︎
                                                                        
Yuan Ming
袁      铭






Using metal spinning needles attached to a computer, the artist improvised a seahorse hair braid covering a homemade speaker. In this project, the performance creates the entity of sound and artwork, and at the same time is an important part of the art project.

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The rhythms and movements of the body during weaving are thus translated into digital signals, arranged on a computer, and broadcast on a 4-channel sound system. Affected by the epidemic, this performance can only be performed at the artist's home, which is the first part of this project. It was recorded through audio and video, and finally presented in a 24-hour cycle on a display screen in the plate space.

The noise of two stainless steel spinning needles bumping/sliding against each other and the friction noise of mohair yarn rubbing against the needles will be recorded by ordinary microphones placed next to the artist's working hands. Meanwhile, the spinning needles are pre-soldered to a cable that connects to an Arduino controller, which translates the motion of the artist's weaving into a series of voltage-strength changes that are sent to a computer, where they are broken down into electrical signals. These signals are transformed through an artist-designed Max Msp patch that controls the content, rhythm and volume of the playing samples.

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What the artist improvised during the performance was a translucent coat of varying shades of green and orange with different patterns. The knitted fabric is constructed with visually similar colored yarns and different stitching techniques, suggesting that the viewer notices the concepts of repetition and difference, which correspond to human-controllable opportunities and human-uncontrollable (probabilistic quantum physics-like) Chance. The jacket is wrapped around a rectangular acrylic box that houses four speakers. Electronic cables and media players will be hidden in the box, while speakers will be revealed through designed holes in the box.

艺术家用连接到电脑的金属纺针，即兴编织一件覆盖自制音箱的海马毛编织物。 在这个项目中，表演创造了声音和艺术品的实体，同时也是艺术项目的一个重要部分。

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编织时的身体的韵律和动作由此被翻译成数字信号，在电脑上排列处理后在4声道声音装置中播出。受疫情影响，此表演只能在艺术家家中进行，成为此项目的第一部分，通过录音录像被记录下来，最终在盘子空间用显示屏24小时循环呈现。

两根不锈钢纺针相互碰撞/滑动的噪音以及马海毛纱线摩擦针头的摩擦噪音将被放置在艺术家工作双手旁边的普通麦克风记录下来。同时，纺针被预先焊在连接到 Arduino控制器的电缆上，该控制器将艺术家编织的动作转换为一系列电压强度变化，发送到计算机，分解为电子信号。这些信号通过艺术家设计的Max Msp补丁改造，控制播放样本的内容，韵律和音量。

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表演中艺术家即兴所织的是一件深浅不一的绿色橙色、不同花纹的半透明外套。针织物结构在视觉上相似颜色的纱线与不同的缝合技术，暗示观者注意到 重复 和 差异 的概念，他们分别对应了人类可控制的机会和人类不可控的（量子物理概率论般的）机会。外套被包裹在一个装有四个扬声器的长方形亚克力盒子上。 电子电缆和媒体播放器将隐藏在盒子中，而扬声器将通过盒子上的设计孔显示出来。




The speakers also loop the sounds collected and processed during the performance. Create a unique soundscape sound environment. The aesthetic premise of the sound samples in the installation is minimalist, futuristic, schematic, and experimental. This aesthetic requirement is to ensure that the concept of "repetition" of human and machine that the work focuses on can be conveyed. In this performance, various different methods of collecting, producing, and processing sound allow for vocal and synthetic samples, human-controlled and machine-controlled rhythms, geometric arrangements, and random collisions and balances of machines. This section can also be presented on the viewer's own electronic device, via an audio file uploaded in a tweet in the space, or to experience the sound language of the work as a whole or individually.
扬声器也会循环播放在表演过程中收集并处理过的声音。制造出一个独特的soundscape声音环境。装置中声音样品的美学前提是简约的、未来主义的、示意性的、实验性的。 这种美学要求是为了确保可以传达作品侧重的人工与机器的“重复”概念。 在此表演中，收集、产生和处理声音的各种不同方法允许人声和合成样本、人控制和机器控制的节奏、几何排列和机器随机的碰撞和平衡。此部分也可在观者自己的电子设备上呈现，通过空间的推文里上传的音频文件，或整体或单独地感受作品的声音语言。


Preview of all speakers playing at once ︎click here
Speaker  1                                                   ︎click here 
Speaker 2                                                   ︎click here
 Speaker 3                                                   ︎click here
 Speaker 4                                                   ︎click here

https://yuanming.bandcamp.com/releases


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For an activity that is so time-consuming and so repetitive, there must be enough perseverance, patience, and strong willpower. In weaving, the weaver must deliberately count continuously. Count how many stitches have been sewed in a row and how many are still to come. How many lines have been completed and how many lines are left. Everything starts from the beginning, then adds one, adds one... The process of weaving is to construct a matrix and also to meditate. When the thoughts in the brain were secretly scattered, other things came to mind, and immediately pulled back to the act of counting. Counting becomes what the meditator's dictionary calls a Zen mantra. The artist wants to use the action of weaving, simplify and repeat, in the silence of language, only in the act of weaving to translate the self-evident unknown.

When a person counts, he can no longer think in words. The clock is ticking, the counting continues, and there is too little time between each number for the brain to complete a single unit of thought. One succumbs to attempts to think in words. Regardless of the language used, he is fully integrated into the act of repetitive muscle movements and number counting.

At first, a number makes an impression on the human brain, as described in Kandinsky's "The Spirituality of Art." "36 is a little yellow and blue" and "22 is two little girls holding hands". However, after knitting for a while, none of the figures looked any different. They've all been repeated so many times, as their little glitter of charm and association is buffed. As time allows for more and more repetitions, they reach a state of equality and anonymity. There seems to be no subjective difference between the 36th pin in the previous row and the 36th pin in the tenth row. But there is a difference, because they appear in different places on the garment, and there are slight variations in the temperature of the hands of the weavers holding them, and the fibers of each hair are different.

When a person thinks, a concept is repeated in the brain. Meaning is the product between a word and what it refers to. I had to repeat the same concept four times to discover their similarities and differences. Even in different shades, we know what green is. No needle is actually an absolute repeat, an exact copy. They differ in shape, location and timing. It is the difference of each repetition that leads to new changes in evolution and creativity. If we only recognize repetition and representation, we cannot understand how difference can change concepts and things. As in the few literary creations described by Gilles Deleuze in Difference and Repetition, the communicative symbols and content (knitting, sound, composing) used by the artist in this work are not based on accepted concepts, but give them new meanings, To create difference in repetition, to use feeling, to widen the cognitive edge beyond the reach of language. Working hand in hand, the artist translates the rhythm of his own body movements into abstract sound signals. And this translation is not a simple repetition. The code and program simplifies and complicates emotions at the same time, sublimates and disrupts the boundaries of dimensions, and seems to travel upwards and downwards.


对于一项如此耗时且如此重复的活动，必须有足够的毅力、耐心和强大的意志力。纺织中，仿织者必须有意地连续计数。计算一排已经缝了多少针，还有多少针还要来。已经完成了多少行，还有多少行。一切从一开始，然后加一，再加一……编织的过程就是构造一个矩阵并且也是打坐冥想。当脑中的思维偷偷发散开，想到了其他事情，立刻将思绪拉回到计数这个行为上。计数则成为冥想者词典中所说的禅咒。艺术家想利用编织的动作，简化并重复，在语言的沉默中，仅在编织的行为中翻译不言而喻的未知。

当一个人计数时，他就不能再用语言思考了。 时钟滴答作响，计数继续进行，每个数字之间的时间太少，大脑无法完成一个语言单元的思考。 一个人屈服于用文字思考的尝试。 无论使用哪种语言，他都会完全融入重复的肌肉运动和数字计数的行为中。

起初，一个数字会给人的大脑留下印象，就像Kandinsky的《艺术灵性》所描述的那样。 “36 有点黄和蓝”和“22 是两个小女孩手牵手” 。然而，编织了一段时间后，没有一个数字看起来有什么不同。他们都被重复了很多次，因为他们的魅力和联想的小闪光被磨光了。随着时间允许越来越多的重复，他们达到了平等和匿名的状态。上一排的第36针和第十排的第36针似乎没有什么主观上的区别了。但还是有区别的，因为它们出现在衣服的不同位置，而且纺织者握着它们的手的温度也有轻微的变化，每一根毛发的纤维也有不同。

人思考时会在大脑中重复一个概念。意义是词汇和其所指物之间的产物。我必须重复同一概念四次才能发现他们的共同点与不同点。即使深浅不同，我们也知道绿色是什么。没有针实际上是绝对的重复，精确的复制。它们在形状、位置和时间上都有不同。正是每一次重复的差异，才导致了进化和创造力的新变化。如果我们只认识到重复与表象，就无法理解差异如何改变概念和事物。如Gilles Deleuze在《差别与重复》中描述的少数文学创作，艺术家在此作品中使用的交流符号与内容（针织，声音，谱曲）并非基于公认的概念，而是赋予了其新的意义，在重复中制造差异，用感觉，拓宽语言不可及的认知边缘。通过人机携手，艺术家把自己身体的动作韵律翻译成抽象声音信号。而此翻译也并非简单的复述，代码与程序将感情同时简化又复杂化，升华搅乱维度的边界，似向上又似向下的穿行。