现在的未来不是将来
OCT-LOFT 创意节
The Imagined Future is Not the Future
在科技持续高速发展，创客、“互联网+”以及人工智能盛行的今天，所有的当代语境皆指向未来。“未来”不再仅仅是时间和空间下的概念，不再具象地表现为将来光景里还未发生的事件，而是相对于我们现在所处的这个时刻而言的未知感受及认知。这里的“未知”是不曾被过去所经历但对于我们每日甚至每分每秒所正在经历的更新，它基于我们现有经验及知觉的意识框架。换言之，未来虽未到来，但已可见。未来究竟是不是未来，是不是所想象的未来才是未知。
意大利作家、诗人马里内蒂（Filippo Tommaso Marinetti）于1909年在《费加罗报》（Le Figaro）发表了《未来主义的创立和宣言》，自此开启了一场在非巴黎为中心的欧洲城市开始的现代文化思潮。二十世纪初期的未来主义（Futurism）强调现代社会中改变了人类物质生活方式的科学技与工业文明，人类的精神生活以及美学观念也随之被颠覆性地改变了。随后由波丘尼（Umberto Boccioni）及多位未来主义艺术家参与并签署的《未来主义绘画技法宣言》则正式标志着艺术创作将不再局限于机械的静态美（立体主义）而热衷于表现运动中的速度与时间。传统的关于时间与空间的观念在艺术表现形式上也被彻底改变。这次人类在艺术领域对于未来憧憬所进行的创作被视为是冲破传统的、具备未来性的，但并非是未知的。未来主义下，绘画、雕塑、建筑以及服饰的创作偏爱速度、力量和工业技术，它们全盘否定传统的文化艺术价值、反对一切模仿形式。
然而在一个世纪后，什么才是今天及以后的未来？显然，艺术史中未来主义定义下的风格流派已不再是当下讨论的重点。现在的“未来”指向艺术及设计同社会生活之间实质性的相互系。未来不再仅限于时间层面的推进，它着力于对其自身概念内进行讨论与思考。“未来”与“未来感”的区别便成为当下对于“未来”的迫切讨论。未来存有着无限可能性，但那个我们所能预见的未来必建立在现时我们已有的知识结构与某种想像与期待之上。换言之，未来可提供且能被我们把握的未知取决于我们现有的已知。艺术作为人类非物质生活的具象载体在经历了包括未来主义在内的社会及艺术运动剧变的今天，其发展早已突破了媒材媒介的限制。未来性不单纯体现在作品的具体呈现方式，还更多地在观念意识以及概念构思阶段便已产生。
此次展览旨在摆脱人们对于未来的臆想，尝试重塑“未来”与“未知”于当下的意义。罗斯•曼宁（Ross Manning）构造出的声光电场域制造出现代性预设中未来情景与此刻现实的错位。“过去的将来不是现在”，对此判断的回应亦于秦铃森对历史与图像的往复挪移之中。未来感作为一种视觉表征，它基于某种现实。“恐惧”恰为应歆创作内的那个现实，“别怕”则犹如一句耳畔细语弥合某种实在之殇。曾被认为是“将来”的现在，既充斥着郝振瀚镜头之下的模仿文化，又是苏五口和上官跨界创作所意在针对的消费社会。同时，物理的城市形态和空间秩序也是弗兰克•哈弗曼斯（Frank Havermans）在地创作的渊源。未来感由具体现实生发而出，熔岩北京（LAVA Being）提供了关于未来感的视觉坐标并最终导向“现在的未来不是将来”的命题。理查德•威赫（Richard Vgen）为观者量化出可见的实时数字景观；麦玛•奥塔肯（Memo Atken）则将氛围环境与视觉感知的交错效应放大为虚拟和现实间可感知的巨型裂隙。虚拟已成为未来的基本面向，而构筑我们想象中未来的基本单元便是数字。
巴特•赫斯（Bart Hess）基于“数字人工制品（Digital Artifacts）”的概念在数字化身体与类身体数据两者之间展开实践；而人类的数据化模型——脱氧核糖核酸（DNA）恰是希瑟•杜威•哈格堡（Heather Dewey-Hagborg）的核心操作界面。对生命政治（bio-politics）的批判方兴未艾，而另一方面，在利亚姆•扬（Liam Young）使用无人机技术拍摄的录像视频中，工具俨然上升为了理性之代表物。我们不禁要提出疑问：包括基因技术、大数据算法、人工智能等等当下热点究竟在何种程度、哪个层面上影响甚至决定了我们的未来呢？
对此疑问，我们引而不发，而将实践者们对此问题的探讨通过视觉表现与感官感受呈现在观众面前意图在对话中梳理我们对未知未来的已知，从而整体地讨论未来的构成。更为重要的是，在创意已成为一种生活方式与趣味、产业推助力进而绵延为一种意识形态的前提下，整体项目基于以下设问：现在的人如何通过创意重塑自身的主体性，未来的人如何通过创意找到新的主体性？由此设问，我们强调出“现在的未来不是将来”与发生地华侨城创意文化园（OCT-LOFT）之间的本地联系，引入人本科技作为创意文化园升级延展的引擎。面向未来的科技通过各类终端延展了人的经验范畴，同时，人文创意与现代科技的联姻亦必将带来新的思维革命，连带激发社群形态的迭变。我们试图通过展览、讲座、表演等公共活动来描摹未来华侨城创意文化园无硬性边界的软形态，并把对此形态的在地实践纳入整体实验和发展的规划当中，最终构造出升级的创意文化园3.0版本甚至更高级的存在形态与发展动势。
OCT-LOFT 创意节
The Imagined Future is Not the Future
在科技持续高速发展，创客、“互联网+”以及人工智能盛行的今天，所有的当代语境皆指向未来。“未来”不再仅仅是时间和空间下的概念，不再具象地表现为将来光景里还未发生的事件，而是相对于我们现在所处的这个时刻而言的未知感受及认知。这里的“未知”是不曾被过去所经历但对于我们每日甚至每分每秒所正在经历的更新，它基于我们现有经验及知觉的意识框架。换言之，未来虽未到来，但已可见。未来究竟是不是未来，是不是所想象的未来才是未知。
意大利作家、诗人马里内蒂（Filippo Tommaso Marinetti）于1909年在《费加罗报》（Le Figaro）发表了《未来主义的创立和宣言》，自此开启了一场在非巴黎为中心的欧洲城市开始的现代文化思潮。二十世纪初期的未来主义（Futurism）强调现代社会中改变了人类物质生活方式的科学技与工业文明，人类的精神生活以及美学观念也随之被颠覆性地改变了。随后由波丘尼（Umberto Boccioni）及多位未来主义艺术家参与并签署的《未来主义绘画技法宣言》则正式标志着艺术创作将不再局限于机械的静态美（立体主义）而热衷于表现运动中的速度与时间。传统的关于时间与空间的观念在艺术表现形式上也被彻底改变。这次人类在艺术领域对于未来憧憬所进行的创作被视为是冲破传统的、具备未来性的，但并非是未知的。未来主义下，绘画、雕塑、建筑以及服饰的创作偏爱速度、力量和工业技术，它们全盘否定传统的文化艺术价值、反对一切模仿形式。
然而在一个世纪后，什么才是今天及以后的未来？显然，艺术史中未来主义定义下的风格流派已不再是当下讨论的重点。现在的“未来”指向艺术及设计同社会生活之间实质性的相互系。未来不再仅限于时间层面的推进，它着力于对其自身概念内进行讨论与思考。“未来”与“未来感”的区别便成为当下对于“未来”的迫切讨论。未来存有着无限可能性，但那个我们所能预见的未来必建立在现时我们已有的知识结构与某种想像与期待之上。换言之，未来可提供且能被我们把握的未知取决于我们现有的已知。艺术作为人类非物质生活的具象载体在经历了包括未来主义在内的社会及艺术运动剧变的今天，其发展早已突破了媒材媒介的限制。未来性不单纯体现在作品的具体呈现方式，还更多地在观念意识以及概念构思阶段便已产生。
此次展览旨在摆脱人们对于未来的臆想，尝试重塑“未来”与“未知”于当下的意义。罗斯•曼宁（Ross Manning）构造出的声光电场域制造出现代性预设中未来情景与此刻现实的错位。“过去的将来不是现在”，对此判断的回应亦于秦铃森对历史与图像的往复挪移之中。未来感作为一种视觉表征，它基于某种现实。“恐惧”恰为应歆创作内的那个现实，“别怕”则犹如一句耳畔细语弥合某种实在之殇。曾被认为是“将来”的现在，既充斥着郝振瀚镜头之下的模仿文化，又是苏五口和上官跨界创作所意在针对的消费社会。同时，物理的城市形态和空间秩序也是弗兰克•哈弗曼斯（Frank Havermans）在地创作的渊源。未来感由具体现实生发而出，熔岩北京（LAVA Being）提供了关于未来感的视觉坐标并最终导向“现在的未来不是将来”的命题。理查德•威赫（Richard Vgen）为观者量化出可见的实时数字景观；麦玛•奥塔肯（Memo Atken）则将氛围环境与视觉感知的交错效应放大为虚拟和现实间可感知的巨型裂隙。虚拟已成为未来的基本面向，而构筑我们想象中未来的基本单元便是数字。
巴特•赫斯（Bart Hess）基于“数字人工制品（Digital Artifacts）”的概念在数字化身体与类身体数据两者之间展开实践；而人类的数据化模型——脱氧核糖核酸（DNA）恰是希瑟•杜威•哈格堡（Heather Dewey-Hagborg）的核心操作界面。对生命政治（bio-politics）的批判方兴未艾，而另一方面，在利亚姆•扬（Liam Young）使用无人机技术拍摄的录像视频中，工具俨然上升为了理性之代表物。我们不禁要提出疑问：包括基因技术、大数据算法、人工智能等等当下热点究竟在何种程度、哪个层面上影响甚至决定了我们的未来呢？
对此疑问，我们引而不发，而将实践者们对此问题的探讨通过视觉表现与感官感受呈现在观众面前意图在对话中梳理我们对未知未来的已知，从而整体地讨论未来的构成。更为重要的是，在创意已成为一种生活方式与趣味、产业推助力进而绵延为一种意识形态的前提下，整体项目基于以下设问：现在的人如何通过创意重塑自身的主体性，未来的人如何通过创意找到新的主体性？由此设问，我们强调出“现在的未来不是将来”与发生地华侨城创意文化园（OCT-LOFT）之间的本地联系，引入人本科技作为创意文化园升级延展的引擎。面向未来的科技通过各类终端延展了人的经验范畴，同时，人文创意与现代科技的联姻亦必将带来新的思维革命，连带激发社群形态的迭变。我们试图通过展览、讲座、表演等公共活动来描摹未来华侨城创意文化园无硬性边界的软形态，并把对此形态的在地实践纳入整体实验和发展的规划当中，最终构造出升级的创意文化园3.0版本甚至更高级的存在形态与发展动势。
Under the current fast-paced technological development,with Maker, Internet and AI becoming each day more popular, the contemporary context all projects into the future, “future” is not only a concept inside the time and space any more, is not just incidents that are yet to happen in the future context, but also the unknown feeling and cognition under the current presence. This “unknown” means things that have not been experienced in the past, however the everyday update for the future are built upon our existing experiences and awareness. In another word, the future is yet to come, but we can already have a glimpse. Is the future really existing? Is the imagined future the unknown?
Italian writer and poet Filippo Tommaso Marinetti published The Foundation and Statement of Futurism on Le Figaro in 1909, hence starting a wave of modern cultural movements among non-Paris oriented cities in Europe. The Futurism in the beginning of 20th century emphasized on the science, technology and industry that changed the modern society, and at the same time, humans’ spiritual and aesthetic ideas were also subverted along the way. Later The Statement of Futurism Drawing Technique signed by Umberto Boccioni and many other futuristic artists officially signified that the art creation would not be bound by the static beauty of mechanics(Cubism), but would express the time and speed in motion, the traditional concepts in terms of time and space was also subverted in forms. This early on future expectation from the perspective of art creation can be seen as anti-conventional and futuristic, but it was not the unknown. Under the context of futurism, drawing, sculpture, architecture and fashion design creation prefers speed, power and industry technology, they deny the traditional art value completely, opposing any form of imitation.
However, after one century, we are still asking what is presence and what is future? Apparently, the style and manner of futurism in the history of art is not the focus any more, the future as of today looks into the inter-relations between art/design and social life. The future is no longer limited only to the course of time, but reflects on the intense discussion of the conceptual connotation on “future” itself. Therefore, to differentiate between “Future” and “the Sense of Future” becomes fairly urgent nowadays. It has limitless possibilities, but the future that we can meet must have been constructed upon our imagination and expectation about it based on our existing structure of knowledge. To put it in another way, the unknown provided by the future that could be grasped by humans are up to our current“known”. Art creation, as the representational vehicle to reflect the incorporeal lives of human beings, through all these social and artistic movements’of material and media cast upon it. Futurism is not only expressed in specific presentation forms, but also activated early on in the stage of humans’ awareness and concept formation.
This exhibition aims to break out of humans’ subjective assumption about future, trying to redefine the position of “future” and “unknown” in a contemporary context. The sound and technology domain that has been set up by Ross Manning fabricates the misplacement of the present reality and the view of the future in the preinstalled modernism. Through the reciprocating thinking between history and images, QIN Lingsen responds to the exhibition title “The Imagined Future is Not The Future” in his own way. The sense of future as a visual characterization is based on reality, “fear” happens to be the reality for the creation of YING Xinxun, while “don’t be afraid” plays the role of a whisper that heals the woeful destruction of real. The present were regarded as the “future”, on one hand it is flooded with the culture of imitation in HAO Zhenhan’s lens, and on the other hand it is also the commercialized society that is aimed by SU Wukou and SHANGGUAN Zhe in their cross-over collaborations.
At the same time, the physical modality and spatial order of the city are the origin of Frank Havermans’ In-situ.LAVA Beijing understands perfectly that the sense of future grows from specific reality, therefore they offer the visual coordinate of the future and eventually guides us to the motif of the exhibition title. While Richard Vijgen visually quantifies the real-time digital landscape for the viewers, Memo Atken is amplifying the intertwining of the surrounding atmosphere and visual perception,in order to create this gigantic perceptual crevice between reality and virtualization. Virtual-reality becomes the basis of the future, and digital is the fundamental unit that builds the future in our imagination. Based on the concept of Digital Artifacts, Bart Hess initiates her artistic practice between the data of digitized human body and quasi-body. And the digitized model of human being-DNA happens to be the core operational interface of Heather Dewey-Hagborg. Criticism towards bio-politics is unfolding in front of us, Liam Young’s utilization of drones in his video shooting process has obviously turned tools into the symbolic character of rationality. We could not stop to question: to what extent and in what ways do gene technology, big data, artificial intelligence and other hotspots topics affect and/or decide the future of ours?
Instead of answering this question, we exhibit the studies and inspections of the practitioners through the visual representation and sensorial experiences, which assist us to re-organize the already known of the unknown in order to discuss the construction of the future as a whole. And more importantly, on the premise of originality as the lifestyle， interest and booster of the industry are becoming the ideology, this exhibition raises two questions: how do contemporary human beings re-construct their subjectivities through originality? Human beings in the future, how do they locate their new subjectivities in respect of originality?
Based on the above, we emphasize on the connection between this exhibition-“The Imagined Future is not The Future” and OCT-LOFT, which is introducing human technology as the drive of the local upgrade. Technology that looks into and belongs to the future stretches the human experiences through various terminals. And at the same time, the alliance of humanistic creativity and modern technology would inevitably bring the evolution of thinking, which would alsomotivate the regeneration and transformation of modality of the society. We attempt to delineate the boundless image of the future OCT-LOFT through exhibition, lectures, performance and other public activities. Moreover, add this image into the overall practice and plan of the development, which would eventually build an upgraded 3.0 version or even more advanced OCT-LOFT.
Italian writer and poet Filippo Tommaso Marinetti published The Foundation and Statement of Futurism on Le Figaro in 1909, hence starting a wave of modern cultural movements among non-Paris oriented cities in Europe. The Futurism in the beginning of 20th century emphasized on the science, technology and industry that changed the modern society, and at the same time, humans’ spiritual and aesthetic ideas were also subverted along the way. Later The Statement of Futurism Drawing Technique signed by Umberto Boccioni and many other futuristic artists officially signified that the art creation would not be bound by the static beauty of mechanics(Cubism), but would express the time and speed in motion, the traditional concepts in terms of time and space was also subverted in forms. This early on future expectation from the perspective of art creation can be seen as anti-conventional and futuristic, but it was not the unknown. Under the context of futurism, drawing, sculpture, architecture and fashion design creation prefers speed, power and industry technology, they deny the traditional art value completely, opposing any form of imitation.
However, after one century, we are still asking what is presence and what is future? Apparently, the style and manner of futurism in the history of art is not the focus any more, the future as of today looks into the inter-relations between art/design and social life. The future is no longer limited only to the course of time, but reflects on the intense discussion of the conceptual connotation on “future” itself. Therefore, to differentiate between “Future” and “the Sense of Future” becomes fairly urgent nowadays. It has limitless possibilities, but the future that we can meet must have been constructed upon our imagination and expectation about it based on our existing structure of knowledge. To put it in another way, the unknown provided by the future that could be grasped by humans are up to our current“known”. Art creation, as the representational vehicle to reflect the incorporeal lives of human beings, through all these social and artistic movements’of material and media cast upon it. Futurism is not only expressed in specific presentation forms, but also activated early on in the stage of humans’ awareness and concept formation.
This exhibition aims to break out of humans’ subjective assumption about future, trying to redefine the position of “future” and “unknown” in a contemporary context. The sound and technology domain that has been set up by Ross Manning fabricates the misplacement of the present reality and the view of the future in the preinstalled modernism. Through the reciprocating thinking between history and images, QIN Lingsen responds to the exhibition title “The Imagined Future is Not The Future” in his own way. The sense of future as a visual characterization is based on reality, “fear” happens to be the reality for the creation of YING Xinxun, while “don’t be afraid” plays the role of a whisper that heals the woeful destruction of real. The present were regarded as the “future”, on one hand it is flooded with the culture of imitation in HAO Zhenhan’s lens, and on the other hand it is also the commercialized society that is aimed by SU Wukou and SHANGGUAN Zhe in their cross-over collaborations.
At the same time, the physical modality and spatial order of the city are the origin of Frank Havermans’ In-situ.LAVA Beijing understands perfectly that the sense of future grows from specific reality, therefore they offer the visual coordinate of the future and eventually guides us to the motif of the exhibition title. While Richard Vijgen visually quantifies the real-time digital landscape for the viewers, Memo Atken is amplifying the intertwining of the surrounding atmosphere and visual perception,in order to create this gigantic perceptual crevice between reality and virtualization. Virtual-reality becomes the basis of the future, and digital is the fundamental unit that builds the future in our imagination. Based on the concept of Digital Artifacts, Bart Hess initiates her artistic practice between the data of digitized human body and quasi-body. And the digitized model of human being-DNA happens to be the core operational interface of Heather Dewey-Hagborg. Criticism towards bio-politics is unfolding in front of us, Liam Young’s utilization of drones in his video shooting process has obviously turned tools into the symbolic character of rationality. We could not stop to question: to what extent and in what ways do gene technology, big data, artificial intelligence and other hotspots topics affect and/or decide the future of ours?
Instead of answering this question, we exhibit the studies and inspections of the practitioners through the visual representation and sensorial experiences, which assist us to re-organize the already known of the unknown in order to discuss the construction of the future as a whole. And more importantly, on the premise of originality as the lifestyle， interest and booster of the industry are becoming the ideology, this exhibition raises two questions: how do contemporary human beings re-construct their subjectivities through originality? Human beings in the future, how do they locate their new subjectivities in respect of originality?
Based on the above, we emphasize on the connection between this exhibition-“The Imagined Future is not The Future” and OCT-LOFT, which is introducing human technology as the drive of the local upgrade. Technology that looks into and belongs to the future stretches the human experiences through various terminals. And at the same time, the alliance of humanistic creativity and modern technology would inevitably bring the evolution of thinking, which would alsomotivate the regeneration and transformation of modality of the society. We attempt to delineate the boundless image of the future OCT-LOFT through exhibition, lectures, performance and other public activities. Moreover, add this image into the overall practice and plan of the development, which would eventually build an upgraded 3.0 version or even more advanced OCT-LOFT.
