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3sth.net (Review) Appreciation
Exhibition Banner - 3sth.net
Exhibition Dates: 2018/10/16 ~ 2018/11/11
Place: 205 Gallery
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  Date:2018 / 10 / 16 – 11 / 11

Venue: Gallery 205, National Taiwan Museum of Fine Arts

Opening & Artist Talk:2018 / 10 /20(Sat.)14:30

Venue: Gallery 203, National Taiwan Museum of Fine Arts

Production Team:SU Semi, WU Naifei, CHANG Haoshin, CHEN Chia-Ru





“At the very beginning, the origin of things seems to consist merely of irrelevant bits and unpredictable turbulence. Yet, as this chaos comes to an end, the fragments gather together and autonomously form a bigger structured whole. “

 - Wikipedia


The Three-Body Problem, a science fiction novel by the Chinese writer Liu Cixin came out in 2006, putting discussions of the century-old astronomical three-body problem under the spotlight. Relevant dialogues not only are significant in addressing the outer universe and deeper spacetime, but also could be employed to direct the interrogation on how we see our modern-day civilization. As technological advancements had reached nearly every aspect of our lives, the dualism (of human and nature, of subjectivity and objectivity) since Enlightenment seemed to give way to a more complex, multi-dimensional system emerging as a result of the ever-increasing presence of quantifiable data and technology.


Under the presumption of a linear history, we could see it as a progression from monisms which generally see the universe (nature) as consisting of a single entity, to Cartesian dualism which distinguishes between the subjective human consciousness (human) and the objective physical world (nature). In the new era where everything generates data and is understood through the analysis of data, the digitalization eventually manifests itself in the form of a shifting paradigm – a new system out of triangular dynamics between digital representatives of nature, human and technology.


Originally, the classical three-body problem describes how three objects would move under one of the physical forces – for example, how three celestial bodies interact with one another gravitationally (dictated by Newton's laws of motion and of universal gravitation). Unlike two-body problems, three-body problems are, in general, not analytically solvable. Chaos theory is therefore developed to describe the dynamical situation.


The contemporary interpretation of the three-body problem, on the other hand, looks into quantified data and its consequential complications. Previously existing as by-products of the physical world and human activities, data gradually gains its agency, and, maybe someday, subjectivity, under rapid technological advancements. The change further introduces indeterministic complexity (chaos) into our world, disrupts the dualism of human-nature relation, and urges us to re-examine, reconstruct or redefine new multilateral relations to include virtual existences. Physical reality and virtual reality now has overlapped with each other and merged into a giant mesh.


Through addressing contemporary technologies, systems, and dynamics— both analytically and aesthetically – art has been representative of the paradigm of its time, manifesting in itself our idea of time, space, relation, and structure. However, is art capable of interrogating this particular everlasting uncertainty of collectivity? How does art venture into the unknown of new three-body relations and bring the representation to the audience without losing its poetic sensitivity? 


As an experimental research project bridging between art and technology, 3sth.net centers around new three-body movements at the conceptual level, and investigates the interactions between algae (nature), users (human) and artificial intelligence (technology) in practicality. Through digital interfaces and connected bioreactors, the data of interactions is collected, processed, and visualized. Moreover, it is used to control parameters of a robotic arm to fabricate a textile sculpture, as well as to generate images – symbols created by AI as though the history were written in a different way – to be projected onto the sculpture. Whereas the physical representation invites perception, the digital interface allows participation. Oscillating between these two positions, between active participation and passive spectatorship, the audience is thus left to contemplate over relevant questions. How do data and artificial intelligence play a role in this complication? What could be generated through the new multilateral relations? Data, as the product of internal mechanisms of the digital universe, and the sculpture, as the external embodiment, furthermore, are complementary to each other both in terms of conception and representation. Last but not least, as generative models of AI bring indeterminacy into the digital universe, the project is allowed to exist both in and outside of the context of fine art – participants are not constrained by our authorial intention and artistic framework; they are part of the online community which experiences and actively contributes to the unknown and unpredictability of this experiment.
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