Executive Editor | Pocono Zhao Yu
Translator | Zhou Lin
“Neither can talk about the present nor look back into history.”
The change of identity has been continuously discussed in aaajiao’s work. We believe it originates from the very moment when his network alias is generated. The adaptation of “aaajiao” declares his standpoint on the real and the virtual that are commingled and intermixed. This coded name represents every individual of us—we have willingly or passively accepted us being users. On this complex digital highland, we must have become the wandering data already. We are carried away while the latitude of our multi-identities is wantonly growing.
Cave Simulator is an observation of aaajiao on the current living environment: people are living in a simulator, each player participates while pulling away from it in order to see the overall picture including the simulator and oneself as a player. “Cave” indicates the individual attribute and privacy and it presents a way of existence. Players have been experiencing fragile cave-like security when they live in the mode of a simulator.
The Screen Generation has six parts: “Soft,” “Repeat,” “Hard,” “Pureness,” “Still,” and “Noisy.” To aaajiao, the screen is a person’s other side, and people are also the other side of the screen. The tool is not only the extension of the human, but also has its own attribute and will in the production. Today, technology has been gradually undertaking people’s perception of the world through the screen. Whether it is real or virtual, the experience of life is being stitched seamlessly and topologically in today’s even more complex world relations.
The two cyborgs in User, Love, High-Frequency Trading—one of which is a humanoid robot who owns an Asian female visage and the other is a constantly changing Mobius that is composed by countless overlapping computer windows—are having a mechanical conversation: Can I be your friend? Do I look real?...
I hate human but I love you..
One day eventually, we would be surprised to realize our almost maniac sympathy for a cyborg. We start frantically accepting information as users before we could even figure out the situation. This classical science fiction paradigm of technology, sociality, and loneliness not only has been proved in the life of social media today but also has redefined the boundary of interpersonal emotion between the user and operation.
Could you talk about your cross-disciplinary approach in your art practice?
What is the major difference do you think between the screen generation and its prior generation?
Does the social-distancing life during the pandemic have any impact on your art practice?