photos by 杨大为

It is without a doubt that within the context modern cityscapes, architectural spaces in have had an immense impact on our sensory perception. dNA regards architectures themselves as a device for calculating and measuring special variations, while creating works that propose the method for transcribing the special spectrum.

The traditional rules of perspective and the common methods to transcribe architecture as such are relevant for a set of fixed and constant space. However, once we de-root the external view, the way in which we measure the space transforms into a dynamic process. In Corpora, the nodal points of the architectural contours are incorporated as view points, instead, to measure the space, and the locus for spatial transcription is in constant shift. Furthermore, meteorological data and other intervening variables are used as input data, to determine the structure at a certain stage of its transformation. If such an architecture that could autonomously reproduce and transform its structure were to be made possible, in place of those that limit and control space, then the way in which cities exist would be based on an understanding that is far different from what we know now.

双重否定建筑（简称dNA）

就如同婴儿张开双臂来测量自己与目标对象之间的距离，或是在黑暗中通过磨练听力来捕捉物体的运动，我们运用视觉以外的许多方法来把握空间。可以说，科学和艺术的诞生是人类围绕着如何捕捉和记述广阔自然以及自身周围延展空间所生发的想象。

毫无疑问，在近代以来的城市环境中，建筑空间对我们的知觉有着决定性的影响。dNA认为建筑本身就是计算和测量空间的工具，并发表了提示其表记方法的作品。

源自透视法的通常所用的建筑表记方法只有在恒定不变的空间中才有意义。然而，一旦我们根除外在的视点，采用”内部观测”的想法，则我们测量空间的方式将转化为一个动态的过程。在”躯体”（Corpora）中，建筑轮廓线的节点充当了测量空间的视点，因此空间记录的中心点不断移动。由此，可将气象数据等作为即时决定的媒介变量来输入。对空间的管理不再等于控制，自成一律的不断再生变化的建筑成为可能，那么城市存在的方式将建立在一种和我们现在所知全然不同的理解之上。

（钟文凱 译）

Xijing Men is a collaborative group consisting of the Japanese artist Ozawa Tsuyoshi（小沢剛）, the Chinese artist Chen Shaoxiong, and the Korean artist gimhongsok　（金泓锡）. They have chosen the group name Xijing Men to mean the people living in Xijing, the subject matter of their work in the Beautiful New World exhibition. They have chosen the group name Xijing Men, which means the people living in Xijing, to be the subject of their work in the Beautiful New World exhibition.

Ozawa Tsuyoshi was born in 1965 in Tokyo, Japan. He currently lives and works in Saitama Prefecture　（埼玉県）. Since the 1990s he has been considered the leading artist among young artists in Japan. His works address socio-political issues, reflecting real-life situations and materials against themes of dialogue, interactions, and communication. Chen Shaoxiong was born in 1962 in Shantou, China. He currently works and lives in Guangzhou. He is interested in projects dealing with ‘cities,’ and over the years he has been working in collaboration with Ozawa on other city project, Guangdong Tokyo(2006). Gimhongsok was born in 1964 in Seoul, Korea. He currently lives and works in Seoul. He focuses on the phenomenon of the break-up of personal identity through the three themes of language, action, and social system.

Beijing (北京)and Nanjing(南京) are actual cities in China, while Tokyo (東京) is an actual city in Japan. But Xijing (西京) does not exist anywhere. Accordingly, the goal of their collaborative work for this exhibition is to create a virtual city called Xijing and to ultimately register it in the Google and other formal maps. The idea of artists from the three countries creating a city in virtual space evokes a utopian nostalgia in the sub-conscious of the viewer.

西京人(Xijing Men)是一个艺术家合作团体，由日本艺术家小泽刚（小沢剛，Ozawa Tsuyoshi）、中国艺术家陈劭雄和韩国艺术家金泓锡（金泓锡，gimhongsok）组成。他们选择“西京人”为团体的名字，并将其解释为“生活在西京的人”，而西京，则是他们参加“美丽新世界”展的主题。

1965年，小泽刚出生于日本东京。他目前在日本琦玉县工作、生活。自1990年代，他被视为处于日本年轻艺术家中的前列。他的作品以对话、互动和交流为主题，提出社会政治议题，反映现实材料和境遇。1962年，陈劭雄生于中国汕头。他目前在中国广州工作、生活。他对处理“城市”的项目感兴趣，数年来，他与小泽合作其它城市项目——2006年的“广东东京”（Guangdong Tokyo）。1964年，金泓锡生于韩国首尔。他目前在首尔工作、生活。他通过语言、行动和社会制度三个主题，聚焦个人认同的破裂。

北京、南京是中国实际存在的城市，而东京，则是日本一座真实的城市。西京却在哪里都不存在。于是，他们为此次展览合作的目标是创造一座叫“西京”的虚拟城市，并最终在谷歌（Google)和其它正式地图中注册它。来自三个国家的艺术家在虚拟空间创建一座城市的想法，在观众的潜意识中，激起一种乌托邦式的乡愁。

Robots are like the mirror images of us humans. They can be useful in shedding light not only on new discoveries on the mechanisms of the human body and brain, but also on our relationship with the “other” in order to co-exist with them. Within the context of contemporary Japanese art, it is impossible to ignore the artists’ imagination that is induced by the robots portrayed in mangas and animations.

These robots usually do not play slave- or servant-like roles that are common in the Western context. Instead, many of them resemble humans, and confront us with problems such as intelligence, life and death, and gender. Therefore, there is no defining distinction between humans and robots, leaving the boundary ambiguous. This approach to robots could be the supporting grounds for promoting the development of bipedal, humanoid robots or those programmed to work harmoniously with humans and their environments, more so than those that feature high information processing power, autonomous intelligence, and mobility. Developers who use highly advanced technology do not see their robots as just tools or objects. Their creative instincts are stimulated by identifying the robots as the “other.”

Furthermore, with the advancement as well as the wide propagation of information technology in society, robot production is no longer in the hands of a limited number of researchers, but an enterprise that is familiar to all. Free to accessorize to one’s own taste, orengage in game-playing entertainment, robots have become one of the means for human communication.

When observing robots, one should not only pay attention to their cutting edge technology, but also observe their design that defines their relationship with humans for co-existence. In artistic expressions that explore the human identity and the identity of the “other,” to acknowledge a lifeless robot as the absolute “other” against humans in itself could be significant.

For this exhibition, robots that are developed as the result of advancement in technology are presented by the National Museum of Emerging Science and Innovation (Miraikan). Highly sophisticated in their features, these robots are popular not only among enthusiasts, but also among a broad base of users. They demonstrate the ways in which technology could become an integral part of enhancing human capabilities.

机器人就像是我们人类的镜像投影。它们不仅给人体和大脑机理的新发现带来启示，同时也有助于我们处理与“他者”(the “other”) 的关系，实现和谐共存的目的。在日本当代艺术的语境中，我们无法忽视漫画和动画里描绘的机器人所诱发的艺术想象力。

这些机器人通常不像在西方语境里那样充当类似于奴隶或仆人的角色。相反，许多机器人貌似真人，迫使我们面对智能、生与死、性别等问题。因此，人类与机器人两者之间没有明确的区别，使界线变得模糊。这种对待机器人的态度可以成为支持性的根据，推动双足步行的类人型机器人或是程序控制下与人类及周边环境协调工作的机器人的开发，甚于那些具有高度信息处理能力、自动化智能和机动性的机器人。拥有尖端技术的开发者们并不仅仅把机器人看作是工具或者物体。将机器人认同为“他者”刺激着他们的创造性本能。

而且，随着信息技术在社会中不断进步和广泛渗透，机器人的生产不再操纵在少数研究技术人员手中，而是成为一项人所共知的事业。机器人可由着人的品味打扮，或者参与游戏玩耍的娱乐活动，它们已经成为人类交流的手段之一。

在观察机器人的时候，我们不应该仅仅关注它们先进的技术，也应该观察它们在设计中如何定义与人类共存的关系。在探索人类身份和“他者”身份的艺术表现中，承认没有生命的机器人是人类绝对的“他者”这种意识本身就有着重要的意义。

在这次展览中，日本科学未来馆展示了新开发的机器人，它们是技术进步的结果。这些机器人的性能高度发达，不仅受到热衷者的欢迎，同时也吸引了广泛的使用者。它们表明，技术能够成为不断提高的人类潜能的重要组成部分。

浦泽直树（浦沢直樹，Urasawa Naoki）1960年生于东京，属于在少年期经历日本高速经济发展的那一代人。他的漫画中的许多主人公都生活在与浦泽同时代的环境里。他受到手塚治虫 (Tezuka Osamu) 极大的影响，立志要成为一名漫画家。自1983年出道以来，他已发表多部广为人知的作品，如“柔之道!”（Yawara!）、“怪物”（MONSTER）、“奇顿大师”（MASTER KEATON）、“20世纪少年” （『20世紀少年』，20th Century Boys）、“冥王”（PLUTO）。尤其是“冥王”，因为塑造了“地上最大的机器人”的角色而倍受注目，这一角色最早出现在手塚治虫的“铁臂阿童木”（『鉄腕アトム』，Astro Boy）。此次展出的作品“20世纪少年”是一部发表于1999年至2006年的长篇漫画连载。它描述了主人公和他的朋友们早在1970年代的少年期所想象的世界灭亡、秘密基地、巨大机器人等事件逐渐变成现实、并在不久后的将来发展成为反乌托邦的过程。1970年的大阪世博会对当时的青少年来说是对未来的一种描绘，在故事中占据重要的位置。此后故事的展开暗示了1990年代的社会问题，例如新兴宗教和东京地铁沙林毒气攻击事件，以及2000年以后新恐怖主义的涌现。此外，浦泽引入了现有音乐家和其他著名人物的名字，创造出现实与虚构社会的微妙层次。浦泽赢得过众多的荣誉和奖项，包括第48届小学馆新漫画艺术家奖，第25届讲谈社漫画奖，第6届文化厅媒体艺术节优秀奖，昂古莱姆（Angouleme）国际漫画节最优秀长篇奖。