圓
如果一個(gè)圓代表完整的事件，或者特定時(shí)空的話，那么把圓分隔為若干區(qū)域就象征著匯集了眾多事件的集合，或者說(shuō)這是一個(gè)由各種不同時(shí)空交織的特殊結(jié)構(gòu)。
時(shí)空分隔越多，這個(gè)事件就越趨于復(fù)雜，各種時(shí)空所組成的秩序，結(jié)構(gòu)就像DNA 鏈一樣越明確，就越呈現(xiàn)出它的精神性。
這是一個(gè)實(shí)驗(yàn)微觀的過(guò)程，自從一個(gè)完整的圖像被分隔為兩半起。但是它最后又不得不回到宏觀的層面上，也許這就是圓這個(gè)形狀所暗含的一個(gè)解——從任何一點(diǎn)往前走，最后又回到起點(diǎn)。
前面說(shuō)到了結(jié)構(gòu)，秩序，這兩個(gè)詞語(yǔ)正是我現(xiàn)在最感興趣的漢字，從我們生活的社會(huì)，到一根頭發(fā)的纖維，都在這兩個(gè)詞語(yǔ)的統(tǒng)制之下。
能看到這篇文章的，應(yīng)該大部分都是藝術(shù)家，或者準(zhǔn)藝術(shù)家。這類人有一種情節(jié)，想把自己覺(jué)得有意思的事情往藝術(shù)上套，所以我們就來(lái)說(shuō)一說(shuō)藝術(shù)。
大部分時(shí)候，我們覺(jué)得藝術(shù)是無(wú)趣的，令人厭惡的，我們從所有能看到的藝術(shù)品身上感知到一些信息，這些信息其實(shí)是社會(huì)這個(gè)高維物體（如果能把社會(huì)當(dāng)作一個(gè)物體）通過(guò)人在現(xiàn)實(shí)中的低維投影里的蛛絲馬跡。在這里低維投影指的就是藝術(shù)品。而人在里面是個(gè)變量，它有著不確定性。
我想做這樣的比喻：我們所從事的藝術(shù)，就好像一群孩子在玩七巧板的拼圖游戲，我們似乎認(rèn)為自己創(chuàng)造了很多，其實(shí)手上所擁有的只不過(guò)是七種不同形狀的木塊而已。藝術(shù)家能做的只是嘗試不同的排列組合方式。
似乎并沒(méi)有那么絕望，比起七巧板的幾千中排列組合方式，我們手上可以用做藝術(shù)的資源是很多的，而他們的排列組合更是天文數(shù)字。
不過(guò)我提出一種合理的假設(shè)——如果科學(xué)足夠發(fā)達(dá)，統(tǒng)計(jì)足夠細(xì)致，可以制造一臺(tái)計(jì)算機(jī)，計(jì)算出所有可能產(chǎn)生的藝術(shù)。
有了這臺(tái)計(jì)算機(jī)，任何未知的藝術(shù)都能被計(jì)算出來(lái)，從而在藝術(shù)史上畫句號(hào)。
可惜，我們不能制造這樣的機(jī)器。
扯遠(yuǎn)了，我從圓，說(shuō)到了宏觀，微觀，秩序，結(jié)構(gòu)，最后來(lái)個(gè)結(jié)束。
我們應(yīng)該變換不同的姿勢(shì)來(lái)觀察藝術(shù)，否則會(huì)累。
曾揚(yáng)
Circle
If a circle represents a complete event, or particular time-space, the division of a circle into several sections symbolizes a collection of numerous events, or a special structure of interweaven time-space.
The more sections its time-space is divided into, the more complex the event gets. Then the order and structure of various time-space, just like the chain of DNA, appears clearer and thus presents its spirituality.
This is the microcosmic process of an experiment－ever since a complete image is split into halves. But finally it has to return to a macroscopical dimension. Probably it is an implied significance of a circle－whereever it starts, it returns to the beginning at last.
The above mentioned two words “structure” and “order” appeal to me most, which rule everything ranging from the society we live in to the fibre of a single hair.
Who read this article should be mostly artists or quasi-artists, who have the complex to relate what interests them to art. Therefore, let’s talk about art.
Most of the time, we regard art as dull and boring. We preceive from all artworks we see some information, which is actually some sort of low dimentional reflection of the high dimensional object－the society (if the society can be regarded as an object) in reality through man. Here, the low dimentional reflection refers to artworks and man in it acts as an indefinite variable.
I want to make a metaphor: the art we devote ourselves to can be compared to the jigsaw children play. we seem to create many, but what we possess is no more than seven woodblocks with different shapes. What artists can do is to try various ways of permutation and combination.
Actually, it is not so disappointing. Compared with the limited thousands of ways of combination of jigsaw, we have many resources of art in hand and they have countless ways of combination.
Thus I make a reasonble assumption that if the science is developed and statistics meticulous enough, a computer can be produced to calculate all possible art forms.
With the computer, any unknown art can be worked out, thus putting an end to art history.
Pitifully, it is impossible for us to produce such a machine.
I’ve gotten carried away. I talk from circle to macroscopic, microcosmic, order, structure, and now to an end.
We are suggested to observe art in changing postures, otherwise we get tired.
ZengYang
【編輯：賈嫻靜】
