裝置/視覺(jué)藝術(shù)--“人類(lèi)世”：地質(zhì)環(huán)境變遷與種族變遷

        "人類(lèi)世或稱(chēng)人類(lèi)紀(jì)"一詞是荷蘭大氣化學(xué)家、諾貝爾獎(jiǎng)獲得者P·克魯岑(CRUTZEN)提出，是從地質(zhì)學(xué)詞匯借用而來(lái)。科學(xué)家們認(rèn)為，人類(lèi)的活動(dòng)已經(jīng)徹底改變了地球，不僅僅是地表，而且連地質(zhì)年代都改變了。

        從地質(zhì)年代（Geological Epoch）上看，目前所處的年代屬于"全新世"（Holocene），大約已經(jīng)有11000年的歷史。但是，許多證據(jù)都表明，在1950年以后的幾十年中，地球的一些地質(zhì)特征發(fā)生了明顯變化。科學(xué)家們說(shuō)，人類(lèi)活動(dòng)很可能引發(fā)了一個(gè)新的地質(zhì)年代----人類(lèi)世（Anthropocene）。

        此作品的出發(fā)點(diǎn)就是通過(guò)裝置視覺(jué)概念表現(xiàn)地球的“人類(lèi)世”。作品通過(guò)一些布景設(shè)計(jì)來(lái)表現(xiàn)一些認(rèn)為造成的主要?dú)夂蜃兓６趸荚黾樱蜃兣剂峡萁撸芰侠约凹磳缃^的物種。集合變化明顯的三個(gè)階段按照發(fā)生順序排列，從結(jié)束時(shí)間開(kāi)始，到人類(lèi)更新后結(jié)束。

        The starting point of research for the visual concept of “Earth” was Anthropocene - a contested new geological epoch marked by major human impact on the planet’s environment. Our set design addresses the topic of anthropogenic climate change by engaging some of its key tropes; increased atmospheric CO2, global warming, burnout of fossil fuels, plastic trash and the impending extinction of species. The distinct three phases of the set are aligned in order of apparent succession, starting with the end times and ending in post-human renewal.

        在第一階段，整個(gè)階段被鎖在一個(gè)透明的塑料立方體中，由沿其邊緣運(yùn)行的膜所限定。立方體充滿(mǎn)了凝結(jié)，慢慢地充滿(mǎn)了厚厚的氣溶膠，暗示著行星體的生物圈。這是一個(gè)封閉的生態(tài)系統(tǒng)的基本模型，它的大氣維持生命，幾乎完全是地球的一個(gè)模型。當(dāng)?shù)⒊粞鹾投趸嫉能浽七_(dá)到臨界水平時(shí)，結(jié)構(gòu)將倒塌，使其居民裸露，暴露在宇宙和黑暗的真空中。

        In the first phase the entire stage is locked into a transparent plastic cube, defined by membranes running along its outer edges. The cube is suffused with condensation and slowly filling with thick aerosols suggesting a biosphere of a planetary body. This is a basic model for a closed ecosystem whose atmosphere sustains life, quite literally - a model for Earth. When the soft clouds of nitrogen and ozone and carbon dioxide reach the critical level, the structure will collapse leaving its inhabitants bare, exposed to the cosmos and the dark vacuum. 

        一旦到達(dá)立方體內(nèi)部的轉(zhuǎn)換點(diǎn)，進(jìn)入下一階段；藍(lán)色激光光束的歐幾里德3D網(wǎng)格無(wú)聲地侵入整個(gè)戰(zhàn)區(qū)。立方體的薄膜塌陷，積聚的薄霧擴(kuò)大到觀眾區(qū)，使藍(lán)色基質(zhì)清晰可見(jiàn)。塑料箔殘?jiān)枭⑼ㄟ^(guò)側(cè)通道和空的舞臺(tái)，光向量作為唯一剩下的元素，顛覆一切的冷，毫無(wú)意義的幾何。這是一個(gè)后世界的舞臺(tái)，以無(wú)家可歸和非人的超脫為特征。

        Once the transition point inside the cube is reached, enter next phase; an Euclidean 3D grid of blue laser beams silently invades the entire theatre space. The membranes of the cube collapse and the accumulated haze expands into the audience area, making the blue matrix clearly visible. The residue of plastic foil is evacuated through the side passages and the stage is left empty, with light vectors as the only remaining element, subverting everything to its cold, senseless geometry. This is a post-world stage marked by the sense of homelessness and inhuman detachment. 

        在下一個(gè)場(chǎng)景里，抽象的自然環(huán)境與前兩個(gè)片段形成鮮明的對(duì)比。寫(xiě)實(shí)主義的深林最初的生長(zhǎng)場(chǎng)景滑動(dòng)進(jìn)入舞臺(tái)，如生命的第一次呼吸，一部分真正的有機(jī)物開(kāi)始生長(zhǎng)，這個(gè)場(chǎng)景讓觀眾都非常的感動(dòng)。這是最后一個(gè)場(chǎng)景和新地球。

        In the next image, in stark contrast to the abstract nature of the previous two - a life-size, hyperrealist fragment of primordial forest slides forward onto the edge of the proscenium - a breathing, living slice of real organic growth, almost touching the audience. This is the last scene and the New Earth.

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