小绿 / LITTLE GREEN

-⼆零⼀九
-⼤地
- ⾏为
-实验音乐
-单频录像 4K，13 分钟，循环播放，播放尺⼨可变
-地点：贵州，从江县侗族岜扒村

鸣谢
中国贵州省黔东南州非物质⽂化遗产保护中⼼
王桢栩、陈⼽⼭、熊晏泽、耿明慧、王秋翰、刘哲、陆小宝

-2019
-Land art
-Performance art
-Experimental music
-Single channel video , 13 mins, loop, 4K Display dimensions variable
-Location: Dong Village, Guizhou, China

鸣谢
中国贵州省黔东南州非物质⽂化遗产保护中⼼
王桢栩、陈⼽⼭、熊晏泽、耿明慧、王秋翰、刘哲、陆小宝

Courtesy of
Intangible Cultural Heritage Center(ICHC) of QingDongNan Auto-prefecture, Guizhou,China
Wang Zhenxu, Chen Geshan, Xiong Yanze, Geng Minghui, Wang Qiuhan, Liu Zhe, Lu Xiaobao

小绿是有关于科技与自然、
意识及意识朝向、图像与认知、以及空间边界的探索。
视频中“音乐”的运用是对图像节奏的“再”创作及突破，作曲结构以d和声小调作为⾊彩基调，
以当地古代乐器“Bic bac”与“Oh is”作为曲式的特点，在音乐实验⽅面则以合成器及模块模拟自然声，
把纯自然声编辑为电⼦音源作为试听的虚拟反转，
还原在感知经验中我们对声音边界的认识及探索。



作品的呈现方式则是从超越日常视觉经验的方向展开，
小绿是在我们经验预测之内及之外的，
当无人机拍摄下的“一面”作为“实在存在”时，这“一面” 含盖着丰富且抽象的虚指部分，
视觉对象只能在视觉经验的预判中完成这一意识朝向。
在此基础上展开我们从无人机视觉已知为“真”的小绿的客观存在，
而客观的“真”才是探讨客观何以产生及意识是如何把一个对象立义出来并赋予它存在的意义，
这种对客观的信念及立意的意识行为它来自于哪里？


小绿以行为艺术本身转换为一个视听材料作为探究起点，
试图寻找“穿越”与“传递”是如何作用于不同的当下时空边界及艺术类别之间，
它以一种音乐的方式沿着时间并行，但又脱离在穿越的瞬间里，
在时间内部制造了一种非时间性的存在，让变化得以停留在生生不变之中。

Little Green is an exploration into technology and nature, consciousness and the orientation of consciousness,
image and cognition, and the boundaries of space.
With its compositional structure featuring
D harmonic minor as the foundational color tone, and local ancient instruments "Bic bac" and "Oh is" adding
distinguished characteristics to the musical form, the role of music in this video is to re-create and alter the rhythm of the moving image.
In respect of experimental music, synthesizers and modules are utilized to simulate natural sound,
conversely, recorded pure natural sound is edited to fully take on electronic attributes.
Such process serves as a virtual inversion of the audio-visual,
which restores our sense to understand and to explore the boundaries of sound in perceptual experience.



Little Green is presented in a way that transcends everyday visual experience,
it is both within and beyond our empirical predictions. As the sight revealed by the drone perspective is deemed “actual existent”,
it contains, in essence, ample and abstract parts that signify the unsubstantiated.
The ever shifting object of vision only accomplishes the process of consciousness orientation within
the range of the predictable from our past visual experience.
It is on the basis of the drone vision that we extrapolate the objective existence of the “Little Green”.
This very concept of objective authenticity here leads to the questions of
how objectivity arises and how the consciousness makes sense of an object and attaches meaning to it.
Eventually, where are the faith in objectivity and the conscious behavior to attach meaning originated from?



Transforming the performance art itself into an audio-visual material,
artist Xiong Yanyi takes this endeavor as a starting point, intending to seek after the process through which “traversing” and “transmitting”
take effect between different spatial-temporal boundaries and artistic genres in the present.
“Little Green” parallels along time in the approach of experimental music, meanwhile disengaging from the moments of traversing.
It produces a non-temporal existence within time, allowing changes to remain in the eternally immutable.