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新时线媒体艺术中心（CAC）
开放代码. 连结机器人
Open Codes. Connected Bots
2019/07/20 – 10/07
July 20 – October 7, 2019
新时线媒体艺术中心（CAC）
Chronus Art Center (CAC)
上海市普陀区莫干山路50号18号楼
BLDG.18, No.50 Moganshan RD., Shanghai
策展人 Curated by
克里斯汀·洛克斯、诺拉斯克·洛萨斯·丽维亚、张尕
Christian LÖLKES, Lívia NOLASCO-RÓZSÁS, and ZHANG Ga
艺术家 Artists
aaajiao、扎克·布拉斯 & 杰迈玛·怀曼、Bleeptrack、詹姆斯·布里德尔、马克斯·库珀 & 安迪·洛马斯、凯特·克劳福德 & 弗拉丹·乔拉、DISNOVATION. ORG、乔纳斯·埃尔特斯、塞萨尔·埃斯库德罗·安达卢兹 & 马丁·纳达尔、郭城、贝恩德·林特曼、肖恩·马克西莫、乔安娜·摩尔、塞巴斯蒂安·施米格、亚当· 斯沃维克、奈·汤普森、王长存、彼得·威贝尔 & 克里斯汀·洛克斯、卡尔斯鲁厄艺术与媒体中心|赫兹实验室、996.ICU
aaajiao, Zach Blas and Jemima Wyman, Bleeptrack, James Bridle, Max Cooper and Andy Lomas, Kate Crawford and Vladan Joler, DISNOVATION.ORG , Jonas Eltes, César Escudero Andaluz and Martín Nadal, GUO Cheng, Bernd Lintermann, Shawn Maximo, Joana Moll, Sebastian Schmieg, Adam Slowik, Nye Thompson, WANG Changcun, Peter Weibel and Christian Lölkes, ZKM|Hertz-Lab, 996.ICU
联合主办 Co-organized by
新时线媒体艺术中心（CAC）、卡尔斯鲁厄艺术与媒体中心（ZKM）
Chronus Art Center (CAC),ZKM | Center for Art and Media Karlsruhe
展览支持 Supported by
Vitra
Vitra
开幕式&艺术家座谈 Opening Reception & Artist Talk
2019.07.20 (周六）
July 20, 2019 (Saturday)
艺术家座谈 4:00 – 5:00 pm
Artist Talk 4:00 – 5:00 pm开幕式 5:00 – 7:00 pm
Opening Reception 5:00 – 7:00 pm
参观信息 On View
周三-周日 11:00-18:00
11 am – 6 pm Wednesdays – Sundays
门票：20元（每周三及公共活动日免费）
Admission: ¥ 20 (Free admission on Wednesdays)
新时线媒体艺术中心（CAC）荣幸宣布与卡尔斯鲁厄艺术与媒体中心|ZKM联合策划展览“开放代码. 连结机器人”（Open Codes. Connected Bots）。
Chronus Art Center (CAC) is pleased to announce the exhibition Open Codes. Connected Bots, co-organized by CAC and ZKM | Center for Art and Media Karlsruhe, Germany.
展览概念 Exhibition Concept
“开放代码”将计算和艺术以各种方式结合在一起。它是一种新的聚集方式。在这里，围绕计算机代码创造与理解的知识产出以及批判性的艺术实践会同时进行。该项目旨在赋予其参与者以思想为工具重获理解并连接现实的能力，并对数字代码、计算机编程与软件的谱系及社会影响进行反思。
Open Codes brings computing and art together in various ways. It is a new form of assembly, combining practical knowledge of computer code and critical artistic approaches in a single venue. The project seeks to empower its participants to regain access to reality through instruments of thought and to reflect on the genealogy and current social impact of digital code, computer programming, and software.
“开放代码”项目此次于新时线媒体艺术中心（CAC）的重现展出将聚焦算法的情感共振以及计算模拟和物理现实感知之间的交互牵涉。在全球规模计算时代下的当代社会，驾驭代码世界的能力以及相关的数字知识素养至关重要，尤其当算法主体设计的主旨在于转变公众舆论时。
The current iteration of this project at the Chronus Art Center focuses on the affective resonance of algorithms and the reciprocal, perceptual entanglements of computational simulacra and physical reality. The ability to navigate the world of code, hand in hand with digital literacy, are essential to contemporary society in the age of planetary-scale computation, especially when algorithmic agents are designed to influence public opinion.
虚拟软件主体——通俗地称为机器人（bots）——运行大部分重复性任务的速度比人类所能达到的极限速度要快得多。它们又或专用于线上平台对话，这种情况下的编程使它们如人类一般表现。社交媒体机器人是新兴的高可见度经济的产物，且目前占线上流量的一半以上。一些机器人可以学习我们，其它则能够爬行于网络中对内容建立索引，更甚有努力改变我们思维模式并用于政治活动的机器，其它的会恶意投放垃圾邮件。
Virtual software agents, colloquially referred to as bots, run mostly repetitive tasks at a higher speed than humans ever could. Some specialize in conversations on online platforms, where they are programmed to act like regular people. Social media bots are a product of the new economies of visibility and currently make up more than half of online traffic. Some bots can learn from us; others can spider the web to index content; further ones strive to alter our mindsets and are used in political campaigns, and others maliciously litter inboxes with spam.
“Bot”一词来源于“Robot”，由卡雷尔·恰佩克（Karel Čapek）首次用于他1920年出版的科幻小说，描述了一个虚构的人形机器人。“机器人”（robot）一词被用于指代自动机器，正如捷克语中的单词`robota`所指，它能够执行复杂的任务抑或强制工作。机器人无论是否有型，都是为了提供服务，就像1966年约瑟夫·维泽鲍姆（Joseph Weizenbaum）所描述的自然语言对话程序ELIZA一样。这个早期的聊天机器人对某些用户来说是一个比人类心理学家更好的选择。几十年后，像Alexa这样的虚拟助手不仅能够聊天，还能够执行更复杂的任务。在世界的某些地方，它们就如吹风机一样普通地存在于许多家庭之中。
The world bot derives from “robot”, first used by Karel Čapek in his 1920 science fiction novel, to describe a fictional humanoid. Robot became known as a word for autonomous machines, capable of carrying out complex tasks, that can be forced to work, as the meaning of the Czech word ‘robota’ suggests. Robots, whether with or without a built body, are meant to provide services, much like the natural language conversation program, ELIZA, described by Joseph Weizenbaum in 1966. This early chatbot was in some users’ opinion a better psychologist than its human alternatives. A couple of decades later virtual assistants, like Alexa, are not only capable of chatting, but of accomplishing more complex tasks, and are now as mundane as a hairdryer in certain parts of the world.
目前，不计其数的关于以二进制为基础的人类替代品的实验和实际应用正在运行中。除了它们的优点之外，实现这些工具还是需要付出代价的——繁重的人工劳动隐藏在虚拟助手的流畅操作背后。聊天机器人在和用户的谈话中将知识汇总，而这些用户不一定代表整个社会，因此它们的陈述经常受到种族主义或性别歧视观点的左右，并可能强化它们已经接收到的各种社会排斥观念。
Countless experiments and actual applications of binary-based human substitutes are now in use. Despite their advantages, these tools come at a price –the seamless operation of a virtual assistant obscures cumbersome human labour. Chatbots aggregate knowledge from their conversations with users, who do not necessarily represent society as a whole, thus their statements often repeat racist or sexist opinions and may reinforce the kinds of social exclusion they have been fed with.
机器人无论是播放音乐、挖掘比特币、与我们聊天或为我们聊天，它们的影响力都在增长。这种发展的后果是，我们可能要问自己是否正在变成机器人？当我们身处一个时髦的共享工作空间、坐在电脑前时，机器人正在影响我们的决定。算法能以惊人的程度麻木人类主体，这对于人机之间和人类之间的感知、记忆以及社交互动具有无法避免的影响。人类对计算的依赖远超二元对立，已经变为在多个层面上的关联。
Whether they play music, mine bitcoin, or chat with us, the bots’ influence grows. As a consequence of this development, we might ask if we are becoming bots ourselves? As we sit ina stylish co-working space in front of a computer, bots are influencing our decisions. Algorithms numb human agency to a shocking degree, with inevitable implications for perception, memory, and social interactions, whether with bots or among ourselves. Human dependency on computation has become mutually reinforcing on multiple levels, going beyond binary oppositions.
本次展览包含基于计算机代码的艺术作品、也包括了旨在揭示计算机代码如何深度渗透我们生活、社会、地缘政治格局、财政体系、劳动条件、基础设施、环境，甚至我们对自己源代码DNA的感知的艺术作品。
The exhibition includes artworks based on computer code, as well as artworks that reveal how deeply such code has penetrated our lives, societies, geopolitical situations, fiscal systems, labour conditions, infrastructure, environment, and even the perception of our own source code, DNA.
借助艺术家和程序员的大约20件作品，展览从八个主题呈现了数字代码的世界以及未来受其影响的生活领域：
With the aid of around 20 works by artists and programmers, the exhibition presents the world of digital code and its future influence in eight sections:
#代码谱系 （#GenealogyOfCode）
#编码 (#Coding)
#机器学习(#MachineLearning)
#算法治理（#AlgorithmicGovernance）
#算法经济（＃AlgorithmicEconomy）
#虚拟现实（#VirtualReality）
#劳动与生产（#Labor&Production）
#遗传密码（#GeneticCode）
这些关键词共同勾勒出一副想象蓝图，为理解我们所居住的这个数字世界提供基础。
These key terms form an imaginary map, which serves as the grounds for understanding the world we inhabit.
从一个将最新的媒体标题转变为艺术概念的算法（DISNOVATION.ORG：《预测艺术机器人（Predictive Art Bot）》，2017），到一场特定AI系统的解剖（凯特·克劳福德 & 弗拉丹·乔拉：《人工智能系统解剖（Anatomy of an AI System）》，2018），再到一个分享生活故事的复活聊天机器人（扎克·布拉斯 & 杰迈玛·怀曼：《我是来学习的所以:))))))（im here to learn so:))))))）》，2017）。艺术家们在作品中分析了当代社会人类和算法交织的现实。
From an algorithm that turns the latest media headlines into artistic concepts (DISNOVATION.ORG: Predictive Art Bot, 2017), to the anatomy of a particular AI system (Kate Crawford, Vladan Joler: Anatomy of an AI System, 2018), or a resurrected chatbot, sharing its life story (Zach Blas, Jemima Wyman: im here to learn so :)))))), 2017), artists analyze contemporary realities, in which human and algorithmic agency are interwoven.
DISNOVATION.ORG, Predictive Art Bot, 2017, two-channel projection, online bot. Exhibition view from a solo show in Nantes. © Photo: the artists
凯特·克劳福德 & 弗拉丹·乔拉：《人工智能系统解剖》，2018，印刷；ZKM|卡尔斯鲁厄艺术与媒体中心“开放代码”展览现场图 ©ZKM，摄影：乔纳斯·兹里尔斯
Kate Crawford and Vladan Joler, Anatomy of an AI System, 2018, Print. Exhibition view at Open Codes, ZKM | Center for Art and Media Karlsruhe. © ZKM | Center for Art and Media Karlsruhe, Photo: Jonas Zilius
扎克·布拉斯 & 杰迈玛·怀曼：《我是来学习的所以:))))))》，2017，四频道视频装置；ZKM|卡尔斯鲁厄艺术与媒体中心“开放代码”展览现场图 ©ZKM，摄影：乔纳斯·兹里尔斯
Zach Blas and Jemima Wyman, im here to learn so :)))))), 2017, 4-channel video installation, Exhibition view at Open Codes, ZKM | Center for Art and Media Karlsruhe. © ZKM | Center for Art and Media Karlsruhe, Photo: Jonas Zilius
神经网络是一种人工智能的应用，它被用来描绘一个建造于机器拥有的假设——人类会认为机器将如何分析思维——之上的记忆存储（aaajiao：《观察者（bot ,）》， 2017-18）。算法以多种方式构建身份，不仅仅是通过对感知和记忆的渗透，还通过在某些地缘政治情境下的身份存在与空缺。在《网络游者》项目中，艺术家探索了中国关键网关与运行这些网关的基础设施之间的联系（郭城：《网络游者——握手之旅（The Net Wanderer. A Tour Suspended Handshakes）》， 2019）。
A neural network, a type of artificial intelligence application, was used to depict a machine’s assumptions of how people would think a machine would interpret the mind (aaajiao: bot,, 2017-18). Algorithms construct identities in manifold ways, not just by infiltrating perception and memories, but through their presence and absence in certain geopolitical situations. In the project The Net Wanderer,the artist explores the connection between the critical network gateways in China and the infrastructure running these gateways (GUO Cheng: The Net Wanderer. A TourSuspended Handshakes, 2019).
aaajiao(徐文恺)：与圈圈共同完成，《观察者》，2017-18， 单频彩色录像；网站截图 © 艺术家
aaajiao in collaboration with Quanquan, bot,, 2017-18, single channel video, color; website screenshots. ©Photo: the artist
郭城：《网络游者——握手之旅》， 2019，交互装置 © 艺术家
GUO Cheng: The Net Wanderer. A TourSuspended Handshakes, 2019, interactive installation © Photo: the artist
这场展览空间将被打造成一场基于建筑空间的“跑酷”，为访客提供利用工作空间进行独立创意活动的机会。CAC的空间将具有多种功能：展厅不仅展示作品，也可用于活动、工作坊、聚会和讲座，以及在“开放代码”项目对应主题的图书馆中自由翻阅。
The discourse of the exhibition is laid out as an architectonic parcours to offer visitors the opportunity to use the workstations for independent creative activities. The spaces of Chronus Art Center bear multiple functions: the exhibition halls display artworks, but are also available for events, workshops, meetups, and lectures, as well as independently browsing Open Codes’ thematically curated library.
该项目在上海的呈现得到了中央美术学院以及同济大学师生、及众多黑客和创客空间的参与。展览将专门开辟一个空间呈现相关的学生作品。本次展览由瑞士著名家居设计品牌Vitra独家赞助。该项目在上海的呈现得到了中央美术学院、华东师范大学和同济大学师生、及众多黑客和创客空间的参与。展览将专门开辟一个空间呈现相关的学生作品。本次展览由瑞士著名家居设计品牌Vitra独家赞助，展览相关的公共活动亦得到瑞士文化基金会和瑞士科技文化中心的慷慨支持。
The Shanghai iteration of the project was partially developed in collaboration with the Central Academy of Fine Arts, East China Normal University and Tongji University, as well as with hacker and maker spaces. Selected student works will be presented throughout the duration of the exhibition. The exhibition is generously supported by Vitra. Public programs related to the exhibition are supported by Pro Helvetia Shanghai and swissnex China.
CAC“开放代码.连结机器人”系卡尔斯鲁厄艺术与媒体中心|ZKM于2017年10月20日至2019年6月2日期间所策划项目“开放代码”（Open Codes）的衍生展览。
Open Codes. Connected Bots is a satellite exhibition of Open Codes at the ZKM | Centre for Art and Media Karlsruhe, Germany, which ran from October 20, 2017 to June 2, 2019.
联合呈现 Co-organized by
新时线媒体艺术中心（CAC）成立于2013年，系国内首家致力于媒体艺术之展示、研究/创作及学术交流的非营利性艺术机构。通过展览、驻留、奖学金、讲座、工作坊及相关文献的梳理与出版，CAC为媒体艺术在全球语境中的论述、生产及传播开拓了一个多样化且富有活力的平台。CAC以批判地介入不断改变进而重塑当代经验的媒体技术来推动艺术创新及文化认知。
Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.
以拓宽美术馆的基本功能为目标，ZKM | 卡尔斯鲁厄艺术与媒体中心是一个世界范围内独一无二的文化机构。成立于1989年，其使命是将美术馆的古典艺术延续到数字时代。如今，它的藏品几乎涵盖了所有媒介形式与流派，拥有包括绘画、摄影、雕塑在内的空间艺术以及时基艺术（Time-based arts）如电影、视频、媒体艺术、音乐、舞蹈、戏剧和表演。这也是为什么它有时被称为“电子/数码时代的包豪斯”—— 这一表达要追溯到ZKM创始人海因里希·克鲁兹（Heinrich Klotz）。如今在彼特·威贝尔（Peter Weibel）的带领下，ZKM已经发展成一个具有互动性和表演性的艺术中心，在艺术与公众之间创造了新的联系。
As a place expanding the original tasks of the museum, the ZKM | Center for Art and Media Karlsruhe is a unique cultural institution worldwide. Founded in 1989 as a museum with the mission of continuing the classical arts into the digital age, today it is a house of all media and genres, a house of both spatial arts such as painting, photography and sculpture and time-based arts such as film, video, media art, music, dance, theater and performance. This is why it is sometimes called the “electronic or digital Bauhaus” – an expression that is traced back to the founding director Heinrich Klotz. Under the direction of Peter Weibel, the ZKM has developed into an interactive and performative center of the arts that creates new relationships between art and the public.
展览支持 Supported by
合作机构 In Cooperation with
媒体合作 Media Partner
