ie184700   4h191110   d0191506   df190000   e3195151   eg197207   08201141   1j207654   33203411   39202205   g7207371  





Every day, even on days when drinking boiling water is not planned, a kettle of water is still put on the stove and the process is observed. Every day, one goes to the brunch place downstairs to take a peek at the old man who sits in the same spot at the same time every day, drinking coffee and reading newspapers in the same clothes.

By repeatedly observing repetitive patterns which are supposed to repeat, one confirms life is still going on. By repeatedly observing repetitive patterns that are not supposed to repeat, one confirms that life is in fact not real.

In Roland Barthes' "Paris n'a pas été innondé (Paris has not been Flooded)", he illustrated that the city was cut into half during the Paris flood in 1955. No matter the car, the house or the trees, only the top was exposed: "All of these ordinary things seem to be broken at their roots and lost the most reasonable entity - the earth... The flood has overturned usual optics without causing any hallucinations." In the electronic song, "Mono No Aware", William Basinski and Lawrence English pair a track of subtle train wheel sounds with the linear ambient synthesizer mix. When I listened "Mono No Aware" for the first time, I lived in my aunt's house which is nearby the train station. I kept taking off my headphones and comparing reality and music. At the time, I was not having any conflicts with the usual acoustics, yet questioning whether I was hallucinating.



When we hold a hammer, we will not focus on "the hammer" itself, but to use it to hit the nail, and to finish the whole construction. When we use a hammer to hit a nail, a tool like a hammer in that instance is in a state that can be called "readiness-to-hand" (Zuhandenheit) or "handiness", that is, our attention always focus on its intention. The thing itself is attached to what they are about and of what they belong to. In this state (which might be the most naturally common state), "mitdasein" can easily be derived to "mitsein". When we drop the hammer to observe it, the hammer belongs to a different category: "presence-at-hand" (Vorhandenheit). The hammer has become the isolated mitdasein and then been observed and analyzed.

If an accident occurs while the hammer is used, and the hammer itself or the nail is broken, our attention will shift from the action of hitting the nail or the entire construction project to “the hammer as a thing”, and then "readiness-to-hand" collapses into the state of "presence-at-hand".

In the process of the perception, there may be a way to make such collapse, not just a subjective phenomenological suspension (Epoché) description of things, but to leave things in the intermediate state of "readiness-to-hand" and "presence-at-hand", that is, actively destroying the hammer that is hitting the nail, or imaginatively destroying the hammer that nails the nail, in order to think about the intention of the hammer before being destroyed and the mitdasein of the hammer after being destroyed. It is neither the "readiness-to-hand" or the "presence-at-hand", but the detached state inbetween.

In this particular state, the perception might be more objective and irresponsible in a good way.



Although it is crucial not to explicitly explain the process of making df190000, I still want to mention a detail that happens to be connected to the concept of this work. I was frustrated to find that fitting a circuit board into the regular bulb is more challenging than anticipated, but eventually a fake bulb that is used for hiding money on eBay solved my problem. The white shell can be opened and the bulb is completely empty inside, which made it easy for me to attach the circuit board with the LED component and turn the fake bulb into a real bulb. In other words, a certain authenticity is converted into another kind of authenticity.



The angst this work maps to was initiated from a billboard I saw. There was a skinny model on the board—she remains skinny even after being enlarged into a 20-meter-high vinyl inkjet print. A panic rushed over me as I asked myself why humans stopped eating. Appetite has been a key element for keeping individuals alive since the beginning of time. What is the key element for keeping humans (if they are still humans) as individuals alive when an individual without appetite is enlarged into a 20-meter-high billboard? In e3195151, I took a bag of snacks with a smiling stranger printed on it. I turned the package inside out and resealed it. It is an artless rebellion about symbolization.



The collective which is the pre-existence of the individual is also composed of individuals. The reflexivity between collective and individual leads to mutual hegemony in the relationship. If we take the thrownness of our life as a transparent bouncy ball, we are, to a certain extent, the person in the ball and the person kicking the ball simultaneously. In eg197207, I bluntly translated this analogy into an everyday scene. The person who throws the ball is in the logic but not in the frame. There are 12 GoPro cameras in the transparent ball, and they capture 3-second images which are composed into a 3 by 4 matrix. It is worth mentioning that, in the commercial collaboration between GoPro and Red Bull in 2012, 7 GoPro cameras captured the whole process of Austrian skydiver Felix Baumgartner's parachute jump from the stratosphere, 40 kilometers from the ground. In the image that is captured by cameras, the earth transforms from a sphere to a plane, and eventually becomes a thin 3-dimensional layer on the plane, which is a scenario we are most familiar with.



Where does sublime come from?

The pure beauty is too easy to shape, that no one does not have utopia in their heart. Under the current context, the sublime is one who still has the gesture of Don Quixote's war against the windmill. The bone of it is that the one has self-awareness of the unawareness, and the blood of it is that the one discards the concequences when there are concequences. Mick's jump from the window in Youth is the sublime; the swim trainer's hand gesture in Immortality is the sublime. Kant said “the sublime must always be large", but 300 years later, when people can erect a 20-meter-high statue of cabbage like an obelisk in Vatican , 1 inch is the sublime.