ttention on importance of ation of space, surface and s, and excluded all things vant to these factors. graphy is an excellent carrier cumenting life. In the 0:00 59, I have used photos as my material to explain my ies of the day. In this project, pted a similar technique of ment as the one used in the er work, photo and diary. ent from previous one, I only ne photo to represent the of my day. Every photo s to the text diary, but these ections are abstract and ct. Another challenge of this ct is how to use pure etric shapes and colors to nt emotion, and it leads to er topic about expression’s ctivity and objectivity. As one knows, color and etric shapes is a universal age that is recognizable by e from almost every different e in the world. But different es have different understandbout the meaning of what s and shapes carry. For ple, red could represent l, passionate, but in some e it comes with meaning of and evil. I was thinking why I create a new language based y personal subjective iousness since I can’t find a rsal explanation from the ng knowledge. Audience will to understand the meaning gave to each color, shape and on before viewing my works, hen use them as the key to de them. In response to nsky’s theory and other e of books about color theory, shapes, colors, positions zes meaning like these: single composition consists arts: abstract graphics and iary. In the art perception ective, graphic and text are wo different method of art ssion. By reading text, nce could immediately get a
[anti-] [syn-] thesis
of mime and become my creative theme. The three works in this chapter all take a pair of opposite words as the starting and expand. One day I worked in the studio late into the night, and I had randomly placed many documents on the computer desktop. I was about to go home when I looked at the disordered computer screen and suddenly felt a vague sense of restlessness. I began to notice that the disorder can have such a big impact on my mentality. At this point, order and disorder became the first pair of opposite concepts in my mind. From this concept, I began a series of researches. How do order and disorder affect reading system and exist in people’s lives? How are they embodied in nature? Columbia University conducted a study which showed that regardless of the combination of letters in an English word, as long as the first letter and the last are in the correct position, people will fully understand the meaning of the word, because they do not read letters, they read whole words. This is an interesting phenomenon, and in Chinese this law is reflected in the sentence. It is also interesting to note that order and disorder are not absolute concepts, but relative concepts. For example, when one person sees a painting in a museum and describes it as disordered, the only way he can come to that conclusion is by subconsciously comparing this painting with another he finds relatively ordered. Similarly, if there is another painting more disordered, then, relatively speaking, the first one will appear more orderly, and the second will be defined as disordered. In other words, a single picture can contain both the concept of “order” and “disorder”, and the conversion between them depends entirely on the impact one has on the other. I wanted to investigate these terms
coverage by the Chinese official smaller. The concepts of dive media and the next page, which and globalization are commo has a layout that allows the reader in many of today’s internation to unfold the left page, contains cities. In the process of cultu the coverage by the Western exchange, conflict is inevitab media. Upon reading, a reader may Different cultures may first in feel that the Chinese media is with each other suspiciously, perhaps hiding something. slowly they extend mutual un However, the reader must decide standing and integrate. Beca which side to believe. As the of my personal experience w antithesis of this work, I select cultural differences, when I a “public” and “objective” as in the United States I becam keywords within the framework of very interested in the differen dialectical thinking. between Eastern and Wester In 2008 I attended a seminar 墙里墙外 | 在后现代主义思维影响下 Beijing that was initiated by t 的当代设计师逐渐把目光投向了社 young designers, Zhang Zijian 会和政治。大到政治宣传海报，小 Mi Shijie, who were intereste 到一些讽刺社会现象的艺术，艺术 in combining Eastern and We 家们在积极地扮演者一种公知的角 ern aesthetics and translating 色，将艺术作为一种传播媒介向大 these concepts into the prac application of graphic design. 众陈述一些客观事实，或者表达自 extracted composition conce 己的观点。我个人也经常关注时 from classical paintings and u 事，并在博客上发表一些自己对某 these in tandem with Eastern 些事情的看法等。但艺术家真的会 Western philosophies to crea 有这么大的力量么？我对此持怀疑 “ChiYun Composition”, which greatly inspired my creative w 态度。 太过于在作品中表达政治观 The East and the West vary 点的艺术家往往会将自身置于风暴 dramatically in their artistic 的中心，成为争议的话题。当然， aesthetics. According to trad 这也必然与所处的文化、政治环境 Western aesthetic conceptio 有关。比如众所周知的中国当代艺 beauty comes from precise, 术家艾未未，无时无刻不在作品中 and representational actualiza This is why the classic Weste 表达着他个人的政治观点。其本身 arts, such as sculpture and 就成为了一种争议，因为人们无法 painting, tend to authentically 判断他所诉求的观点是否是正确的 vividly portray the subject thr 还是错误的，即便是历史也不能做 techniques like focus perspec 到百分之一百的客观。作为一个关 proportion and shadow. In accordance with common We 注时事的设计者，我更倾向于尽量 thought, the golden section, 罗列一些完全客观的事实，抛开自 is based on a mathematical r 己对这件事的主观看法，让世人去 represents the most aesthet 自己去评价这个事件。因为很多时 pleasing proportion and has s 候我无法判断我知道的真相是否就 as a crucial theory in both sci and art. It is widely reproduce 是真的真相。 中国的网络封锁政策 Western painting, architectur 一直是西方主流社会批判的议题。出 even modern design. Conse于一些政治因素，很多西方主流网 quently, Western art aestheti 站、媒体，如Facebook, Youtube, embodies the beauty of math Twitter等都无法在中国大陆登陆。 ical proportion, which require 其原因无非是不希望中国人看到西方 stable and stationary structur 媒体对一些中国历史上的敏感政治事 contrast to the West, aesthet 件的观点，影响中国社会的“和谐” appreciation in ancient China 。近年来，中国政府对网络的管制丝 originates from Taoism, which
Lehu Zhang
张 乐乎
capacity to convey action, listeners can still acquire concrete impressions from some symbolic sounds, like the sound of a door shutting, or waves crashing onto a beach. In this work, I try to randomly record my surroundings’ sounds, most of which are symbolic sounds. In contrast, text may give people a perceptual experience, but it can also achieve abstract existence through art forms like poetry. Through this work, I intend to give the audience two different, yet inter -related, sensory experiences. In a video, I combine fragments of the identifiable sounds I recorded with images of short sentences that consist principally of a single word. Abstract words in connection with sound, and the change of the background color at specific intervals, communicates to the audience implied situations and states of being. For the final visual form, I store the video on a CD and design the cover. As a synthesis of artistic expression, the sound diary gives the audience both an “abstract” and “direct” experience. 声音日记 | 如何将抽象与直观结合在 一起是这部合题作品所要面临的挑 战。众所周知，抽象的东西本身给 予人们的艺术体验就是间接的，他 们本身在含义上就是相反的。也就 是说，我要在同一部作品中既表现 出抽象又要表现出直接。中国艺术 家徐冰的作品《地书》1 给予了我很 大的启发。他运用纯象形符号来创 造出一种世界人都能读得懂的语 言。在阅读体验上，符号本身是相 对抽象的元素，但是因为人们日常 生活中的频繁使用，他们又会直接 在人们脑海中映射含义。除了符号 之外，还有什么象征性事物能给人 一种直观的体验呢？声音。 声音作 为一种视觉载体，并没有视觉那么 直观。视觉，听觉，触觉，常常是 艺术家与设计师喜欢探索的领域。 但人么依然会从一些符号化的声音 里得出具象的印象，比如，开门 声，海浪声等等。我尝试随机性的 记录存在我周围的环境音，他们大 多数是具有象征性的声音。同时，
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