Time in Mozi

逝川之叹--古代哲人和诗人对时间的思考

Thoughts by Ancient Philosophers and Poets on Time

<<中国文化研究 >>2002年03期
袁行霈

(一) 在先秦哲学家中,墨子和庄子都正面提出了时间的概念,虽然他们并没有用"时间"这个词.墨子所谓"久",就是时间的意思.<墨子·经上>:"久,弥异时也.宇,弥异所也."<墨子·经说上>:"久,合古今旦莫.宇,冢东西南北.""久"与"宇"相对而言,前者显然指时间,后者显然指空间."久"包括了古今旦暮各个不同的时段.<庄子·庚桑楚>中分别用宇和宙指空间和时间,空间是无边无际的,时间是无始无终的:"有实而无乎处者,宇也.有长而无本剽者,宙也."本剽就是本末,没有本末就是没有始终.这两句话的意思是说:有实而无处不在的,是宇;不断延续而无始无终的,是宙.关于宇宙,<尸子>有更明确的解释,可以对照:"上下四方日宇,古往今来日宙."


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哲学内容,自然观方面﹐《墨经》摆脱了前期墨家天志﹑明鬼的思想影响﹐根据当时自然科学的研究成果﹐对时间﹑空间﹑运动等哲学范畴作出了明确的说明。《经上》说:“久﹐弥异时也”﹔“宇﹐弥异所也”。《墨经》指出﹐“久”是时间范畴﹐包括古今早晚等一切具体时间在内﹔“宇”是空间范畴﹐包括东西南北等一切场所﹔“异时”与“异所”则构成“宇宙”﹐宇宙是无限的。《墨经》用时间与空间的统一来说明运动。《经下》说:“宇或徙﹐说在长宇久”﹔《经说下》解释说:“长﹐宇徙而有(又)处﹐宇南宇北﹐在旦有(又)在莫(暮)﹔宇徙久”﹐认为物体的运动必经历一定的时间和空间﹐在一瞬间内﹐物体既不在某一点又在某一点上﹐但整个运动却是由此处到达彼处﹐由此时至于彼时﹐时间﹑空间和运动三者是统一的。

source:http://www.hoodong.com/wiki/《墨经》


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kongjian yu shijian
空间与时间
space and time

物质固有的存在形式。空间是物质客体的广延性和并存的秩序；时间是物质客体的持续性和接续的秩序。空间、时间与物质不可分离，空间与时间也不可分离。
空间知觉和时间知觉在人类早期就已形成。人们在改造客观世界的过程中，必然要感知到各种物质客体的大小、形状、场所、方向、距离、排列次序等等，也感知到各种事件发生的先后、迟速、久暂等等，离开空间和时间的知觉就不可能感知物质客体及其运动，无从进行任何有目的的活动。但是人类早期的时空知觉是与对物体及其运动的知觉纠葛在一起的。随着抽象思维能力的提高，人们才逐步形成空间和时间的观念，形成标志这两种观念的概念或范畴，并发展到对空间和时间的特性作独立的考察，形成种种关于空间和时间的理论和学说。时空观的历史发展表征着人类对空间时间认识的逐步深化。
古代的时空观 以直观经验和思辨为基础，具有朴素的特点。据《尸子》一书的记载，中国战国时期就提出了“上下四方曰宇，往古来今曰宙”的命题，这里的“宇”和 “宙” 就是空间和时间的概念。后期墨家在《经上》和《经说上、下》中提出：“宇，弥异所也”，“宇，蒙东西南北”；“久，弥异时也”,“久,合古今旦莫”。这里的“宇”是指一切具体场所的总和，“久”是指一切具体时刻的总和，这是当时的空间和时间概念。后期墨家还认识到空间时间与具体实物运动的一定联系以及空间与时间的一定联系，指出：“远近，修也；先后，久也。民行修必以久也”；还猜测到空间时间都是有限和无限的统一，指出：“穷，域不容尺，有穷；莫不容尺，无穷”，“久，有穷，无穷”。这种时空观把空间时间与物质、运动联系起来理解并把它们的不可分离性作为不言而喻的前提，实质上是正确的。但它还不能从特殊的可感知的实物中抽象出一般的时空概念。在西方，古希腊的德谟克利特最早提出有独立意义的空间概念——虚空，认为万物的始基是原子与虚空；原子是不可再分的最小的物质微粒,虚空是原子运动的场所;虚空虽然是不同于原子(“存在”)的“非存在”，但“非存在”不等于“不存在”，“并不比实体不实在”。原子和虚空都是无限的，因而空间也不是“创造”出来的。这种把空间作为“容纳”物质的独立实在的观点，后来被人们称为“实体论”的时空观。这种时空观为伊壁鸠鲁、卢克莱修所继承，并成为近代机械唯物主义时空观的先驱。亚里士多德反对虚空说，认为不存在无物质的空虚的空间，只有充满着物质的“充实的空间”。空间不是个别物体的广延性，而是某物体与包含着它的另一些物体之间的关系。因此，“充实的空间里面能够有变化”，而“空虚其实倒会把运动取消”。至于时间，则是“按照先后得出的运动的数目”，同运动一样不生不灭。但是，他又断言空间是有限的；在说明时间是可以计算的“数目”时，认为只有“灵魂”才能计数，因而时间的存在依赖于“灵魂”。亚里士多德的时空观把时空看作关系而不看作实体，所以后来被人们称为“关系论”的时空观。这种时空观在近代的G.W.莱布尼茨等人的学说中得到继承和发展，对现代的时空观也有重大影响。
近代的时空观 以实验科学为基础，抽象的程度高于古代的时空观，在细节上也比古代的时空观精确得多，但带有早期实验科学的形而上学的局限性。N.哥白尼的拥护者G.布鲁诺反对亚里士多德的时空观，继承和发展了德谟克利特的虚空说。G.伽利略进一步把时空看作物体运动的不变的框架，建立了运动相对性的原理（即在诸惯性系中物理定律等效）和落体定律。I.牛顿在前人的基础上系统地论述了“绝对空间”和“绝对时间”的概念,他说：“绝对的空间,就其本性而言，是与外界任何事物无关而永远是相同的和不动的”；“绝对的、真正的和数学的时间 。

source:http://zhidao.baidu.com

CDROM: Introduction

Title: CD-ROM “Human Being and Moving Images” & website Project
Production: HUNG Keung + Bryan Chung ( 1998 -2001)

Original format: CD-ROM x 2
Screening format: CD-ROM Interactive Installation
Length: 60 mins – 90 mins
Year: 1998 - 2001
Country: Hong Kong & London
Support: School of Design, Hong Kong Polytechnic University
Sponsor: Hong Kong Arts Development Council


The five categories, from the left: Human Voice, Human Spirit, Human Energy, Human Movement, Human Body. 1998-2001

Introduction
I have been conducting a series of studies focusing on a technology to create a new/alternative 4D environments/spaces and on a method to overcome the present limitation of the joyfulness/entertainment of the interactive environment/space. In the experience of interacting with cyber and a virtual 3D space/environment, the reaction and the movement of the audience/user are always limited by the pre-set computer programming system. And the audience/user always has a first-person view of the conventional interactive space. In this research project, I describe a research project that aims to invite/encourage the audience to be more active and committed – to somehow even become part of the environment itself. Through the programming system that we have developed, the audience will be able to actively navigate themselves into virtual space in 3D and 4D forms by their bodies. In research, I try to explain an investigation and exploration of different generations/versions of the relationship and the possibilities between human movement and interactive environment/space.


Background: Something about my previous works
Since 1998, I have been interested in the area of entertainment/narration in interactive space, a subject that is related to my on-going research activities in School of Design, Hong Kong Polytechnic University. My new media research project CDROM and interactive projects “human beings and moving images” (1998-2001), which mainly focused on discovering the limitations of human beings such as in seeing, walking, talking, listening, kissing, releasing energy, laughing, eating, growing, and so forth. I have also been trying to provide another new/alternative meanings and experiences to the audience through interactivities and moving images.
“The domain of the moving image as it is is currently under re-definition within new media technologies” Interactive narrative as a multi-temporal agency
(Neil Brown, Dennis Del Favero, Jeffrey Shaw, Peter Weibel, ICinmea, centre for interactive cinema research).

In this CDROM project, I study the possibilities of the new meanings/definitions between the relationship of human beings and digital movements in an interactive activities/environment.

“Perception of the body is the beginning of perceiving a self and the world. It is also the prerequisite for the expression of the human being. Between perception and expression, the individual body and the external world (including other people and objects) form a variety of interactive relationships that are complicated yet subtle. Meanings and beliefs are thus created.”
(Dr. Ho, Siu-kee, The Perceptual Body, Object Factory, 2003).


"Talking, Walking, Seeing" is part of my research in the theory of exploring how is the possibilities between human being and moving images. Is there any new experience for use to understand any layers behind the original “meaning“. What is our original meaning of "Talking", "Walking" and "Seeing" ?
Will there be any new experience to interpret it in a way of using the multimedia and interactive concept?

Based on those human activities, five categories have been created: human body, human energy, human voice, human spirit and human movement.

“How do people relate to the moving image? This question is a constant theme in Hung Keung's installations and performances. An attempt to form a link between the diverse experiments and explorations in a kind of self-compiled monograph produced this CD-ROM that is actually much more than a 'collected work'. What makes the CD-ROM so interesting, is the fact that Hung himself offers a number of points of entry to this theme and illustrates it with the best examples from his work. The starting point is always an aspect of the human being; the body, the mind, movement, energy and the senses. The main menu has icons in the form of human organs offering access to these themes. Each point of entry opens a path through the information and along the projects.”
(Text by Geert-Jan Strengholt, The 18th World Wide Video Festival, Amsterdam, Netherlands 2000).


The movie clips of “sightseeing I” & “sightseeing II” in the category of CDROM, 2000



Special Thanks:
Bryan Chung: Multi-Media Consultant, Production and Website base project
Tam Water & Iris: Graphic Design
Andy Mark: VR Visualization
Kuen: 3D animation
Tramy Wat: Specoial Appearing

CDROM: Talking

The movie clips of “talking” in the category of CDROM, 2000

Sensing the function of human voice – Talking
In this series Talking, You will find that the most convenient way for communication is keep changing. They seem talk to each other, or changing the facing to react to the others, or no matter how they are closer to the others, they still alone. I believe, no matter whoever, whatever or even wherever we are, we still cannot find your own way to express yourself. One the other hand, the most useful way we choose; the most useless result we did.





The movie clips of “talking” in the category of CDROM, 2000


The movie clips of “talking” in the category of CDROM, 2000



The movie clips of “talking” in the category of CDROM, 2000

CDROM: Walking

The movie clips of the index (left) and “ walking” (right) in the category of CDROM, 2000



The movie clips of “walking” and “talking” in the category of CDROM, 2000



The movie clips of “walking” in the category of CDROM, 2000


Sensing the function of human movement – Walking
Choosing the Human Body leads to a panoptic exploration of the limits of the human gaze in 'Sightseeing'. Suppose that we could observe everything around us with a glance, without having to turn around. But what is the function of movement then, what is the effect of shifting the body on observation? Choosing Human Movement provides access to a series of walks where the function of movement is made understandable in both a linear and non-linear way. A young woman goes for a walk, but we see her in the same continuous close-up and only observe the background passing by. We feel her moving but how far has she gone? Via various paths, the user navigates along presentations that never cease to surprise. Each iteration, each separate project, has a specific interface. You just have to get used to the fact that the cursor vanishes, but then the navigation, based on X and Y coordinates, works flawlessly. Text plays a subordinate role with the image (mis)leading the user. He has to manipulate and feel to be able to observe, searching for the right relationships, the links to new sensory experiences.
(Text by Geert-Jan Strengholt, The 18th World Wide Video Festival, Amsterdam, Netherlands 2000).


The movie clips of “waling” in the category of CDROM, 2000



The movie clips of “waling” in the category of CDROM, 2000

Another Interactive work “walking 1234” is designed to be placed under the category of human movement, as they share the theme about human beings: movement. The aim is to question how interactive programming helps to explore the meaning of “journey” during walking. Go through the different experience of 4 different people in the same time sequences by repeating the same shooting 8 times for each people and location with different directions.

CDROM: Seeing

The movie clips of “sightseeing I” & “sightseeing II” in the category of CDROM, 2000

Sensing the function of human body – Seeing
In my CDROM project, each category acts like a big umbrella, covering some new media works that share the same theme, with different perspective. For example, the interactive work “Sightseeing I, II, III” is under the category of human body, as it shares the common theme about human body. For example, in sightseeing I, I made a camera model, which combines four cameras, to try to produce real-time 360-degree moving images, which try to re-define the meaning of “ sight and seeing” in the digital world. I still remember taking the school bus when I was a child. I could never see all of the beautiful scenery passing by outside the bus. It always seemed like. I missed what there was to see in one direction or the other. The limitation of human being: Human sight in binocular and has a limited field of vision. We can never see what is around us, that is, 360 degrees in one glance. What would it be like if we could see like a fly? New experience: Four DV cameras, facing North, East, South and West, were located on the top of the Car, sharing with four different images the same time sequences. The outcome of the image is showing us a new experience of how to understand another meaning of "seeing" between the limitations of our human body.

In sightseeing III, I try to investigate how we, as human beings, are too reliant on our memories and perceptions. In this work, I question how we understand the meaning of “distance & measurement” in our human activities. The concept of four cameras has been applied to two of my works: the “sightseeing” project in 2000 and “the reality of the virtual –reading” project in 2004.

imhk: Introduction

Interactive Software:
Navigating Images, Falling & Heavy Angels, Time Liquid, Space Liquid & Insect Project

By innov + media lab, hong kong, with HUNG Keung and his research team members, which was founded in 2004.

imhk lab logo is designed by Tam Water, 2005



作品簡介:
本研究計劃以五個自行開發的軟件組成。Navigating Images 將察覺的移動物件轉化成一系列形狀，探討觀者與作品的互連互動關係。Falling and Heavy Angels 以實質的身體去理解數碼世界的重量感。Time Liquid 是即時的流動影像紀錄和輸出玩意，旨在將時間、空間和記憶同時發生在一個從不間斷的身體和視覺經驗的旅程中。Space Liquid 靈感來自電影《透明人》，邀請觀眾進入一個比透明人更透明的一個幻想空間𥚃。Insect Project，源自養蜂人的生活。飛行物體（昆蟲）以人工智能探測系統追蹤移動物件，並將之掩蓋。

創作者的話:
我們在２００４年成立 innov + media lab。因應創作概念，開發了一系列互動軟件。我們嘗試透過這些經驗，不斷改良。探索軟件未來的可塑性比只是完成一個軟件更為滿足，並希望從這系列的互動創作過程中尋找互動及多媒體演出的各樣可能性。


Work Description:
This software projects comprise of five parts. Navigating Images is to change the detected moving objects to a series of dots which are represented by three difference shapes. Falling and Heavy Angels simulates dropping objects which fall on a moving body. The falling behavior resembles the waterfall in which the dots, falls continuously without a gap between the dots. Time Liquid is a real-time video capture and output system and aims to explore the interaction between physical space and virtual space in a 4D world. Space Liquid mimics a visual effect which is something behind a curtain touching the curtain and creating a bumping effect on the curtain, or reverse the meaning of finding an invisible man! Insect Project projects a situation that the body is virtually covered by different flying objects (insect), which would be able to chase the moving bodies by the motion detection system.


Artist’s Statement:
This interactive work is part of my series of software development during these two years with my research team, innov+media lab. The approach is to wrap applied research around specific new media project. Our objective is to produce and communicate new knowledge via media art, interactive design, information architecture, software developing, research paper and exhibition. The interactive researh project is made possible by all the effort from our team members: Mr. K, Mr. Fish, Mr. Sing, Mr. B, Mr. D, Mr. P, Mr. Bill, Mr. TW and all the people who supports us spiritually. Thanks indeed ! ;-)



visualzation of imhk lab is designed by Tam Water, 2005

imhk: Falling & Heavy Angels

Background:
Referring to my recent interactive works such as "Navigating Images"
(2004), "Falling Angels" (2004), "Heavy Angels" (2004-5), "Space
Liquid" (2005) and "Time Liquid" (2005), I can see similarities in
interest with my previous works, which also focused on providing new
experiences to the audience, in terms of navigating an
information/narration (with movements of the body) into a 3D virtual
space in order to question the limitations of human beings/activities.
I examine how new experiences and theories of physical and virtual
space will be provided to the audience through a series of research
methodologies oriented towards technology and towards the experiences
of the human being/user.



video clips from "Falling Angels" of Different Shapes Version 2004


video clips from "Falling Angels" of Red Dots Version: Falling Angels 2004



Introduction:
This program simulates dropping objects which fall on a moving body.
The dropping object is represented by dots. There are three shapes for
the dots: round rectangle, circle and triangle. The object dropping
can be further subdivided into two modes, one is real mode, and
another one is grid mode. Real mode simulates a natural falling
without considering the acceleration. Grid mode simulates a digital
effect in which each dot falls in a predefined grid position.


video clips from "Heavy Angels" of Red Dots Version: Heavy Angels 2004


video clips from "Heavy Angels" of Different Shapes Version 2004


The moving body is detected by the difference of the color in the
background image and the color in the current image that is captured
from a webcam. The object detection is affected by hue, saturation and
brightness of the image. Once an object is detected, color fading
effect can be applied to the detected object. The program also
supports sound in real mode. When a large sound is detected, the
radius of the dots will be larger.


video clips from "Heavy Angels" of Color Version 2004



Visualization of the Setting of HUNG Keung's Interactive Installation by Mr.K


Exhibition in Cyberport, Hong Kong, 2005


all rights reserved 2006 : imhk lab, hung keung

imhk: Insect Project

Insect Project









There will be thousand of insects virtually cashing our human bodies, which aims to provoke our awareness of the understand about the relationship between our physical reaction to speed with virtual speed during the exhibition, I try to project a situation that the body is virtually cover by different flying object ( insect ) ! The most interesting is those flying objects would be able to chase the moving bodies by the motion detection system. This custom-made computer capturing system is also allowing for further application and integration continuity and flexibility.





Proposed: Two People Version (2006-07)









The idea of 2 people version is inspired by my study of Taoism, which is a Chinese philosophy based on the writings of Lao-tzu ( fl. 6th century bc), advocating humility and religious piety. The theory about the relation between the functionless and useless inspires me to study about the reaction to ‘fear’ (恐懼) and ‘chase’ (追逐).

Moreover, the beliefs from Buddhism, which indicates that the time and space is not moving in this planet, it is actually frozen, as long as the human is moving and growing with lives and death, then it causes the planet moving and circulating. It also lead me to consider the ‘meaning’ of ‘moving’ and ‘interaction’ !



In the right images, same audience at the same time and the same place, is experiencing something totally different. The more the audience is moving, the more the insect is running approaching him and reacting closely to his movement. It looks so interesting that it seems the audience is not able to get rid of it from our natural behaviors and experience.
Normally, our basic instant lead us to show our movement to get rick of the insect which is surrounding us. But here, the audience need to learn to do it in the opposite way, the more we want to get rid of those insect, the more we need to keep ourselves silent, and frozen. This reaction is exactly challenging our normal basic reaction about the perception of ‘fear’. We need to start to learn a new reaction of being ‘scare’ and get away from it.

imhk: Time Liquid

Time Liquid: One Player Version

Our re-designed Joystick:
It is able to control the real time moving images which is being recording from the DV / wireless cameras.





Time liquid, is a custom software as a real time video capturing and
output system, developed by HUNG K with innov+media lab, which aims to
explore the interaction between physical space and virtual space in 4D
world. Using a joystick or customized control panel to navigate the
orientation and perspective, the users interact dynamically with the
moving images that came from various "existing" & "recording" inputs,
rendering an intriguing series of spatialized images onto the
projection screen.





This series of intertwining and continuing moving images becomes a kind of spatial montage that challenges conventional
representations and consciousness of the position of moving images as a'journey' between (exiting & continuing) Time and (virtual & 4D) Space.


This custom-made computer capturing system is also allowing for further application and integration continuity and flexibility.




Introduction:
Time liquid is a 3D software equipped with the latest Microsoft DirectX
technology. Users interact with the software by using a joystick. While
the users are playing with the software, video signal can be acquired
through a broad range of input sources, including web-cam, video-cam
and movie file.




Time Liquid_One Players Version



A series of sliced images which are chopped from the
video input are then displayed in a 3D environment, and the images are
controlled by the joystick. The controls of the images include spin
rotation, global rotation, forward marching, etc. The joystick not only
controls the images, but also controls the 3D view-port of which the
operation includes panning, zooming and rotating. In addition to the
interactive playing ability, the software can store the screen content
into a movie file for later investigation. Time liquid has 3 different
versions: one player version, two players version and four players
version.



Time Liquid: 2 Players Version





Theories of Time Liquid:
According to Gilles Deleuze, the two key variables in the formulation
of cinematic narrative are duration and movement (1995:59). I try to
see what role duration and movement will play when cinematic narrative
is applied to 3D virtual space. “The movement-images provide one way of
apprehending or understanding duration as an image or a spatialization
of time. If indeed, as Bergson says, perception is the master of space
in the measure to which action is the master of time, what happens when
actions no longer “master” time in the image, that is, when duration is
no longer measured by the translation of movement into actions? What
does movement become, and what kinds of images are formed? (D.N.
Rodowick, Gilles Deleuze’s TimeMachine, Duke University Press, 2003, p.
79).



Also, Lev Manovich has stated that there are two formative developments
that seem particularly relevant to observational cinema. One of them is
a new way of conceiving space, whose precedents can be found not only
in videogames and motion simulators, but also in interfaces for
interaction with any kind of computer date “Time becomes spatialized,
distributed over the surface of the screen. In spatial montage, nothing
needs to be forgotten, nothing is erased….In contrast to the cinema’s
screen, which primarily functions as a record of perception, here the
computer screen functions as a record of memory” (Lev Manovich, The
Language of New Media, 2001).



The research project of Time Liquid Liquid focuses more on:
1) In terms of the orientation of technology: the relationship between
the body movements of human beings and a video capturing system
2) Studying and trying to investigate the possibilities of re-defining
the terms of virtual space (spirituality) and existing space (reality)
3) Studying the some particular terms such as virtual space, cyber
space and 4D space in the area of new experiences between human being
and interactivity.
4) The study of 3D and 4D space
5) Duration/Continuity (with time and moving images) and Movement (with
time and space) in interactive space through the virtual environment.



時間液體 (Time Liquid)

本研究系列嘗試將現有人類的現存空間 (existing space) 透過電腦媒介演繹為一個可延續及可流動的四度空間 ( 4D space ), 觀眾在這作品裡會發現現實中不斷流失的時間和空間 , 其實這是可以在這四度空間裡得以延長。從此理論延伸 , 觀眾在這四度空間入面除了可以看到現存 (existing) 的自己 ( 包括活動及時間 ) , 更加可以見到已失去的自己 ( 包括活動及時間 ) 。 兩個自己在這四度空間裡 , 可以同時並存及同時活動。



此作品的目的 , 在於延伸「互動」及「虛擬」在電腦世界的可塑性 , 在這作品裡 , 「虛擬」沒有了傳統電腦的再造影像 , 反而將現實中的影像和時間再進一步去現實化 、 時間化及空間化。 而這個現實是只有在這個四度空間中才可以感受到 , 因為這個「現實」 (existing & reality) 是包含了可流動和延續的時間和空間 , 是在我們生活的空間裡未能經驗到的 , 所以我命名了這個四度空為「時間液體」 (time liquid) , 一個可以延續和流動的空間 , 觀眾可透過攝錄機把自己的影像同已發生了的空間及時間原汁原味地重新遊走這個四度空間裡。



Time Liquid: 4 Players Version

imhk: Space Liquid

video clips of the Space Liquid ( line & background with color version)

Space Liquid ( Magic Curtain Version ), is based on HUNG Keung’s research project Space Liquid in 2005, in which try to create a digital interface as a platform to represent captured real-time moving images, is designed like the shape of a curtain. This project mimics a visual effect of something behind a curtain that is touching the curtain and creating a bumping effect on the curtain. This effect is similar to that in horror films showing the face of a ghost on a curtain. The program uses a video input device, such as a web cam and digital camera, to capture a real- time image sequence, calculating the contour of the moving objects in the image and displaying the bumping effect on a virtual curtain in the 3D environment. The 3D space/environment can be positioned by panning, zooming, and rotating. In addition to the interactive playing ability.

Virtual and Cyberspace in Space Liquid ( Magic Curtain Version 2006-07)
HUNG Keung always been fascinated with the interaction between the human body (shape, movement, physical volume) and virtual space/cyberspace. According to Michael Heim, “cyberspace [is] ...a computerized dimension where we move information about and where we find our way around data. Cyberspace renders a represented or artificial world, a world made up of the information that our systems produce and that we feed back into the system.... We inhabit cyberspace when we feel ourselves moving through the interface into a relatively independent world with its own dimensions and rules” (Michael Heim, The Metaphysics of Virtual Reality, New York, Oxford University Press, 1993, pp. 78-79). “Cyberspace suggests both a physical universe and an imaginary world. It implies a journey without end” (Jun-Jieh WANG, Reception, Communication and Navigation: Artistic Trends in the Digital Age. Navigator, Digital Art in the Making, National Taiwan Museum of Fine Arts, 2004,pp.97).

A Journey in Space Liquid (Present or Continuality):
How to study the word “journey” between our body (existing) and the body (virtual) is also my interest and a direction in my research. Here, the journey is from a human being (existing human body) to virtual and cyber space.

Having clear definitions of Virtual, Cyber, and Journey is very important in the first stage of these research activities. As Heim stated, “The first step in virtual realism is to become clear about the meaning of virtual reality in the strong sense of the term, We need to be clear about using virtual reality as a model because the loose or real sense of virtual reality grows increasingly fuzzy....” (Michael Heim, Virtual Realism, Oxford University Press, 1998, p. 3).


Here are some definitions of virtual reality that I believe are fundamental for my research.

“Virtual reality is an immersive, interactive system based on computable information. These defining characteristics boil down to the “three I’s” of VR: immersion, interactivity, and information intensity. Immersion comes from devices that isolate the senses sufficiently to make a person feel transported to another place. Interaction comes from the computer’s lighting ability to change the scene’s point-of- view as fast as the human organism can alter its physical position and perspective. Information intensity is the notion that a virtual world can offer special qualities like telepresence and artificial entities that show a certain degree of intelligent and interactivity, and to rapidly update the information, computers are essential.”
(Michael Heim, Virtual Realism, Oxford University Press, 1998, p. 7)






Further Description and Development of Space Liquid ( 2006-07):
Space Liquid is a 3D software system equipped with the latest Microsoft DirectX technology. The system mimics a special effect of "ghosts behind a curtain" using a virtual 3D environment. The system includes a camera that records the real-time actions/movements of the player. The recorded action is then used to displace a virtual “curtain” that is displayed in the 3D environment at the same time without any delay in terms of speed and timing. The curtain is displayed either as a grid lattice or a textured towel. When the player moves in front of the camera, the system updates the curtain according to the movement of the player, and the curtain corresponds to the movement with continuous bumping.


“When a person, community, act, or piece of information are virtualized, they are
“not-there”, they de-territorialize themselves. A kind of clutch mechanism detaches
them from conventional physical or geographical space and the temporality of the
clock or calendar. They are not totally independent of a referential space-time since
they must still bond to some physical substrate and become actualized somewhere
sooner or later.”
( Pierre Levy, Becoming Virtual: reality in the Digital Age. Plenum
Press, 1998, pp. 29-30.)



Color version:





Color version:





Line Version

Exhibition ( prototype ) of Space Liquid (Line Version)2006



Exhibition of Space Liquid and Insect Project 2006