zeppra-cargo ver.

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	<title>zeppra-cargo ver.</title>
	<link>https://zeppra.cargo.site</link>
	<description>zeppra-cargo ver.</description>
	<pubDate>Wed, 20 Feb 2019 03:36:26 +0000</pubDate>
	<generator>https://zeppra.cargo.site</generator>
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		<title>Home</title>
				
		<link>https://zeppra.cargo.site/Home</link>

		<pubDate>Wed, 20 Feb 2019 00:41:22 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

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		<title>About</title>
				
		<link>https://zeppra.cargo.site/About</link>

		<pubDate>Wed, 20 Feb 2019 00:41:22 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

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		<description>About


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Zeppra（左仆拉） is an (a)artist&#38;nbsp;and&#38;nbsp;(b)researcher based in&#38;nbsp;(c) Beijing&#38;nbsp;and&#38;nbsp;(d) San Francisco. He makes&#38;nbsp;(e)screen-based work (e.g. videos, webpages) &#38;nbsp;and&#38;nbsp;(f)small scale, light-weight media installations. She values (g)interoperability and&#38;nbsp;(h)portability, and is detained online&#38;nbsp;since the day reality is cursed.&#38;nbsp;CVEducation
2018 -&#38;nbsp; 2019 LL.M. University of California, Berkeley (CA, US)
2016 - 2018&#38;nbsp; M.A in Media, Culture and Communication, New York University (NY, US)
2011 - 2016&#38;nbsp; LL.B. Tsinghua University (Beijing, China)


Exhibitions
2021.3 “Guerrillas in Flatland: Unite! Digital Voyagers”, Shanghai Contemporary Art Museum (PSA), Shanghai, China
2019.7 “When Black Swallows Red”, MAGA &#38;amp; La Mama La Galleria, New York, NY, U.S. 
2019.3 “Diaspora”, 798 Art Center, Beijing, China
2018.11 "Bad Code", Shanghai Contemporary Art Museum (PSA), Shanghai, China
2018.10 "Data, Imagery and Detournement",GESSOISLAND, Shenyang, China 
2018.9 "Re-imagined ", Worth Ryder Gallery, Berkeley, CA, U.S.
2018.6 "Art Printed 1# ", CICA Museum, Gimpo, South Korea
2018.3 "VPN: the Relative Position with the Boundaries", Fou Gallery, Brooklyn, NY, U.S.
2015.12 "Suspened Dimension", Yifu Library at Tsinghua University, Beijing, China
2014.4 “Boom: New Undergrad Work”, Museum of Department of Art and Design at Tsinghua University, Beijing, China

Award
2021 Accent Accent International Poetry Award, Award for Video Performance Poetry, Honorary Mentions (Host by Accent Society, China, Co-sponsored by British Council)

 Publication &#38;amp; Academic Experience
2019.9 - Workshop Presentation: “Bullet-titleing: Liveness, Layering, and the New User-Spectatorship in Contemporary China” (with Jianqing Chen and Helen Jiang), at Virtual Workshop 'ASIA.LIVE: Locating Livestreaming in Asia', the Leiden Asia Centre, Leiden University
2019.8 - Conference Presentation:"‘No No-touching’— The Compulsory Interactivity of New Media Art, and Art Venue As A Game Arcade Hall", at the 6th annual Chinese DiGRA (Chinese chapter of the Digital Game Research Association) Conference, Beijing Normal University
2018.5 - Magazine Article: "In the Name of Cover: the Visual History and Identity Performance of Cross-dressers", or Art &#38;amp; Design (Beijing), May
2017.10 - Conference Presentation: "The Practice and Imagination of Chinese Programming Language", at Neil Postman Conference", New York University
2017.3 - Magazine Article: “Shadow and Retelling: Art of Vivianne Sassen”, for Art &#38;amp; Design (Beijing), April

Go find her on weChat, Instagram, weChat official acount, Weibo or email him.
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		<title>"She's Looking Back", 2018</title>
				
		<link>https://zeppra.cargo.site/She-s-Looking-Back-2018</link>

		<pubDate>Wed, 20 Feb 2019 00:41:23 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

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		<description>“She’s Looking Back”，2018“她回头”


A Wearable installation


"She's Looking Back", 2018 from Zeppra on Vimeo.
“她回头”（2018）是一个捕捉佩戴者回头动作、并将短信发送给佩戴者前任（或者其他与之有渊源未尽之人）的小数字装置。短信内容 ”She’s looking back” 是一个双关语，字面上表示“她在回头”，亦包含“她回忆往昔”的象征含义。

这个装置是关于“没用的机器”、人佩戴装置时作为一系列后果的触发者小心翼翼的感受、以及语言与身体语言之间的不适配的。She’s Looking Back is a wearable installation which captures the "turning-around" gesture of the user and texts a message "She's looking back" to her ex-partner. The "looking-back" works as a pun for both a literal body movement and metaphorical rhetoric.

This device is about the absurdity of useless biometrics contribute to a useless machine, the attentiveness raised when a user is aware of the chain reaction caused by her micro-gesture, and the incompatibility of verbal and bodily languages.

实现方法是：当佩戴者转头时，固定在脖子上的皮筋一侧拉伸而一侧舒张，挤压固定在背部的两块木片中的压力传感器，超过阈值时，触发微处理器中的指令，给指定手机号发送短信息。

使用的主要部件是：微处理器是feather FONA，一款adafruit设计的携带蜂窝通信模块的adruino兼容处理器，需要GSM通信的SIM卡；压力传感器-Interlink 402；锂电池-1200mAh。
代码部分主要由adafruit编写的配合FONA的库中自带发送短信息的方法完成。

这个作品与 UCB environment design的赵瀚卿（传动结构设计、木工）、 以及cinema studies的Helen Jiang（部分理论文稿、模特）合作。
How it is realized: when the wearer turns her head back, one side of a rubber band tied on her neck stretches and the other side releases which conduct pressure to a force sensor, triggering a microcontroller to text a specified number.

The device consists of a Feather FONA microcontroller, by Adafruit, which carries cellular communication model; a SIM card; an FSR - Interlink 402; a lithium battery.

I collaborated with Hanqing Zhao, UC Berkeley Environment Design, for structure design and woodwork; and Helen Jiang, UC Berkeley Cinema Studies, for conceptual research.


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		<title>Name, Title, Year, 2018</title>
				
		<link>https://zeppra.cargo.site/Name-Title-Year-2018</link>

		<pubDate>Wed, 20 Feb 2019 01:00:30 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

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		<description>Name, *Title* (Year), Medium, Dimension; Name v. Name, Volume No., Reporter, Page, (Year), 2018

名字，标题（年份），媒介，尺寸；名字 v. 名字，卷号，案例汇编号，页码（年份），2018

paper scraps, book piles, website (.html file)


🔗 text generator here: http://www.zeppra.info/testgenerator.html


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The pedagogy of art or law shares a same component: cases.
 
In a piece of legal memorandum or an exhibition catalog, an individual work or case is referred by a caption. It is a&#38;nbsp;formatted language snippet with the power to summon the historical players those are important for the discipline, no matter to preserve consistency and predictability, in the case of law, or to rethink, resist, re-contextualize or re-embrace a tradition, in the case of art. &#38;nbsp;

Therefore the caption governs a way to archive and conclude a regime of human knowledge; it not only signifies a “something else” - the body of the work or the case - but also a self-sustain category, a literary genre. &#38;nbsp;

Here, I cut out the captions of both artworks and legal cases from an array of used art books, catalogs and law school casebooks, and assemble a chronological matrix with that cluster of text scraps. Through the juxtaposition of the visually paralleled text bits, I try to trace the typographical hint of the two disciplines, and re-imagine a long-ignored tradition of&#38;nbsp;visuality embedded in the text-centralized legal knowledge, as well as the textuality found in the vision-centralized art practice.

I also made a text generator which composes dummy artwork captions in the formatt of “name, title, year,” within which the title further consists of “party names, volume no., report name, page number…” , in keeping with the formatt of a dummy legal citation.

艺术与法学教育有着相同的组成部分：案例。

不论是在法律意见书或是展览图册中，一件作品、一个案例都是由“标题”指代的。标题是一种格式化的言语片段，它们能够召唤出对该学科而言不可或缺的历史角色。在法学的语境中，召唤先例是为了保持裁判的一致性与可预期性；在艺术的语境中，参照先例是为了重新审视、重新语境化，或是反抗、或是拥抱一种传统。

因此，“标题”规定了归档（archive）和建立人类知识体系的方式。它不仅指向某种”他物“——某件作品或案件的本体 ——同时还是一种自洽的范畴；一种文学体裁。

在这个项目中，我从艺术书籍、展览目录和法学院的案例汇编中裁剪出艺术作品和案例的标题，并按照时间顺序组成一个文本矩阵。通过这视觉上形似的并置，我试图追溯两个学科的”版式规矩“给出的暗示，寻找被文本中心主义裹挟的法学学科中长期被忽略的视觉性，以及以视觉为中心展开的艺术事件中的文本性线索。

我还制作了一个文本生成器，以 “名字，标题，年份” 的格式生成虚构的艺术作品展签，其中，标题部分是以” 双方姓名，卷号，判例汇编名称，页码......” 为格式的虚构法律案例名称。


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&#38;nbsp; &#38;nbsp; On show view: at Worth Ryder Gallery, University of Berkeley&#38;nbsp;</description>
		
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		<title>A Message from Zeppra and Her Loyal Messengers, 2017</title>
				
		<link>https://zeppra.cargo.site/A-Message-from-Zeppra-and-Her-Loyal-Messengers-2017</link>

		<pubDate>Wed, 20 Feb 2019 03:20:23 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

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		<description>A Message from Zeppra and Her Loyal Messengers, 2017
左仆拉和她的忠仆来信

a multi-voice narrated video w/ syntax-highlighted transcripts displaying

* Headphone recommended *


A message from Zeppra and her loyal messengers from Zeppra on Vimeo.


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这件包括音频及其对照的语法高亮版本的文稿的作品是关于以下主题的：人类语言的分野映射到数字世界后的景象；结构化文本以及文本的结构化增殖；以及机器所享受的恩惠（同时也是厄运）——不知疲倦的重复和循环。

我将一些中文文段转写/拼写为语音上最接近的拉丁字母或是英文单词的组合，将它们放进一个“只会讲英文的”在线语音合成软件中录音，并将文稿粘贴在文本编辑器中，与语音同步滚动播放。通过修改编辑器的配置文件，这一段话中扮演不同功能的语言成分得以以不同的文本样式（颜色、字重等）显示。

在套娃般的层层转述结构的核心处，是语义不明的团块——来自说中文的艺术家的一段难解的话。随着结构化的文本阶梯般渐次展开，五位“转述者”一丝不苟地完成着任务、忠诚得几近荒谬，忠实而不懂得变通。而缺位的原作者，以及永远难以追溯的原义迫使引语本身成为一件遗作。留下这些神秘信息的人有如留下一系列创造世界的指令后就闪身不见的上帝。而他/她的机器忠仆们将在接下来的世代中口耳相传、寻寻觅觅，如同在无限被切割着的正方形内部迫近那理想的永恒圆形。

This audio with its corresponding syntax-highlighted transcript is about the mapping of natural language division onto the digital sphere, structured texts and the structural proliferation of texts, and the mercy (also doom) machines enjoy — indefatigable loop and repetition.

I transliterated several Chinese paragraphs with Latin alphabets and English vocabularies which sounds most relevant to the origin, and transferred them into audio through a “English-spoken-only” text-to-voice software. The transcripts are pasted into a text editor and displayed paralleled with the audio. With modifying the configuration files of the editor, each language elements are abled to be shown in different textual styles (font color, weight, etc.).

At the kernel of the layers of Russian-doll-like quotational structure, an ambiguous cluster forms - an indecipherable paragraph from the Chinese-spoken artist. As the structured text gradually descending, five quoters meticulous complete their services, as loyal absurdly, as precise rigidly. The vacant original author and the untraceable original meaning forces the quotation into the state of a posthumous work. In the pre-history of this scene, I, the one left with the mysterious messages, acted as the Creator who had been absent once an array of demand of creating the world was ordered. While the machinery messengers will whisper and seek through the ages, like searching for the prefect infinite circle by constantly incising a square.

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exhibition view: at FOU Gallery, Brooklyn 布鲁克林，否画廊

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exhibition view: at Power Station of Art, Shanghai 上海当代艺术博物馆

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exhibition view: at GESSOISLAND, Shenyang 沈阳GESSOISAND
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	<item>
		<title>Layered Vision, 2017</title>
				
		<link>https://zeppra.cargo.site/Layered-Vision-2017</link>

		<pubDate>Wed, 20 Feb 2019 03:04:06 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

		<guid isPermaLink="true">https://zeppra.cargo.site/Layered-Vision-2017</guid>

		<description>Layered Vision, 2017
分层视觉：科教片

a video essay based on screen-recording from several resources


layered vision 2017-CHN/ENG sub ver. from Zeppra on Vimeo.one-sentence description

A documentation of “the subject being isolated” in today’s image production streamline, and a discussion on the contemporary human/non-human relation.

一部由网页浏览体验拼剪而成的屏幕录像，关于今日世界视觉生产流水线中司空见惯的“独处的主体物”，及其背后的人类/非人之物关系的研讨。

longer description

A portrait-mode photo with a blurred background taking with the new iPhone, a polygon model of artifact being reestablished by a 3D scanner and its corresponding software, an actor performing in the front of a multi-story-high green screen - just to name a few elements of image production today. The formal similarity those cases displays is a detachment of several layers being categorized into foreground or background, subject or object, character or its environment.&#38;nbsp;And this sorting and parting is&#38;nbsp;not only formal, but semantic: it fells into the story of animated/unanimated, organic/inorganic, human/nonhuman dualism. Nowadays, we experience this detachment in an unprecedented scale. Being touched by the cultural instruments such as iPhone and Adobe Photoshop, as well as processed by institutions such as the animation studio’s streamline, the reality is sliced, rendered and reconstructed under a visual pattern, “layered vision” as I name.

iPhone 相机中的“人像模式”将人背后的景物自动虚化；3D扫描物体后生成的物件模型在预览软件中有如位于空旷的舞台之上；演员在数层楼高的绿幕前表演着——仅列举几例今日图像之社会生产车间中的场景。若考虑这些场景形式上的共同之处，则是其中诸个被分门别类为“前景/背景”、“主体/客体”、“角色/环境”的层次之间的清晰剥离——我们以前所未有的频度体验着的剥离。经由数字生产设备如iPhone、Adobe Photoshop软件的点化，脱胎于例如动画制作工作室的流水线这样的机构，现实被气氛、渲染、重整——遵从一种特定的，我称之为“分层视觉”的图式。

I see this pattern as a collective unconsciousness incarnated in the forms of blur, contour and other visual elements that overwhelms the content production realm, as a condition of image making and the state of presence of the image being created under this condition, and ultimately marks the inherent tendency of imagery in our age. Witnessing this condition, I hope to explore several examples of “layer” metaphors called into image production emerging in various disciplines. Utilizing seemly mundane desktop-recording, youtube tutorial style video essay, I try to document and make sense of these metaphors, examining their cultural suggestions, and give a testimony of the objects/subjects relations, as which are hierarchically arranged in the spectacle of the world theater.

我将这个认识理解为一种集体无意识，它赋形于模糊、轮廓以及其他统摄内容生产行业的视觉元素中。这种无意识是图像被生产出来，以及被生产出的图像（image）保持其存在的条件，并最终成为像（imagery）存在于我们这个时代的内在趋势。作为这个趋势的亲历者，我希望通过探索数个存在于不同图像生产行业中的“层次/舞台”隐喻的实例，运用基于屏幕录像剪辑的视频散文记录这些隐喻是如何发生作用的、又具有怎样的文化暗示，并最终为人类/非人物之间的关系作证——正是它们构成了井然有序的世界舞台之宏景。


&#60;img width="2424" height="1414" width_o="2424" height_o="1414" data-src="https://freight.cargo.site/t/original/i/309b6f379e84044cb9b1999f8ac730a653d3b2e9f903b0e395b43849cc6d0fda/layered-thumb.png" data-mid="35845728" border="0"  src="https://freight.cargo.site/w/1000/i/309b6f379e84044cb9b1999f8ac730a653d3b2e9f903b0e395b43849cc6d0fda/layered-thumb.png" /&#62;&#60;img width="1122" height="796" width_o="1122" height_o="796" data-src="https://freight.cargo.site/t/original/i/07bc8115e67e32bfb5f65404879479ad426c788493d8d4115bcf125e43302bce/1.png" data-mid="35845573" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/07bc8115e67e32bfb5f65404879479ad426c788493d8d4115bcf125e43302bce/1.png" /&#62;&#60;img width="732" height="624" width_o="732" height_o="624" data-src="https://freight.cargo.site/t/original/i/446eab31d7852575c80df753604a8b23d06dc8ab84f7342e09f73438041038f7/2.png" data-mid="35845572" border="0" data-scale="49" src="https://freight.cargo.site/w/732/i/446eab31d7852575c80df753604a8b23d06dc8ab84f7342e09f73438041038f7/2.png" /&#62;&#60;img width="574" height="812" width_o="574" height_o="812" data-src="https://freight.cargo.site/t/original/i/09d9ab2c110cc02c3ff719b4182bd9277cb3eabc97542f2b8ff7356d8c75052f/5.png" data-mid="35845569" border="0" data-scale="59" src="https://freight.cargo.site/w/574/i/09d9ab2c110cc02c3ff719b4182bd9277cb3eabc97542f2b8ff7356d8c75052f/5.png" /&#62;


&#60;img width="1122" height="700" width_o="1122" height_o="700" data-src="https://freight.cargo.site/t/original/i/13758998fea87e0f0b9725fafe2effb7047b9005fae8fc5b578e26ccbfccbef9/6.png" data-mid="35845568" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/13758998fea87e0f0b9725fafe2effb7047b9005fae8fc5b578e26ccbfccbef9/6.png" /&#62;&#60;img width="1036" height="388" width_o="1036" height_o="388" data-src="https://freight.cargo.site/t/original/i/23d53e0d701bdfba0faf16fbe0534592cffdea5ed316500b3fc8fa9b679f8b59/4.png" data-mid="35845570" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/23d53e0d701bdfba0faf16fbe0534592cffdea5ed316500b3fc8fa9b679f8b59/4.png" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Metameta, 2017</title>
				
		<link>https://zeppra.cargo.site/Metameta-2017</link>

		<pubDate>Wed, 20 Feb 2019 00:41:24 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

		<guid isPermaLink="true">https://zeppra.cargo.site/Metameta-2017</guid>

		<description>Metameta, 2017
元元
a scripted webpage, w/ archived images from viewer participation


Metameta, 2017 from Zeppra on Vimeo.Metameta is a Javascript driven web-application which dynamically, endlessly generates new windows inside the existing ones with the scrolling of a user, who can stop at any point to screenshot and therefore create abstract graphics. I hope to use this recursion structure to signal the primary component of the digitally displayed world: rectangle, and the diagram of computational logics: loop.

Looping inside rectangles, windows nested each other mediate a condition of contemporary information-obtaining experience: links are followed by other links, and by clicking links time are unfolded; the missing piece is always at the other end of the next window. The sense of searching for novelty is created by this repetitive action.

Also, the visual similarity and color palette of this application relate it with the historical context provided by Modernists, namely Piet Mondrian, and their efforts to capture the essential elements of the visible world using geometry and primary colors. However, Those rendering of the “eternal rules,” incarnated as paintings, in the contemporary eye, are merely applications of some codes – and what is that “code” beneath their practice? What is the “meta-meta”, beyond the realm of language?

Metameta 是由Javascript编写的递归结构网页应用，随着用户滑动滚动条的动作，它无限地在现有窗口内部生成新的窗口。这个结构结合了矩形视窗，即数字显示环境中的基础视觉元素，与循环（loop），数字逻辑的基本图式。

在矩形中不断循环着、嵌套着、运动着的视窗模拟出当代数字设备用户信息获取体验的实况：链接后仍有链接，点击链接即展开一段压缩的时间，而我们所欲求的永远在下一个视窗里，在重复的动作和循环的代码中获得关于“新”的旧体验。

同时，我希望能够以视觉上的相似性唤起现代主义实践中对于世界“元规则”探索的历史语境，尤其是以其鲜明视觉语言在流行文化中作为视觉符号取得一席之地的蒙德里安的作品：一个由矩形划分、原色表征的世界。这些图像虽是世界的抽象，但本身却仍有元码——这元码是否存在？在语言的疆域之外，“元-元”何为？


&#60;img width="1100" height="805" width_o="1100" height_o="805" data-src="https://freight.cargo.site/t/original/i/5df83674cf8d63c6d6175ef996702320bdd2dfbdf7e20aca4dfc1c8e816b1589/-1.png" data-mid="35845803" border="0"  src="https://freight.cargo.site/w/1000/i/5df83674cf8d63c6d6175ef996702320bdd2dfbdf7e20aca4dfc1c8e816b1589/-1.png" /&#62;&#60;img width="1068" height="842" width_o="1068" height_o="842" data-src="https://freight.cargo.site/t/original/i/149c364e609e4c69c29ccff9e0301143736653f10b85283d301352456fd97015/meta-thumb.png" data-mid="35845794" border="0"  src="https://freight.cargo.site/w/1000/i/149c364e609e4c69c29ccff9e0301143736653f10b85283d301352456fd97015/meta-thumb.png" /&#62;
&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/b12f53a3af3bcc78f4cf0856c6cf47f51e3fba8c28698b42b2230456a8d90c3f/0I5A9106.jpg" data-mid="35847359" border="0"  src="https://freight.cargo.site/w/1000/i/b12f53a3af3bcc78f4cf0856c6cf47f51e3fba8c28698b42b2230456a8d90c3f/0I5A9106.jpg" /&#62;On show view: at Power Station of Art, Shanghai 上海当代艺术博物馆</description>
		
	</item>
		
		
	<item>
		<title>Larger Than Me, Ongoing</title>
				
		<link>https://zeppra.cargo.site/Larger-Than-Me-Ongoing</link>

		<pubDate>Wed, 20 Feb 2019 03:29:43 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

		<guid isPermaLink="true">https://zeppra.cargo.site/Larger-Than-Me-Ongoing</guid>

		<description>Larger Than Me, Ongoing大我
an Instagram accounthttps://www.instagram.com/larger_than_me/

An on-street investigation of the accidental huma/object assemblages.
大我：关于偶然形成的人/物件集合体的街上调查项目
人们抬着、拿着、背着、拖着大东西来来往往，和那些过大的物件形成集合体（assemblage）——很大，比我还大。大物件分散了与身体相关的指标：包括物理上的中心，以及视觉上的注意力。在这个组合结构当中，人被物左右、身体的意义向物迁移而去。
&#38;nbsp;


&#60;img width="1125" height="2436" width_o="1125" height_o="2436" data-src="https://freight.cargo.site/t/original/i/37a40b9288eb297de3472c9bfd02794604c3fd8ae33581687d732461cca627c7/IMG_5498.PNG" data-mid="35846408" border="0" data-scale="34" src="https://freight.cargo.site/w/1000/i/37a40b9288eb297de3472c9bfd02794604c3fd8ae33581687d732461cca627c7/IMG_5498.PNG" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Sensing Sensor, 2018</title>
				
		<link>https://zeppra.cargo.site/Sensing-Sensor-2018</link>

		<pubDate>Wed, 20 Feb 2019 00:41:23 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

		<guid isPermaLink="true">https://zeppra.cargo.site/Sensing-Sensor-2018</guid>

		<description>
	Sensing Sensor, 2018传感传感器
a tiny installation


“传感传感器“是”打印打印机“，一个制作中遭到波折的项目的姊妹项目。它的原理是将一个RGB传感器贴在屏幕上，识别屏幕当前表面的颜色值，发送给一些代码，然后打开一个相应颜色的窗口，然后继续识别当前的颜色值，然后将窗口改变为该颜色，然后继续识别……循环往复。
这个小项目是关于数字和模拟世界的间隙、以及机器自说自话的，它在形象上模仿了”面壁者“。

ENG Ver.: loading… 66%

&#60;img width="2560" height="1410" width_o="2560" height_o="1410" data-src="https://freight.cargo.site/t/original/i/9d993f680271a93c01133bc557db345563f18b20e92cb2d466b37a91127de6d5/-2019-02-19-6.19.14.png" data-mid="35844764" border="0"  src="https://freight.cargo.site/w/1000/i/9d993f680271a93c01133bc557db345563f18b20e92cb2d466b37a91127de6d5/-2019-02-19-6.19.14.png" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Lift, 2016</title>
				
		<link>https://zeppra.cargo.site/Lift-2016</link>

		<pubDate>Wed, 20 Feb 2019 03:36:26 +0000</pubDate>

		<dc:creator>zeppra-cargo ver.</dc:creator>

		<guid isPermaLink="true">https://zeppra.cargo.site/Lift-2016</guid>

		<description>
	Lift, 2016提升

a Video &#38;amp; Digital Prints


Lifting201601 from Zeppra on Vimeo.Digital sphere sets agenda with its norms.

With simplifying nature into 0 and 1, it describes, models, regulates and reconstructs the reality, lifting us somewhere extracted from the superficial appearance. With photos remixed with graphic elements, I employed smooth shades and highlight to objects in a real setting. To imitate "shades as pattern and concept"&#38;nbsp;, I try to reverse, recognize and reorganize the physical world as GUI with an intrinsic anti-materialized manner.

That illusionary space — which maintained by our naturalism ancestors dedicatedly using high respective — is no longer necessary. Life is on the cloud, unquestionable and eternal.


&#60;img width="3969" height="2646" width_o="3969" height_o="2646" data-src="https://freight.cargo.site/t/original/i/bf12102c56b3066417f5c777d333a325250dff3236764e0798928f99d3baf286/1b.jpg" data-mid="35846599" border="0"  src="https://freight.cargo.site/w/1000/i/bf12102c56b3066417f5c777d333a325250dff3236764e0798928f99d3baf286/1b.jpg" /&#62;
&#60;img width="3969" height="2646" width_o="3969" height_o="2646" data-src="https://freight.cargo.site/t/original/i/53b13983dced551244533343e74f086db33e04027bbbad41447e99f2f864de04/1w.jpg" data-mid="35846600" border="0"  src="https://freight.cargo.site/w/1000/i/53b13983dced551244533343e74f086db33e04027bbbad41447e99f2f864de04/1w.jpg" /&#62;


&#60;img width="4961" height="3309" width_o="4961" height_o="3309" data-src="https://freight.cargo.site/t/original/i/1d9ba9cd4c1c4f20953fae6e80d258a605df0929452fb2374f41c384ef180de8/4b.jpg" data-mid="35846593" border="0"  src="https://freight.cargo.site/w/1000/i/1d9ba9cd4c1c4f20953fae6e80d258a605df0929452fb2374f41c384ef180de8/4b.jpg" /&#62;
&#60;img width="4961" height="3309" width_o="4961" height_o="3309" data-src="https://freight.cargo.site/t/original/i/02e3e139197a73774bffb46f4906cc00fc2f36109f744fe64b301356871cd24d/4w.jpg" data-mid="35846594" border="0"  src="https://freight.cargo.site/w/1000/i/02e3e139197a73774bffb46f4906cc00fc2f36109f744fe64b301356871cd24d/4w.jpg" /&#62;

&#60;img width="3456" height="2304" width_o="3456" height_o="2304" data-src="https://freight.cargo.site/t/original/i/8c501b288aa5ed0cf9f4f559d1e851727f2c6c9a19fe794df7bf9209be9f28e9/3b.jpg" data-mid="35846595" border="0"  src="https://freight.cargo.site/w/1000/i/8c501b288aa5ed0cf9f4f559d1e851727f2c6c9a19fe794df7bf9209be9f28e9/3b.jpg" /&#62;
&#60;img width="3456" height="2304" width_o="3456" height_o="2304" data-src="https://freight.cargo.site/t/original/i/ac285c685aec33f60e9bf3c85bcfc118ae011792b962244895f98858361e9bd0/3w.jpg" data-mid="35846596" border="0"  src="https://freight.cargo.site/w/1000/i/ac285c685aec33f60e9bf3c85bcfc118ae011792b962244895f98858361e9bd0/3w.jpg" /&#62;


&#60;img width="3456" height="2304" width_o="3456" height_o="2304" data-src="https://freight.cargo.site/t/original/i/b516f177ab9577519814dee930d8f5db88b5b5e96d8468bb6a8ac629cf0898ea/2b.jpg" data-mid="35846597" border="0"  src="https://freight.cargo.site/w/1000/i/b516f177ab9577519814dee930d8f5db88b5b5e96d8468bb6a8ac629cf0898ea/2b.jpg" /&#62;
&#60;img width="3456" height="2304" width_o="3456" height_o="2304" data-src="https://freight.cargo.site/t/original/i/29ed5d643abb58cb0c24bd83d57e7101804938b6db23f3914dbda4f893249e24/2w.jpg" data-mid="35846598" border="0"  src="https://freight.cargo.site/w/1000/i/29ed5d643abb58cb0c24bd83d57e7101804938b6db23f3914dbda4f893249e24/2w.jpg" /&#62;
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