展期 Period：
2024.6.1—2024.6.30
艺术家 Artist：
策展人 Curator：
地点 Venue：
前言 Introduction：
作为观察者，感知映射（perceptual mapping）的能力是一种基本素养，即实时展示和分析对象在感知空间中的相对位置和关系。而在艺术家魏来的作品中，“人”作为观测主体却以一种模糊的状态出现，面孔这一视觉文化中最具焦点的对象也被巧妙地消解，成为一种被否定的通道，一切取而代之的是高纬运动过程中的切片投射。
肢体语言和戏剧化的灯光是观者进入画面的唯一抓手，这种清晰且模糊的状态，实际上是一个持续进行的进程，由不确定性与底层算法交织而成。我们暂且可以将这一过程视为在潜在空间（Latent Space）中沿着某条路径进行的运动，每一点对应一个高维向量，经过生成器的映射，最终以图像的形态呈现。这种永不停息的运动本身，构成了其似乎静止的状态，在这里，起点即是终点。
Perceptual Mapping不仅仅是关于过程与投射的思考，更多地是试图邀请观者加入与探索这种微妙、且错综复杂的场域。面对观察着这些单独或成对的形象，静默如同仪式。独行还是结伴？相信认知还是依赖感官？思考片刻，我们或许只是渴望知道，哪一种方式更能令我们更魂牵梦绕些罢了。
As observers, the ability for perceptual mapping is an essential skill, allowing for the real-time display and analysis of the relative positions and relationships of objects in perceptual space. In artist Wei Lai's works, "humans" as the subjects of observation appear in a blurred state. The focal point of faces in visual culture is also cleverly dissolved, turning into a negated passage, replaced by slices projected from high-dimensional movements.
Body language and dramatic lighting serve as the only grips for viewers to enter the scene. This state of clarity and ambiguity is actually a continuous process, interwoven with uncertainty and underlying algorithms. We might consider this process as a movement along a path in latent space, with each point corresponding to a high-dimensional vector. These vectors are mapped by the generator and ultimately presented as images. This ceaseless motion itself constitutes its seemingly static state, where the beginning is also the end.
Perceptual mapping is not merely a contemplation of process and projection but more an invitation for viewers to join in exploring this subtle and intricate field. Faced with these solitary or paired figures, silent as if in a ritual, we ponder: to walk alone or together? To trust cognition or rely on sensation? Reflecting on this, we might find that what we truly long to know is which mode can captivate our souls more profoundly.
