APSMUSEUM春季大展《逝者如斯》｜白亦雄

助理策展人：白亦雄

《逝者如斯》展览撰文

// 瞬间呈现：截取和压缩的时间

作者：白亦雄

作为嘻哈音乐核心的起承转合，节奏的拆分变化，近来让位给了可以在开篇数秒内抓住听众心弦的三连音。如何在十分钟的作品内讲出一个精彩的故事或展现高超的编曲和制作，在流量的面前显得无关紧要。社交媒体对发布时长的限制，以及后来居上的短视频形式，让数字时代音乐的首要目标变成了在最短时间内获得最多的关注。音乐的真正内容被限制在奉为无上原则的三秒中，而如此有价值的内容也仅有这转瞬即逝的三秒钟。商业作曲的方式不再是将过往积累浓缩到至臻的三秒，而是将仅有的三秒延长到作品“应有”的时长。

声音本身是一种具有延展性的媒介，波状的震荡在合适的方式下可以无限延伸并传递到体表与鼓膜。越来越简短的节奏旋律放大了一瞬的冲击，却剔除了后续的振动。最终对人产生的影响也仅仅是那一瞬的。

1878年迈布里奇的运动研究所激发的不仅是对时间的拆解，也包含了对瞬间状态的痴迷。但百年后的今天我们的每一段感官体验已经被压缩到了数帧之内。

虽然这只是我在近来听歌时截取的体验，但不光是音乐软件的一分钟试听，还是朋友圈里仅有十五秒的小视频，这种碎片性的短暂呈现已经无处不在。复杂或简单的问题在互联网上都有一段五分钟的视频解释，课内要读的文章很容易找到提纲，搜索引擎中上万条的检索甚至不需要一秒。数字时代的信息获取和交互确实省时省力，印刷文字抹灭了传达的距离限制，高速网络中更进一步省去了位移的时间。但是互联网的高速运转让信息以同样的速度迭代，一条消息的寿命单位从一周变成了一分钟，潮流的兴起和消亡只在数日间。只有今天的现在的才有资格保存在我们的大脑里，昨天的和过去的只能被抛弃在时间流中。隔一周去熟悉的餐厅看到的会是完全陌生的菜单，前段时间下单的流行款式还没送到就已经从橱窗里消失，世界不断产生新的变化，我们加快速度以跟上变化，留给理解和思考的时间却不断减少。人们在不断更新的弹窗内寻找着真实，寻到的只有自己追求真实的姿态。

1972年埃德温·兰德展示宝丽来相机的即显摄影技术，而今麦克卢汉笔下的速度极限在手机内置摄像头中已趋近完成。

在观看世界的同时我们也在向世界展现自身。社交媒体上发布的照片和视频都是从自己的生活轨迹中截取出来的截面。我们用这些经过挑选和修缮的瞬间缝合成网络中作为景观的自己，而作为活生生人的自己却只有自己知晓。不管是愉悦，痛苦，迷茫还是自傲，在一个个扁平化的非凡姿态的内侧是藏起来的平凡。这种平凡是连贯的。连贯的生活在刹那间爆发的狂喜衬托下更显冗长。有些人拒绝让年复一年的日常定义真实的自己，坚信网络上自己光鲜亮丽的瞬间便是本性；有些人会对这种错位不以为然，有些人会感到不解，也许有些人根本没有察觉这种情况。不可避免的是我们与虚拟接触的比例会越来越大，接受与产出也被碎片化的信息填满，我们扎根于数字土壤中的那部分，作为网络景观的自己也会越发重要，直到出自真实的截面取而代之成为新的真实。那我们的生命也将不再是过去所有想法和体验的积累，而是精心营造出仅有一瞬间的，活着的姿态。

真实和虚假，叙事和形象在屏幕的一次次照射中错乱。如同不断加速的闪光一般，世界的行进也不断加速，直到所有一切都在算法的弹指间完成。一切都将从手掌中的一方黑色中喷涌而出，仅仅在可歌可泣的一瞬间。

坐落在黄浦江边和码头废墟上，边园的历史背景和建筑空间向观者提供了一种独特的时间视角。

APSMUSEUM展馆在商业中心营造出独立的时间体验。

在当下时间感被碎片化扰乱，时间体验不再如细流涓涓而来抑或大江奔流而去，孔子逝者如斯夫的感叹便不再成立。边园本就生于废墟，在漫长时间的流动痕迹中升起，在黄浦江边持续凝望水流倒映昼夜交替。地处商业中心的APSMUSEUM则在周遭的嘈杂洪流中伫立。在边园与APSMUSEUM展馆的视听交互中，时间语境和建筑空间跨时空共鸣，并在影像和音乐的加持下，于《逝者如斯》这件作品的整体中达到轻重缓急之间的微妙平衡，也将激发参与者涉身其中的真切感官体验。

白亦雄

APSMUSEUM春季大展

“逝者如斯 How It Flows On”

早鸟票限量发售中！

快来体验会穿越的美术馆吧

Assistant Curator: Bai Yixiong 

How It Flows On Exhibition Essay

// Instant Present: Time Compressed and Sectioned

Author: Bai Yixiong

The narrative, wordplay and rhythmic variations of hip-hop which have always been the focus of the genre have recently given way to the dominating effect of the triplet, grabbing ones’ ears in mere seconds. To tell an intriguing story or to demonstrate production skills seem irrelevant compared to the capacity for stardom. How to attract the most likes in the shortest period is now a primary focus for music in a digital age thanks to the limit on length published by social media platforms and the quickly popularizing form of short mobile videos. The now worshipped three-second golden rule restricts the true content within the initial three seconds, thus making the fleeting three seconds the true value of a piece. Commercial music production no longer relies on compressing one’s past accumulation into any three seconds, but to define an entire piece by them.

Sound extends itself as a media; its wavelength may infinitely expand within a suitable condition to our auditory sense. The increasingly brief and simple rhythm and melody enlarges the instant shock while diminishing the vibration that follows. The impact it makes on people lies ultimately within that instant.The Muybridge experiment in 1878 incites the dismemberment of time, as well as an obsession with the effect of the instant. Within the following century, our every sensory experience has been compressed into the few frames.

Although such was an experience extracted from my recent personal music choice, this sense of fragmented and instant impact is indeed evident from the demos we hear from music platforms and the fifteen-second short videos we see from our social circles; Any question, complicated or simple, can be found explained within a five-minute long video online; Summaries is always there online for articles; A search with a hundred thousand of entries often takes less than a second. Printed words diminished the spatial restriction on the spread of information, and the internet further erased the time spent on displacement. Communication and the sharing of information is indeed convenient and speedy in this digital era, yet the operation of the high-speed network also resulted in the rapid iterations of information. The lifespan of an update is now measured by minutes instead of days, and a trend may die down in a week. Only the present is allowed to be preserved at the price of casting the past and the obsolete to the flow of time. Your favorite restaurant printing a different menu from last week; a store removing the trending jacket you bought online from its racks before it even arrives at your house; the world is changing fast and we are picking up the pace with it, while leaving less and less time for understanding and thinking. We seek the truth of the world through the pop-up windows constantly refreshing, but what we eventually find is only us in the state of seeking.

Edwin H. Land demonstrating the in-camera instant photography of polaroid. Yet the McLuhanian acceleration is near its extreme in our phone’s built-in cameras.

Our observing the world and exposing ourselves to it happen simultaneously. We publish sections of our life’s trajectory in the form of photos and videos. The instants, deliberately picked and furnished by our own hands, are stitched to be us as the spectacle, yet the actual living entity is known only to our own minds. The array of flattened extraordinary facades, either of pleasure, of pain, of perplexity or of pride, conceals the inward ordinary. Such ordinary is constant. Life as it is constant and continuous appears dull and redundant compared to the sudden bursts of ecstasy. Some refuse to let the trivial life year after year define their truth, believing their essences lie bare under the spotlight of the internet; some are indifferent towards the misalignment, some are puzzled by it, and some are ignorant to it. Inevitably our contact with the digital will grow, filling our reception and production with fragmented information. Our half within the digital soil, the self as the spectacle, will become more important until the sections of truth become the truth itself. Then our lives will be defined no more by the accumulation of thought and action, instead by the momentary display of living.

Everything is confounded with every flash of the screen, both the truth and the false, the narrative and the figure. The world accelerates in the same way as the flash, until all is done at the flick of the algorithm. All is evident, all is complete through the abyssal slab within our hands, all in a mere instant.

Sitting along side Huangpu River and upon the remnant of an abandoned wharf, the Riverside Passage offers the audience a unique temporal perspective through its historic background and architectural space.

The commercial context of APSMUSEUM allows it to create a temporal and spatial experience independent from its surroundings.

As the temporal experience has been fractured, it no longer flows in unity, retaining neither its ferocity nor gentleness. “How it flows on, never ceasing, night and day.” Such exclamations are now obsolete. The Riverside Passage spurred from ruins, born from the traces of time, observing from the bank of Huangpu river the night and day passing as the water flows; while APSMUSEUM stands firmly amidst the bustling crowd, surrounded by the traffic of commerce. Between the immersive exchange between the two sites, temporal context and architectural space resonates beyond their own space-time, and reaches a deliberate balance among the temporal, spatial, social and cultural elements in How It Flows On as a unified whole with the aid of music and image, stimulating a sincere experience in its immersed participants.

Bai Yixiong

逝者如斯

How It Flows On

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