*1964 in China
The character “I” in the animation is generated by 3D scanning, the result of the effect of over-layered diamond shapes attributed to the lattice deformation process. This digital “I” is then morphed using a software program, and set in motion to the third movement of Beethoven’s 5th Piano Concerto, composed in 1811. Given that they are processed by computer calculation, the images always appear distorted and strange. Even so, the 3D scanned result of the original features of the face remains clear and shows similarity with distortion in Expressionist art. The result is a recognisable yet conspicuous digitised image of a human figure. The figure is set in motion using program codes of everyday movements, available freely on the internet, that were obtained by means of motion capture. Despite having been recorded in everyday life, these movements, when projected, appear uncanny and absurd. Miao Xiachun achieves this effect by multiple activation and the superimposition of movements. To Miao Xiaochun, it is “like applying the standards of another species to measure the standard of mankind, an undertaking that has always appeared incredible, uncanny and absurd to us, from the Neolithic period to the AI era, and will continue to do so.” Miao Xiaochun describes our period as the “pre-artificial intelligence age”. He views his work as futuristic precursors of social problems. How will humanoid robots move? Which data will be used to control these movements, how much humanness do we give to artificial life forms?
Miao Xiaochun participated in the group exhibition entitled Annual of Contemporary Art at Beijing Minsheng Art Museum in 2016, among other things, and in the 55th Venice Biennale in 2013. For more information on Miao Xiaochun, visit http://www.miaoxiaochun.com.