010 Manifesto from Zhou Yan on Vimeo.




Carnival at the global village, prophecy comes true one after another. Virtual reality enables the further proximity to the scene, but does all of this have meaning?

Can we represent nostalgia using new media? This is not as simple as the visual cheapening in pixel art or recreating Van Gogh’s bedroom in computers to teleport the audience into the painting. These two nostalgic acts bear no difference to what McLuhan calls the “international motley,” using the worn-out Levi’s jeans to rebel against one’s time.

Technology can get us closer to the truth, but can also get us lost. When we immerse ourselves in the technology, can the kind of fragmented scenes that virtual reality provides stimulate in its user any critical reflections instead of simple visual excitement?

From making 3D model of every object to constructing the entire scenes, I am also reconstructing memory. The entire story is told around an alley in Beijing and its changes over time.


010:作品概念宣言

我们在国际村里狂欢,预言一个接着一个的实现。虚拟现实让我们更加身临其境的去接近现场。但这一切是否有存在的意义?

是否可能用新的媒介去表现怀旧,这不是简单层面上的像素艺术或者还原梵高屋子那样把观者带回过去的画作中。这种怀旧气质就像马克卢汉提到的国际混杂物那样,用破旧的李维斯牛仔裤去彰显自己对时代的反抗。

科技可以让我们更接近真相,而同时也让我们更容易迷失自我。当我们沉浸在这个可变换文化背景的极致结构中时,虚拟现实营造出碎片化新闻现场是否能给观者带来情绪上的触动。而不仅限于视觉刺激。

我通过三维建模的方式去搭建整个场景的同时也在对记忆进行着重构。真个作品的故事起始点来自于一座北京胡同中平房的变迁过程。







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