C6-World Language-Translation in Entropy by Yizhu Wang

Print: Layers and Interferences

10061922_1 — 2025-07-31 14:32:23 UTC

Tauba Auerbach

Print: Overprinted Records

10061922_1 — 2025-07-31 14:52:43 UTC

Anti-order

10061922_1 — 2025-07-31 14:56:33 UTC

Repetitive Overprinting(反复印刷）➡️ Entropy increase

Hito Steyerl — "In Defense of the Poor Image"

10051720_1 — 2025-08-01 15:12:54 UTC

In the post-cinema era, the generation process of poor images is essentially the visualization of the increase in information entropy. When rich images undergo compression, dissemination and replication, the technical degradation process simultaneously triggers an increase in entropy, creating new possibilities amid the collapse of order. She points out that neoliberal media production has led to the marginalization of non-commercial films (such as experimental films and essay films), while low-resolution images (such as pirated AVI/JPEG files) generated by digital technology have been widely circulated through P2P sharing, YouTube and other platforms, allowing these "forgotten images" to "resurrect" at the cost of deteriorated picture quality.

Thomas Ruff — “JPEG”

10051720_1 — 2025-08-01 15:24:53 UTC

This series, by magnifying low-resolution images from the internet, explores the degradation of images in the digital age, the essence of media and visual cognition, and has become one of its most representative works. This work questions the "authenticity" of photography and the alienation of images in digital dissemination by exposing the compression flaws of the JPEG format (such as color banding, noise, and blurriness). The entropy increase is not merely a technical defect but an inherent attribute of digital images.

an artist 1

2025-08-02 06:05:31 UTC

an artist is called Richard McVetis who create a work, he use embroidery to express sense of density.

an artist 2

2025-08-02 06:10:32 UTC

I think I was inspired by the process mode of work—Aiko Tezuka uses weft threads to create that overflowing feeling

（this work, titled certainly/entropy, was created in 2014）https://aikotezuka.com/category/works/#2014

Degradation of urban space-城市空间的退化

10061922_1 — 2025-08-02 09:30:09 UTC

Kathy Prendergast City Drawings

以真实的城市地图为基础，用铅笔或版画技术将其临摹/重绘，甚至是局部抹除，造成城市网格逐渐消失、变形

10061922_1 — 2025-08-02 09:32:56 UTC

多层打印、绘画、遮盖、手绘线条的“干扰”把结构打破

城市或政治系统崩解过程中的动态混乱

邱志杰-个展《无序之序》

10053719_2 — 2025-08-02 13:05:26 UTC

理必有对，生生之本也。有上则有下，有此则有彼，有质则有文。

——《二程粹言·论道篇》

在邱志杰的作品中，地图不是一幅画，而是一种思维，一种看待事物的方式。这种方式着意事物与事物的连结，不局限于某一物件，而同时关注这一物件的能动力和生命力。这意味着关注这一物件与他物的地理性与历史性联系，这一物件的线形与半径，直接与间接影响力，以及在诸多物件组成的庞大无序的世界轨迹中寻找秩序与规律。

语言与人类的迁徙

10053719_2 — 2025-08-02 13:24:57 UTC

Languages evolve in ways that parallel biological evolution. Language diversity around the globe provides a window into human prehistory and the workings of the human mind. By combining large databases of linguistic diversity with computer models of language evolution inspired by biology, my work aims to test theories about ancient human population migrations and the mode and tempo of language evolution.

Atkinson, Q. D. (2011). Phonemic Diversity Supports Serial Founder Effect Model of Language Expansion from Africa. Science, 332:346-349.

我们是不是可以用语言来重新绘制一张世界地图

10053719_2 — 2025-08-02 13:32:03 UTC

实体来表现时间流逝/演变

10053439_2 — 2025-08-03 08:15:56 UTC

‘How We Fall’ uses technology most commonly seen in cinema or high-end productions, against it’s usual purpose – to observe a cloud of cement dust – a messy, ephemeral material. This continues an interest in the observation of moments of dramatic transformation. Using complex filming systems to capture elemental materials undergoing a moment or process of change, ‘temporal sculptures’ are created, exploring our relationship with change and disintegration, the passing of time, and in this case perhaps moments of personal or collective trauma.

The sound for this piece, made in collaboration with composer Jo Wills, is created solely from audio recorded during the shoot.

Bullet time photography setup by New World Designs

Lighting and Technical Assistance by Paolo Catalano
Filmed at and thanks to Islington Mill, Salford

Supported by The Arts Council England

10053439_2 — 2025-08-03 08:28:55 UTC

颜色=声音

3:10（2003年）

视频：Sophie Clements
声音：Sophie Clements、John Hendicott

这部电影和系统基于这样一种理念：这些波并非由光从物体反射回来（从而呈现出颜色），而是声波。配乐的创作过程是通过从环境中挑选出特定颜色，并找到其对应的声音波长来实现的。通过运用数学作为光与声两种媒介之间的转换工具，每种颜色都拥有独特的音高，从而创造出一种声色调色板。
例如，紫色 = 440Nm = 音符 A = 440KHz

10053439_2 — 2025-08-03 08:58:48 UTC

10053719_2 — 2025-08-03 13:14:47 UTC