊美术馆

第三部分—— 三频视频（18分25秒）

三频视频中一频的视频静帧（用于呈现图像检测数据的细节）

以第一部分中的视频档案为原素材，此三频视频以一种相对叙事的方式呈现了第二部分中Top50关键词是如何相互关联的。此外，我们使用了AI密集说明图像检测应用来直观地呈现人工智能/网络算法在视频中“看到”的内容以及它是如何构建“过滤气泡”的。（与艺术家汪洋合作）

武子杨，《一个有科技的女人》，2023

展览现场©️HOW昊美术馆

第四部分——

AI对话机器人和基于AI生成的剧本制成的3D动画（9分54秒）

一个有科技的女人 - 第四部分 - 基于AI生成的剧本制成的动画视频，视频静帧

第一步：使用3个月期间收集到的所有图片说明文字、字幕，以及密集说明图像检测应用抓取的信息训练出了一个AI对话机器人。它可以说是一个AI版本的“我”，或者更具体来说是三个月收集期间网络算法构建的“我”。

第二步：在谷歌上输入“如何写一个成功的电影剧本？”它列举了作为一个成功的编剧应当在写剧本时问自己的问题。于是我向AI对话机器人询问了所有列出的问题，将其生成的答案整理并创建了动画脚本。

第三步：根据AI生成的剧本制作3D动画视频。

AI生成剧本

上图中的AI生成剧本”为”我”与基于RNN（recurrent neural network循环神经网络，上一代的大语言模型）训练而成的对话机器人（“AI版本的‘我’”）于2019年发生的真实对话，也是3D动画视频基于的剧本。在此展览中，我挪用了ChatGPT的对话界面，将对话伪造成了最新的基于Transformer的大语言模型的语境。在人工智能技术高速发展的今天，我们应该如何面对科技艺术中永恒存在的问题——技术的“过期”（obsolescence）性呢？

此项目不仅关注于使用AI去生成和模拟作品，而更关注于从 - “网络算法推送给我的内容” 到 “收集并基于此训练出一个是AI版本的‘我’” 到 “此AI基于我的问题生成反馈” 到 “’我‘去解读这个AI生成的内容并进行再创作” – 这种来来回回的拉扯状态。

一个有科技的女人 - 第四部分 - 基于AI生成的剧本制成的动画视频，视频静帧

武子杨，《一个有科技的女人》，2023

展览现场©️HOW昊美术馆

《美西去了哪里？》

Where Did Macy Go?

《美西去了哪里？》，2020，彩色数码有声视频

《美⻄去了哪⾥？》是⼀部11集的视频作品，最初发布在社交媒体“Tik Tok”上。通过对主⼈公“美⻄”在大流行中的境遇，其被隔离的⽣活、死⽽复⽣以及寻找祖⽗农庄的迷离报道，作品讨论了大流行之下旧有社群结构的瓦解，去集体化后以新共同体的产⽣，以及有关远程居家共同体、大流行下的社会公平等问题。作品是对这个另⼈恐惧、慌乱和迷茫的时代的⼀种回应和叩问。

大流行的世界化让各国的思想家们轮番登场，从阿⽢本的科技极权主义，⻬泽克与韩炳哲对于大流行引向的未来的“争论” – 重建共产主义vs.全球资本主义快速极权化恢复，布鲁诺·拉图尔和弗朗索瓦·杰曼奈的相反⽴场 – 大流行影响下的去全球化带来⽓候和⽣态的改善vs.大流行产⽣的孤⽴和隔离与对抗⽓候问题背道⽽驰，到远程居家共同体等等。《美西去了哪里？》将以上复杂甚⾄⽭盾的论点并置，探索了在大流行的背景下不同社会和政治意识形态的“中间空间”。

美西去了哪里？视频静帧

与在TikTok上发布视频相似，我制作了一系列AR（增强现实）和Instagram滤镜。它们同样是我对于现在很多线上展览的回应：与其将线下的体现重制在网站上展出，我更倾向于利用网络和社交媒体最擅长的：分享和重新分布。到目前为止，这些AR作品已经在Instagrams上有超过30万次使用。虽然是很简单的作品，但当它们被大量地体验和分享，似乎又给项目带来了新的维度。

关于艺术家

武子杨

武子杨，生活工作于纽约和杭州，现任教于中国美术学院跨媒体艺术学院，美国阿尔弗雷德大学艺术设计学院客座教授，前纽约新当代艺术博物馆NEW INC孵化器项目成员。罗德岛设计学院艺术硕士，佛罗伦萨艺术学院艺术学士。他的视频，增强现实 (AR)，人工智能 (AI)模拟和互动视频装置等在国际不同的展览展出，包括费城当代艺术博物馆，纽约新美术馆与旗下根茎，沃克艺术中心，罗切斯特艺术中心，SXSW，迪拜艺术博览会，巴塞尔电子艺术中心，伦敦Annka Kultys画廊，柏林Eigenheim画廊，佛罗伦萨美第奇宫，米兰设计周，今日美术馆，UCCA尤伦斯当代艺术中心，长征空间，成都双年展，K11，松美术馆，明当代美术馆等。他的近期奖项和驻留包括阿尔弗雷德艺术学院The Randall Chair奖；广东时代美术馆媒介实验室”开物者”驻留；AACYF Top 30 under 30青年精英榜；纽约Residency Unlimited驻留；MacDowell 麦克道威尔基金；iea电子艺术学院驻留；罗伯特·劳申博格艺术基金会ROCI Road to Peace获选者等。

武子杨：云原生游牧

Wu Ziyang: Cloud-Native Nomad

Dates: 2023.7.28 – 2023.10.19

Artist: Wu Ziyang

Curator: Zheng Guo

Venue: HOW Art Museum 3F, space one, Lane 2277, Zuchongzhi Road Shanghai

Organizer: HOW Art Museum

Cloud-Native Nomad explores new social narratives in the context of the technological age in a chapter-based structure.

Cloud-native, a notion and technical term emerging in 2010, has constantly expanded its meaning and usage over time. However, if we split the term and interpret it from a more literary perspective, “cloud-native” could also be read as cloud and natives, in other words, natives living on cloud. Applications under the structure of cloud-native are endowed with inherent advantages on any cloud, enabling them to run and link seamlessly.

Cloud-Native Nomad features five projects by artist Wu Ziyang during different periods, including A Woman with the Technology, Where Did Macy Go?, Future_Forecast, Pasig River 2030 – 6 Plus and Event Modeling. Delving into topics such as algorithmic control and bias, remote home community, planetary scale computing and new geographical relationships, evolution of cloud network society, “AI archeology” and collective creation, these works present the intricacies and contradictoriness embedded within.

EXIHIBITION WORKS

1.《未来_预报》

Future_Forecast

2.《事件模型 - 81⽇》

Event Modeling – AI Fossil

3.《事件模型 - #dump》

Event Modeling – #dump

4.《一个有科技的女人》

A Woman with the Technology

5.《美西去了哪里？》

Where Did Macy Go?

This issue features the artist Ziyang Wu's A Woman with the Technology and Where Did Macy Go? .

《一个有科技的女人》

A Woman with the Technology

A Woman with the Technology，2019，Archive, data analysis, three-channel video, AI Chatbot, animated video based on AI-generated script, VR headset, chrome silver mannequin

This project is an experimental study targeting the phenomenon of "filter bubbles" proposed by internet activist Eli Pariser, where online algorithms continuously create an environment in which internet users only encounter information and ideas that align with their interests and beliefs. It aims to examine the increasingly extreme experiences of individuals caused by these filter bubbles. Additionally, it presents the worldview constructed by algorithms, which they perceive as belonging to "me" (the individual). The basic steps involve collection and organization, data analysis, AI training, and content generation through AI.

Part 1 - Archives

A series of keywords that are closely related to my daily focus are selected and used as initial input on various media platforms such as Instagram, Facebook, and YouTube. The keywords include identity, Asian experience, artificial intelligence, mixed reality, post-truth, K-Pop, 5G, absurdity, neo-colonialism, among others, which basically represent the individual existence of myself. This input phase only occurred on the first day. Starting from the second day, I would log in daily to view the content recommended by algorithms, and engage with the content I found interesting by liking, commenting, and sharing. The archive includes videos, screen recordings, captions of Instagram and Facebook posts, and subtitles of YouTube videos. The entire collection and recording process lasted for three months.

Part 2 – Data analysis

Part 2 – Data analysis

It presents the shaping process of algorithms on "me." This is represented through various charts, images, and Excel spreadsheets that show the changes in keywords. For example, it includes the most frequently appearing keywords on a given day, the top 50 keywords with the highest frequency throughout the collection period (representing my own "filter bubble"), and the fluctuation curve of keywords throughout the recording period.

Installation views of A Woman with the Technology

Part 3 – Three-channel video (18 min 25 sec)

Video still of one channel from the three-channel video (for the details of the image detection data)

Using the video archives from the part 1, this three-channel video presents the interconnections among the Top 50 keywords from the part 2 in a relatively narrative manner. Additionally, we utilize AI dense caption image detection application to visually showcase what artificial intelligence/Internet algorithms "see" in the videos and how they construct the "filter bubble." (In collaboration with artist Yang Wang)

Installation views of A Woman with the Technology

Part 4 – AI Chatbot and animated video based on the AI-generated Script (9 min 54 sec)

A Woman with the Technology - Part 4 - Animated video based on the AI-generated script, video still

Step 1: Using all the captions, subtitles, and textural information extracted through the dense caption image detection application that were collected over the course of three months, an AI chatbot was trained. It can be seen as an AI version of "me," or more specifically, a representation of the "me" constructed by the Internet algorithms during the collection period.

Step 2: I searched on Google for "How to write a successful film script?" It provided a list of questions that a successful screenwriter should ask themselves while writing a script. I then asked the AI Chatbot all the listed questions, compiled its generated answers, and created the animation script based on them.

Step 3: Based on the script generated by AI, a 3D animation video was produced.

AI-Generated Script

The AI-generated script above is a real dialogue that occurred in 2019 between "me" and “an AI version of myself”, a Chatbot trained using the RNN (Recurrent Neural Network) model, which was the previous generation of large language models. (The conversation also serves as the script for the final 3D animation video.) In this exhibition, I appropriated the dialogue interface of ChatGPT to resemble the context of the latest Transformer-based large language model. In the rapidly advancing field of artificial intelligence technology, how should we face this eternal question in the realm of Digital Art - the "obsolescence" of technology?

This project not only focuses on using AI to generate and simulate artworks but also on the process of - “interacting with the content pushed by Internet algorithms” to “collecting and training an AI version of ‘me’” to “this AI Chatbot generating feedback based on my questions” to “interpreting and re-creating the content generated by the AI” - It explores the iterative and interactive nature of this back-and-forth process.

A Woman with the Technology - Part 4 - Animated video based on the AI-generated script, video still

Installation views of A Woman with the Technology

《美西去了哪里？》

Where Did Macy Go?

Where Did Macy Go? ，2020，Color Digital Video with Sound，8 min., 53 sec

Where Did Macy Go? is an 11-episode animated video told through a series reports of Macy’s encounter with the epidemic, life during the quarantine, search for his grandfather’s farm and his revival. The video discusses the collapse of old community structures, the emergence of a new community after decollectivization, as well as the new tele-republic of home and social justice under the pandemic. Originally posted on TikTok to challenge the possibility of online exhibitions, the work is a response to this era of volatility, complexity and confusion.

The global pandemic has brought thinkers from various countries to the forefront, from Italian philosopher Giorgio Agemben’s techno-totalitarianism, to the argument between Slovenian philosopher Zizek and Korean-born German philosopher Han Byung-Chul: The re-invention of communism vs. the vigorous restoration of global capitalism, to French philosopher Bruno Latour and French writer François Gemenne’s argument on COVID’s influence on climate change, to Tele-Republic of Home. By juxtaposing all the complex and even conflicting arguments above, Where Did Macy Go? examines the “in-between” space of different social and political ideologies using COVID-19 as context.

Where Did Macy Go?, Video Still

Application available on my Instagram Effect Tab: @ziyang_wu_art

Similar to posting the videos on TikTok, I created a series of AR effects and Instagram filters, which are also my response to the current time where many exhibitions were trying to recreate an IRL experience on their own websites, while I prefer to take advantage of what Internet and social media does the best: sharing and redistributing. So far these AR effects have be shown over 20,000 times on Instagram. Even though it was such a simple piece, but when it’s experienced and shared a lot, somehow it brings another important dimension to the project.

ABOUT THE ARTIST

Ziyang Wu

Ziyang Wu is an artist based in New York and Hangzhou, currently teaching at the School of Intermedia Art at the China Academy of Art, visiting professor at School of Art and Design at Alfred University and is a former member of NEW INC at the New Museum. With an MFA from the Rhode Island School of Design, and a BFA from the Florence Academy of Fine Arts, his video, AR, AI simulation and interactive video installation have exhibited internationally, including Institute of Contemporary Art (ICA) Philadelphia, Rhizome at the New Museum, Walker Art Center, Rochester Art Center, SXSW, Art Dubai, Hek Basel, Annka Kultys Gallery in London, Eigenheim Gallery in Berlin, Medici Palace, Milan Design Week, Today Art Museum in Beijing, UCCA Center for Contemporary Art, Long March Space, Chengdu Biennale, Song Art Museum in Beijing and Ming Contemporary Art Museum in Shanghai. His recent fellowships and residencies include “The Randall Chair” award at Alfred University; “Kai Wu” Interdisciplinary Studio residency, Media Art Lab, Times Museum; AACYF Top 30 under 30; Residency Unlimited; MacDowell Fellowship; Artist-in-residence at Institute for Electronic Arts (IEA); Winner of The ROCI Road to Peace by Robert Rauschenberg Art Foundation.