原标题：科学与艺术的交汇：“技术伦理”北京媒体艺术双年展即将开启

来源：BMAB

文献研究—科学

卡拉比–丘流形（Calabi–Yau manifold）在数学上是一个第一陈类为0的紧致n维凯勒流形（Kähler manifolds），也叫做卡拉比–丘 n-流形。数学家卡拉比（Eugenio Calabi）在1957年猜想所有这种流形（对于每个凯勒类）有一个里奇平坦流形的度量，该猜想于1977年被丘成桐证明，成为丘定理（Yau\'s theorem）。因此，卡拉比–丘流形也可定义为“紧里奇平坦卡拉比流形”（compact Ricci-flat Kähler manifold）。也可以定义卡拉比–丘n流形为有一个SU(n)和乐（holonomy）的流形。再一个等价的定义是流形有一个全局非0的全纯(n,0)-形式。

A Calabi–Yau manifold, also known as a Calabi–Yau space, is a special type of manifold that is described in certain branches of mathematics such as algebraic geometry. The Calabi–Yau manifold\'s properties, such as Ricci flatness, also yield applications in theoretical physics. Particularly in superstring theory, the extra dimensions of spacetime are sometimes conjectured to take the form of a 6-dimensional Calabi–Yau manifold, which led to the idea of mirror symmetry. Calabi–Yau manifolds are complex manifolds that are generalizations of K3 surfaces in any number of complex dimensions (i.e. any even number of real dimensions). They were originally defined as compact Kähler manifolds with a vanishing first Chern class and a Ricci-flat metric, though many other similar but inequivalent definitions are sometimes used. They were named \"Calabi–Yau spaces\" by Candelas et al. (1985) after Eugenio Calabi (1954, 1957) who first conjectured that such surfaces might exist, and Shing-Tung Yau (1978) who proved the Calabi conjecture.

Brian Greene:Making sense of string theory

在好奇心的驱使下，人类踏上了探索宇宙奥妙的漫漫长路。我们用科学的方法论来建立和组织知识，用可验证的理论解释并推测宇宙世界。其构成成分之间所发生的反应及其精妙的结构属于化学的范畴；基因携带者与依靠氧气的生命体属于生物的范畴；事物的运动则遵循着物理规律。所有的知识分支汇聚到一起揭秘已存在了一百三十多亿年的璀璨神秘的宇宙。

Driven by curiosity human beings have embarked on a long journey in questing the wonders of the universe. We use science as a systematic enterprise, we build and organise knowledge in the form of testable explanations and predictions about the universe. The fine structure of its constituents and their reactions are known as chemistry, while the DNA carriers and oxygen users are covered by biology. The laws of physics govern the dynamics of which, All these branches of knowledge unite together to decipher our beautifully mysterious universe for more than thirteen billion years.

宇宙膨胀示意图

近五百年来，从伽里略到牛顿，从爱因斯坦到希格斯，物理科学几乎探索到了宇宙的各个尺度。我们已知的宇宙由三部分组成：可测物质占4%，暗物质约为25%，其余为暗能量。牛顿于17世纪将引力公式化，用经典力学描述了宏观世界。但经典力学却无法解释微观尺度下物质的结构及运动问题。于是，量子力学领域的研究便于20世纪初拉开帷幕。与此同时，爱因斯坦于1915年提出了联系时空几何和物质能量的方程。量子力学与相对论无法兼容这一问题，既是二十世纪科学界最大的失败，也是本世纪科学界面临的最大挑战。

In the last five centuries, in physical science starting from Galileo and Newton to Einstein and Higgs, almost all scales of the universe have been explored. Our knowledge of the universe divided into three parts, matter that we know 4%, dark matter about 25% and the rest is dark energy. In 17th century, Newton described the macroscopic world through classical mechanics to formulate gravity. The classical picture of mechanics vis a vis nature failed to explain the structure of matter and its dynamics at short distances. That lead to the era of quantum physics in the beginning of 20th century. In the other hand, in 1915, Einstein formulated the theory of gravitation to equate the dynamics of the space time geometry to the energy of matter. The fact that quantum mechanics and general relativity have been found fundamentally incompatible stands as the greatest failure of twentieth century science, and provides the greatest challenge at the dawn of the twenty-first century.

弦理论看法中的“时间空间结构”(交互)。

The “Space Time structure”(interactions) in the eyes of string theory

目前来看,似乎所有的理论都在尝试找一个能够推演一切自然法则的数学理论框架，自1970年代开始，某些物理理论如弦理论就尝试糅合重力的量子化和统一场论为一个统领一切的理论。 26维的弦理论从强子物理中不是特别成功的理论中演变到未来所预期的包括所有(粒子)反应的10维的统一场论。莱纳·海德里希（Reiner Hedrich）曾说：“弦理论与其说是一种真正的理论，不如说是一座由数学过程与直觉构造出的迷宫……它既没有清晰明了的同源基础，也没有任何从物理学出发的根本法则被验证。”伦纳德·萨斯坎德（Leonard Susskind）也说过：“在没有任何实验论证的基础上，弦理论家们生生构建了一幢纪念碑般宏伟的数学华厦。”走出这个迷宫的方法之一，就是后退一步，非从数学框架角度,而用观察来重新定义时间、空间、物质、能量和真空的概念。

All motivations of theories are based on the idea of finding one mathematical framework to derive all the laws of nature. Since 1970s, some theories such as string theory seek both quantised gravity and grand unified theory within one framework as a theory of everything. String theory in 26 dimensions mutated from an unsuccessful theory in hadron physics to prospective unified theory of all interactions in ten dimensions. Reiner Herdich said: “String theory is no theory at all, but rather a labyrinth structure of mathematical procedures and intuitions… It has no clear and unambiguous nomological basis; no physically motivated fundamental principle is known. ” Leonard Susskind said: “… with absolutely no experimental basis, string theorists constructed a monumental mathematical edifice”. One of the ways out, is to take a step backward and redefine the concept of time, space, matter, energy and vacuum, not from mathematics but from observations.

人类现已步入权衡人、知识与自然这三角关系的关键阶段。数学体系的向量化与对纯理论的浪漫主义情结，使科学陷入停滞不前的巨大危机。数学 - “宇宙通用语言”，作为科学研究的框架依托的同时，无法挣脱其“认知论障碍”的命运。因此，认知论层面上的超越成为必需：物理定律并不全为“定”论，可被推翻和重写。或许我们应当审视科学方法论本身，重回自然哲学之道，尝试揭秘尚未知的、甚至不可知的事物。

We have come to a encounter a very critical stage of the natural triangle humans-knowledge-nature. Facing the greatest “crisis” - the “stagnation” of science today which led by vectorisation of mathematical frame works, and romanticisation of pure theories. Mathematics as the “universal language” function as frame work for science, nonetheless it unavoidably suffers from it’s own fate of “epistemological obstacle”, epistemological leap is needed, “laws of physics” may not be so “lawful” and perhaps need to be re-written. It may be helpful to examine the scientific methods itself, and head back early approach of nature philosophy for the yet unknown, or perhaps even for the unknowables.

BMAB参展艺术家们

“科学”的艺术实验

YunChul Kim

生活和工作于柏林艺术家的金允哲的作品聚焦于当代媒体艺术领域，探索化学物质以及声音视觉效果。其作品、实验结果不仅是可视化的动力学实验，还是一种能够与周围环境互动的活性有机体。

Berlin-based artist Yunchul Kim works within the realm of contemporary media art based on scientific research, the exploration of chemical substances and audiovisual effects. The resulting objects not only visualize a kinetic experiment but also a living organism that interacts with its environment.

照耀

Effulge

在“照耀”中，从底部注入的空气使光子晶体升降，新的数据和模式不断地在亚克力盒子中生成。

In \"Effulge\", photonic crystals ascend and descend by the force of air pumped from the bottom, thereby constantly creating new figures and patterns inside the acrylic box.

Matt Hope

麦特·侯普1976年出生于伦敦，目前生活与工作在北京。1994到1996年间侯普在伦敦切尔西艺术学院学习并于1999年在温彻斯特艺术学院获得学士学位。2004年在加利福尼亚大学圣地亚哥分校获硕士学位。2008年他来到中国，有感于当地的社会和自然环境以及对中国市场里纷繁的工业原料、零件的探索后侯普创造了一系列动能和声音装置如“塔系列”、“人民发电站”及“呼吸自行车”。与此同时，侯普也通过当地的大型加工制造业创作了一组大型花岗岩室外雕塑和“工具系列”的不锈钢装置等。

Matt Hope was born in 1976 in London. He studied at Chelsea School of Art, received his BFA at the Winchester School of Art, and later earned his MFA at University of California. He came to China in 2008, Inspired by the local natural and social environment, and had been discovering the numerous and affluent production materials and components in Chinese market, Hope created a series of kinetic and sound installation, such as the “Tower series\", \"People\'s power station\" and the \"Breathing\" Bike”; In the meantime, Hope also produce a group of large scale granite sculptures and the stainless steel installation “Tool Series”, etc.

另一种光

Otherly Emission

作品创建了一系列类型的平行空间，可见却不可理解。它包括两个主要部分：基座上的镜子盒以及内部的机器。相机缓慢移动不易被感知。屏幕上呈现出奇怪的图像。某种高对比度的空间将可见，其中心单独的实体以不可见的光照亮自身

The aim of the piece is to create some type of parallel space that is open and visible yet somehow un-comprehendible.“Otherly Emission” comprises two main parts, an weighty pedestal and an open sided mirror chamber partly filled with some mechanics. Looking closer, a camera can be seen to be moving slowly on a carriage along a set of rail, crawling along almost too slow to notice. The image found on the plasma screen is bizarre, apparition like. Some type of vast high contrast space would be seen, and at its center a lone entity illuminates itself with ‘invisible’ light.

Krzysztof Wodiczko

克里斯多夫·沃迪斯科是一位备受赞誉的艺术家，他的作品多呈现于建筑外立面与纪念碑上，用投影的形式进行展示。他的作品关注公共领域中的战争、冲突、伤痛、记忆与交流等话题。他的艺术创作被认为是“受质疑的设计”，他将艺术与技术相结合作为一种批判性尝试，突出边缘化的社会社群在文化问题中的合法性。

Krzysztof Wodiczko is Professor in Residence of Art, Design and the Public Domain at the GSD. He is renowned for his large-scale slide and video projections on architectural facades and monuments. He has realized more than eighty such public projections around the world. Since the late 1980s, his projections have involved the active participation of marginalized and estranged city residents. Simultaneously, he has been designing and implementing a series of nomadic instruments and vehicles with homeless, immigrant, and war veteran operators for their survival and communication.

雅典娜之盾

Ægis

相传雅典娜的盾牌中央装有美杜莎的头，任何见到头的人都会成为化石。但是，这面盾牌亦可用来保护雅典娜以及她周围的人。此物件被赋予双重意义，它预示着那些相互定义、描述并可能相互摧毁的存在。

Ægis was the cloak of Athena, bearing a Gorgon\'s head, that she used to protect herself and others. The instrument is a piece of equipment designed to represent dual (and often dueling) truths, those living contradictions that both define, depict, and can sometimes destroy individual existence.

卸甲

Dis-Armor

卸甲是集合心理与文化因素的可穿戴设备，它旨在迎合当今人们相互疏远、伤害性的、沉默的社交需求。它联结了两个当代研究领域：可穿戴通信技术和人造肢体。在此过程中，它复位了基于我们现状所做的二分法和日益加大的文化误解。

Dis-Armor is a psychocultural prosthetic equipment, designed to meet the communicative need of the alienated, traumatized, and silenced residents of today\'s cities. It connects contemporary research in two fields: wearable communication technology and prosthetics. In doing so, it counters the dichotomy of the present explosion in communication technology and rampant cultural miscommunication

Brendan Warford

布兰德·沃尔夫德来自电自工程和建筑背景，他20岁左右进入艺术领域。他的实践和方法多元而变化莫测, 从物体, 到每天貌似平凡的表演到装置作品甚至视频都是他采用的开放式实践形态。他的艺术实践旨在于一个甚至陌生艰涩的领域开拓一个新的属于他自己的实践场域。

Brendan Warford coming from electric engineering and architecture background, entering the art field in his early 20’s. His work and method is versatile and multi-faceted, involving objects, daily seeing mundane performances, body related works, installations, and video medium etc. His works aim to open up and claim a new space of his own where there may not even be a slightest niche

发话筒

Mouthpiece

发话筒试图使移民、难民、外国工人以及任何流离失所的人在公共空间中无视掉其语言障碍和文化差异。这是一个跨文化的交际武器，也是对潜在创伤的愈合援助。 此作品为沃尔夫德与沃迪斯科的共同创作。

The Mouthpiece will allow the immigrant, refugee, internal migrant foreign worker or any displaced and estranged person to communicate with people encountered in the public space disregarding language barrier, cultural difference. For the estranged and displaced user it is a cross-cultural communication armament and potentially trauma healing aid.Mouthpiece is a collaborative work between Krzysztof Wodiczko and Brendan Warford.

Hybrid Space Lab

Elizabeth Sikiaridi

混合空间实验室，是一个智库和注重文化创新设计实验室。由Elizabeth Sikiaridi教授和Frans Vogelaar教授创立。混合空间实验室是一个跨学科实验室。由建筑师、城市景观规划师、设计师和媒体艺术家与软、硬件工程师合作一同将模拟和数字技术与城市、建筑、设计和媒体空间等领域的实践相结合。实验室正处于研究、开发和设计过程中，致力于提供创新动力从而整合环境、对象和服务。

Hybrid Space Lab is a think tank and design lab that focuses on cultural innovation. It is founded by Prof. Elizabeth Sikiaridi and Prof. Frans Vogelaar. Hybrid Space Lab is an interdisciplinary office where architects, urbanists, landscape architects and planners, designers and media artists collaborate with soft- and hardware engineers in the development of projects for combined analog and digital, urban, architectural, design, and media spaces. As a research, development and design practice, Hybrid Space Lab focuses on the hybrid fields emerging through the combination and fusion of environments, objects, and services.

洪堡火山

Humboldt Volcano

洪堡丛林

Humboldt Dschungel

“洪堡丛林”是一个空中花园，它连接文化与自然。名字取自于博物学者和探索者亚历山大·冯·洪堡。“洪堡火山”是柏林“洪堡论坛”大楼的延展部分，具有共享媒体概念和垂直森林，为一座位于柏林市中心的大型冬日花园。两者重新解读了宫殿的巴洛克风格，融合了自然与建筑，创造出自然建筑这一概念。

“Humboldt Dschungel”, is a jungle for the Berlin “Humboldt Forum”. “Humboldt Jungle” connects culture with nature by referring to the naturalist and discoverer Alexander von Humboldt, the name patron of this new “Humboldt Forum” Center for the Dialogue of Cultures. “Humboldt Volcano” is an extension to the Berlin “Humboldt Forum” building with a large winter garden pavilion housing a vertical forest in the center of Berlin and a participatory media concept. “Humboldt Volcano” as a combined physical and media space opens the museum to the public and the city, fusing nature, architecture, media and technology, creating NatureTecture.

Stephen Vitiello

作为一名艺术家，斯蒂芬·维迪耶罗的创作主要围绕声音展开。过去20年来，他的创作焦点都在声音装置上，探索自身与其所在地的概念性，考虑展览空间的建筑结构、声学与文化语境。同时，斯蒂芬·维迪耶罗也为视觉艺术家制作背景音乐，参与音乐创作与演出。在他的工作中，合作是长期重心。其合作者包括与杰出的声音艺术家与作曲家、视觉艺术家、诗人与作家、科学家。

As an artist, I work primarily with sound. Over the last 20 years, I have focused on sound installations that investigate conceptual ideas in relation to the given site, architecture, acoustics and cultural context of the exhibition space.I have also created soundtracks for visual artists, created and collaborated on CDs and performances. An important ongoing part of my practice has been collaboration, which has included working with incredible sound artists and composers; visual artists (Julie Mehretu, Joan Jonas); poets and writers; Tanner Upthegrove for spatial processing and scientists.

窸窣

A Scuttering Across The Leaves

作品收录了一段昆虫沿植物的茎传播的声音，是艺术家在在美国弗吉尼亚阿巴拉契亚山脉实地采集的。使用十分敏锐的设备与扩音器艺术家捕捉到这些通过植物与花的茎秆传播的声音。人耳不能听到的细小昆虫的鸣叫与脚步声的音量被扩大，声音本身并不会改变 。Fowler-Finn博士解释道：“这段混音以角蝉的吟唱（有时为求偶的合唱）开场，然后一种未知昆虫具韵律感的鸣叫声，最后则以我们模拟天敌进攻，角蝉妈妈让角蝉宝宝不要出声而愈来愈紧张急躁的声音结尾。

A Scuttering Across The Leaves consists of recordings of substrate-borne vibrations created by insects in fields of the Appalachian Mountains, in Virginia, in the United States. Working with very sensitive instruments and amplifiers to listen, specifically an accelerometer, these sounds were captured through the stems of plants and flowers, amplifying but not altering the calls and footsteps of very small insects that cannot be heard by the unaided ear. Dr. Fowler-Finn notes, “The mix opens with tiny insects called treehoppers that produce songs, sometimes in chorus with one another, to attract mates. It also includes an unidentified insect in the grasses with a rhythmic call.

“技术伦理”

北京媒体艺术双年展

“实验空间”特别展览

开幕时间：2016.09.24 19:00

展览时间：2016.09.24-10.30

展览地点：中央美术学院美术馆

“技术伦理”主题展览

开幕时间：2016.09.25 21:00

展览时间：2016.09.25-10.09

展览地点：中华世纪坛艺术馆地下一层展厅

“技术伦理”主题论坛

论坛时间：2016.09.27-28 9:30-18：30

论坛地点：中央美术学院美术馆

Beijing Media Art Biennale

BMAB + B3 Programs

\"Ethics of Technology\" Thematic Exhibition

Opening: 25.09.2016 / 21:00

Exhibition: 25.09.2016 - 09.10.2016

Venue: China Millennium Monument Art Museum

\"Lab Space\" Special Exhibition

Opening: 24.09.2016 / 19:00

Exhibition: 24.09.2016 - 30.10.2016

Venue: CAFA Art Museum, China Central Academy of Fine Arts

\"Ethics of Technology\" Thematic Forum

Forum Time: 27.09.2016 28.09.2016 / 9:30 -18: 30

Venue: CAFA Art Museum, China Central Academy of Fine Arts

More details: WWW.BMAB.CO / WeChat: BMAB

策展人名单：

Curators

总顾问：

范迪安、王建琪

Chief Counsellor

Fan Di\'an, Wang Jianqi

总策展人：

Bernd Kracke、苏新平、宋协伟

Chief Curators

Bernd Kracke, Su Xinping, Song Xiewei

策展团队：

Anita Beckers、陈小文、靳军、费俊、王春辰

Curatorial Team

Anita Beckers, Chen Xiaowen, Jin Jun, Fei Jun, Wang Chunchen

单元策展人；

Alessandro Rolandi、胡章权、李新路、毕昕、魏颖

Executive Curators

Alessandro Rolandi, Hu Zhangquan, Lulu Li, Bi Xin, Wei Ying

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