展览《堆栈的地貌》Topographies of The

Producer | 出品人：Tong Xiaomei 彤小美

Art Director | 艺术总监：Huang Jia 黄佳

Curator | 策展人：Ma Yongfeng 马永峰

Participating Artists | 参展艺术家

Petermfriess 皮特•弗雷斯（比利时/德国）

Nina E. Schönefeld 尼娜•舍内菲尔德（德国柏林）

Robin Resch 罗宾•雷希（德国柏林）

Yang Ming 杨铭（中国/德国）

Opening |开幕时间：2019年9月14日下午3点-7点

Duration |展期：2019.09.14-10.16

Organizer | 展览主办：Alternative Culture Making 制造文化

Venue | 展览地点：深圳市南山区华侨城创意文化园F1栋105B-A

前言

2016年本杰明•布拉顿出版了《堆栈：软件与主权》（The Stack：On Software and Sovereignty），布拉顿概述了全球计算和算法治理时代的新理论。他提出不同类型的星际范围计算模式 - 智能网格、云平台、移动应用程序、智能城市、物联网、自动化 - 可以看作不是封闭的自我进化，而是形成一个连贯的运作整体：一种结合了计算基础设施又是新的治理结构的意外的巨型结构。星际范围内的计算在不同体量取不同的形式，这些现象如何使现代政治地理扭曲和失真，并以自己的形象产生新的疆界？

在理论和技术方面，借鉴政治哲学、建筑理论和软件研究，布拉顿探索了堆栈的六个层次：地球、云、城市、地址、界面和用户。每个名词都按照自己的术语进行映射，并被理解为由硬件和软件系统混合构建的更大整体中的一个组件 - 不仅是计算形式，还有社会、人类和体力。该模型以协议“堆栈”的多层结构的逻辑为基础，其中网络技术以模块化和垂直的顺序运行，提供了我们新兴基础设施的全面形象以及其持续改造的平台。

堆栈通过占领来制造空间，通过测量抽象来实施，吸收抽象并加以虚拟化，创造一种新的叠加地貌和纠缠空间。在某种意义上它甚至可以看作一种“法律”，星际规模的计算量度正在产生一种的新的“自由土壤”，这种土壤可以同时是海洋、陆地和空气的叠加，具有某种形态同时又瞬间即逝。堆栈是一架机器，一架同时是乌托邦和异托邦的机器，既是图式，也是各种机器的图式，也许是一个总体的图像意象，是各种选择，包括新主权形式和新的辖治形式所形成的总和。堆栈只是一个偶然形成的巨构，同时被有意和无意地建成，转而又以它的样子来建造我们。它对我们的地理政治机构和社会系统是既有力又危险，这取决于我们如何在堆栈之中进行去中心化的权力分配，如何在算法治理之下尝试去疆界化的、去主权化的努力。

“In The Stack: On Software and Sovereignty (MIT Press, 2016. 503 pages) Bratton outlines a new theory for the age of global computation and algorithmic governance. He proposes that different genres of planetary scale computation -smart grids, cloud platforms, mobile apps, smart cities, the Internet of Things, automation- can be seen not as so many species evolving on their own, but as forming a coherent whole: an accidental megastructure that is both a computational infrastructure and a new governing architecture. What has planetary-scale computation done to our geopolitical realities? It takes different forms at different scales. Together, how do these distort and deform modern political geographies and produce new territories in their own image?

In an account that is both theoretical and technical, drawing on political philosophy, architectural theory, and software studies, Bratton explores six layers of The Stack: Earth, Cloud, City, Address, Interface, User. Each is mapped on its own terms and understood as a component within the larger whole built from hard and soft systems intermingling—not only computational forms but also social, human, and physical forces. This model, informed by the logic of the multilayered structure of protocol “stacks,” in which network technologies operate within a modular and vertical order, offers a comprehensive image of our emerging infrastructure and a platform for its ongoing reinvention.

The Stack makes space by occupying it, it does so by surveying abstraction, absorbing it, and virtualizing it, creating a new superimposed topographies and entangled space, which is how it is even possible to consider whether or not it expresses a nomos at all. The space of the planetary-scale computation is producing a new kind of “free soil” then that “soil” is land, sea and air all at once, equally tangible and ephemeral. The Stack is one machine, one utopia machine and dystopia machine. It is both a schema and a pattern of various machines. It may be a total imagery, and it is a variety of choices, including new forms of sovereignty and new forms of governance. The Stack is just an accidental formation of the megastructure that was constructed intentionally and unintentionally, and instead built us in its way. It is both powerful and dangerous for our geopolitical institutions and social systems, depending on how we decentralize the distribution of power in The Stack, how to try to deterritorialize and desovereignize it under algorithmic governance.

展示作品介绍

尼娜•舍内菲尔德

电影三部曲

三部曲《黑暗水域》（15：55分钟，2018年）；《雪狐》（10：03分钟，2018年）和《L.E.O.P.A.R.T. 》（17：23分钟，2019年）可以在一个可能永无止境的系列中被看作是一部电影剧集。

《L.E.O.P.A.R.T.》

科幻电影，17分13秒，黑白和彩色，高清，有声，2019年

《L.E.O.P.A.R.T.》将场景设置在2032年。由于过量的辐射，地上生长的一切都不再可以食用，只剩下几只动物还活着。然而，大自然看起来似乎仍然美丽而自然。一家名叫 “黑花”的公司变成世界上唯一的种子供应商，控制着99.9％的全球食品市场，成千上万的死亡病例与“黑花”公司生产转基因食物有关。该公司的首席执行官Seth Mono博士是女主角的父亲，但是她却选择对“黑花”公司进行反击。她选择住在一个自给自足的营地，营地成员每天种植自己的可食用蔬菜，他们已经放弃了正常生活，争取独立于“黑花”公司的统治，每天他们都面临受到迫害和暴露行踪。

《黑暗水域》

科幻电影，15分55秒，黑白为主，高清，有声，2018年

《黑暗水域》将场景设置在2029年。那时候所有的海洋都被塑料废物污染，成为死亡区，唯一能够生活在那里的生物是毒水母，不明组织不断地试图掩盖这场生态灾难，这部电影叙述了直升机飞行员Silver Ocean对真相的冒险追求。

《雪狐》

科幻电影，10分03秒，黑白为主，高清，有声，2018年。

《雪狐》同样是一部将场景设置在不久的未来（2023年）的科幻电影，同名女主角雪狐为一家试图操纵天气的公司工作，这将会导致脑部疾病的传播，雪狐遇到了一群为地球上最后一个“自然”的地方而奋争的女性志同道合者。

VIDEO TRILOGY

The trilogy DARK WATERS (2018, 15:55 min.) , SNOW FOX (2018, 10:03 min.) and L.E.O.P.A.R.T. (2019, 17:23 min.) can be read as episodes in a potentially never-ending series.

L.E.O.P.A.R.T.,2019, science fiction film, 17min. 13sec., black and white & color, 1920 x 1080, with sound

L.E.O.P.A.R.T. is set in the year 2032. Due to radiation everything that grows above ground is no longer edible. There are only a few animals left. Nevertheless, nature looks beautiful and natural. The company ‘Black Flower’ is the world's only supplier of seeds, controlling 99,9 % of the global food market. Thousands of death cases are associated with genetically modified ‘Black Flower’ food. The CEO of the company Dr. Seth Mono is the father of the heroine fighting against ‘Black Flower’. She has chosen to live in a self-sufficient camp. The camp members grow their own edible vegetables. They have given up their normal lives to fight for their independence from ‘Black Flower’. Every day they fear persecution and exposure.

D A R K W A T E R S, 2018, science fiction film, 15min. 55sec., black and white (mainly), 1920 x 1080, with sound

DARK WATERS is set in the year 2029. All the oceans are so contaminated with plastic waste that they have become death zones. The only creatures still able to live there are poisonous jellyfish. The government is trying to keep this eco-disaster secret. The film narrates the risky quest for the truth by helicopter pilot Silver Ocean.

SNOW FOX, 2018, science fiction film, 10m. 3s., black and white (mainly), 1920 x 1080, with sound

SNOW FOX is likewise a science fiction film set in the near future (2023): the eponymous heroine Snow Fox works for a company that manipulates the weather, resulting in the spread of brain disease. Snow Fox meets a group of women fighting for the last “natural” place on Earth.

皮特•弗雷斯

《火星抽象》

最后的连线正在切断，倒计时正在运行，我们正在经历一次震撼的升空，振动正在扼杀我们，我们可能不会回来，但我们实现了人类的梦想，珍惜我们的科学家和工程师，并鄙视下面渺小的思想。瞬间，火星的能量海洋正在吸引我们，闻所未闻的感觉锁定，我们从一个视觉浮动到下一个视觉，幻觉来源于自我保护和愉悦，啊哈哈。

《火星抽象》挑战了人类生活疆界通过技术线性地扩展到太空的想象，我们在地球上生活经验的改进版本将被转移到最近可以到达的行星，图像和声音揭示了一个过去的行星被转化为第二个地球，而地球可能会发展成为类似火星的地貌。

《火星抽象》是一种有趣且天真的方法，可以激发未来环境和栖息地的可见和隐藏能量的联想，新的“未知领土”将比以往任何时候都更加容易改变我们，我们古老的生存本能伴随着早期的人类生存再次揭开，但这一次作为增强版本的人类，我们得到了海量技术和人工智能的支持。

《火星抽象》最终导致反向扩张主义的主张，其中占领和剥削不是关键范式，但是对困难和意外的掌握创造了一种超越地球现存人类和组织的新运动。

2019年

Last connecting lines are cutting off, countdown is now running, we have a serious lift-off, vibrations are killing us, we might not come back, but we realise a dream for humanity, cherishing our scientists and engineers, and despise the small minds down there. Instantly Mars’ energy ocean is magnetising us, unheard sensations lock in, we float from one vision into the next one, hallucinating out of self-protection and pleasure, uahhh.

MARS ABSTRACTIONS challenges the imaginary of linear extension of human living territories into space and through technology. Modified copies of our life experience schemes on Earth will be transferred to the nearest accessible planet. Images and sound reveal a planetary past to be transformed into a second Earth, whereas Earth might develop back to become Mars-like.

MARS ABSTRACTIONS is a playful and innocent approach stimulating the imaginary about visible and hidden energies of future environments and habitats. The new terra incognita will transform us more than ever before. Our archaic survival instincts, which accompanied early human existence unveil again, but this time as augmented human, supported by massive technology and artificial intelligence.

MARS ABSTRACTIONS finally makes a plea for reverse expansionism, where not occupation and exploitation are the key paradigms, but where mastery of the difficult and unexpected creates a new movement of people and organisations going beyond the existing on Earth.

2019

罗宾•雷希

摄影作品

《兄弟》彩色摄影，艺术喷绘，50 X50厘米，2016年

《改变的窗口》彩色摄影，艺术喷绘，50X50厘米，2015年

《PETROLEUS》彩色摄影，艺术喷绘，2015年，80X80厘米

《多重残忍》彩色摄影，艺术喷绘，50 X 50厘米，2018年

杨铭作品

《奥林匹亚山的气候》