漩涡 Whirlpool
24 七月 2020

《漩涡》项目介绍
Introduction to the Whirlpool project

创作项目《漩涡》围绕“手机摄影”所携带的诸多问题展开,试图通过作品去反思:程序控制之下,进行终日无效生产的刷屏队列是如何日渐扩充的?新时代之下的手机摄影生产机制、大众传播和视觉消费之间的关系是如何存在的?图像交际是如何在传媒平台之中泛滥漫溢的?图像作为身份的表征,在网络世态中是如何混淆个人身份和网络形象的?网络空间中的公共性与私密性又是如何被轻易击溃的?以及那些被挑选“淘汰”所删除的图像是否比存储中的更值得被“看”?

项目的第一部分指涉手机摄影的发端,主要关注手机厂商对摄影“技术”和“艺术”两个层面的叫卖;第二部分探讨手机传媒平台及社交层面上的摄影;第三部分直面视觉消费的“剩余物”,通过网络征集图像,对大众手机相册中那些未被选择所删除的照片(数据垃圾)进行恢复观看和转译再生。

Introduction to the Whirlpool project

The project Whirlpool revolves around the many problems associated with “mobile photography.” Through the work, the following questions are reflected: How does the refresh queue with invalid production all day long increasingly expand under program control? How does the relationship between the production mechanism of mobile phone photography, mass communication and visual consumption exist in the new era? How does image communication flood the media platforms? As a representation of identity, how is the image confused between personal identity and network image in the network world? How easily can the publicness and privacy in cyberspace be defeated? And are images that have been “weeded out” more worthy of being “seen” than those that have been stored?

In the first part of the project, the original intention of mobile phone photography is pointed out, mainly focusing on the “technology” and “art” of photography peddled by mobile phone manufacturers; In the second part, the mobile media platform and photography at the social level are discussed; In the third part, the “remainder” of visual consumption is directly faced, images are collected over the network, and photos that have not been selected to “delete” (data spam) in the public’s mobile album are restored to view and translated and reproduced.