“Dopplehanger” Research 2

In collaboration with the sound artist JIAXIA, we turned the collections of virtual sounds and visceral sounds into two formats, namely: alpha number movements and waveform frequencies. I used the processed materials for my short experimental film named “doppelganger chapter one,” which I presented at the AAIE art centre in Rome, Italy in August. In this film, the velocity of waveform frequencies became the melody and variation between alpha numbers controlled the virtual body’s movement. My virtual body walks in a mirrored space, and reads the first chapter of Lao Tzu's” QI WU LUN” aloud. (I chose to use “QI WU LUN” because the text has a huge impact on my cultural identity and my thinking between culture and physical locations.)

This is the first chapter of a sensory experiment that starts from real feelings, presenting a multi-dimensional and repetitive momentary state by means of the decomposition and interplay of all frequencies in space. It does not simply rely on digital models and pictorial language, but on the uncertainty of life to embrace a new reality of the desert. In the repetitive movement of virtual and physical space, the subject will no longer exist. The space of the future is already dominant in people's daily lives, as the creator Muxingye himself experiences: "I am gradually adapting to the fullness that the online world gives me; instead, relationships in the real world exist as mere necessities to fulfill a specific function." In effect, the space of activity of the subject is compressed into the information, and here it can also be said that the subject becomes passive and the information becomes frequency. In a closed space (physically and psychologically closed), there is no longer a clear-cut relationship between objects; light and shadow, movement and stillness, words and ideas are broken down and reshaped in a holistic relationship, as they become subdivided pixel dots and code-editing breaths, forming a living field between a multitude of free-moving individuals. The nomadic nature of the work unfolds and extends here, with its duality of the imaginary and the real, symbolizing Muxingye's nomadic state in post-modern society, repetition in difference, and freedom in frequency.

“Doppelganger” 影像(Moving Images):陈牧星野 MUXINGYE CHEN 音像(Sound): 夏佳 JIA XIA 策展人( Director):汪梦茵 MENGYIN WANG 这是一场由真实感受出发的感官实验的第一章,借助由空间中所有频率之间的分解与交融来 呈现一种多维的重复的瞬间状态。它并不简单的依附于数字模型与图象语言,而是依靠生活 中的不确定性来迎接一种新的现实沙漠。 在虚拟空间与物理空间的重复运动中,主体将不再存在。未来空间已经在人们日常的生活中 占据主导地位,如同创作者陈牧自己的体会: “我逐渐适应于网络世界给予我的充实感,相反 的,现实社会里的关系仅仅成为了满足特定功能的必需品而存在。” 实际上,主体的活动空 间被压缩到了信息中,这里也可以说主体变为被动,信息变为频率。在一个封闭空间中(物 理上的和心理上的封闭状态), 各个物体之间再无主次分明的关系,光与影、动与静、话语 与思想都将在一个整体的关系中被打破和重塑,因为它们变成了细化分解后的像素点和代码 编辑的呼吸声, 形成了众多的自由移动个体间的具有生命力的场域。作品的游牧性在此展开、 延伸, 它具有虚与实的双重性,象征着陈牧在后现代社会中的游牧状态,在差异中的重复, 在频率中的自由状态。


物无非彼,物无非是。自彼则不见,自知则知之。故曰:彼出于是,是亦因彼。彼是,方生 之说也。虽然,方生方死,方死方生;方可方不可,方不可方可;因是因非,因非因是。 There is nothing that is not a "that"; there is nothing that is not a "this." One cannot see oneself as a "that," but if one knows oneself, one knows what it is to be another. That is why it is said, "That arises from this, and this also relies on a that." This is the explanation of how this and that are born in the same instant.