作者姓名 / 诸葛瑞静
Author name / Zhuge Ruijing
指导老师 / Suhee Kim，柳盈川，冯宇纯
Tutor name / Suhee Kim, LiuYingchuan, Fengyuchun
“记忆诡秘又透明，是真实化作幻象的印迹，记忆中的感情、意识、情绪…不断重塑着我们看不见的肖像和身份。”
“《记忆拼图》作品中我将记忆想象成拼图在有序与无序之间转换，去阐述人们不可见的肖像，去探讨身份这一话题。我认为拼图的过程，就像认识他人与自我的过程，随机的模块与位置就像未知的我们有着无数的可能，不同比例的色块表述我们的态度与意识。艺术史上的经典肖像，杂志中快速消费的偶像，报纸中的无名者…成为这张集体肖像中不断变化的皮肤，观看着肖像的我们也同时陷入一种辨认的即时性行为当中。”
"Memory is mysterious and transparent, is the imprint of the real illusion, the feelings, consciousness, emotions in the memory... Constantly reshaping the image and identity that we can't see. "
"In the Memory Puzzle, I imagine memories as a puzzle that shifts between order and disorder, to illustrate invisible portraits, and to explore the topic of identity. I think the process of puzzle, like the process of understanding others and self, random modules and locations like unknown we have countless possibilities, different proportions of color blocks express our attitudes and consciousness. Classic portraits in the history of art, the idols of rapid consumption in magazines, the unknowns in newspapers... Becoming the ever-changing skin in this group portrait, watching the portrait, we are also caught up in an instant sexual act of recognition."
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他们永远都在窥探着，想去发掘那些透露我心碎内情但又神秘难解的蛛丝马迹，想以自己笨拙、扰人又深情的方式，即刻给我治疗，仿佛我是迷途的士兵，误闯了他们的花园，伤口若不立即止血就会死去。
——安德烈·艾席蒙《夏日终曲》
They are always spying, want to discover those revealing my heart break but mysterious clues, want to their own clumsy, disturbing and affectionate way, immediately treat me, as if I am a lost soldier, strayed into their garden, the wound will die if it does not stop the bleeding immediately.
——Andre Essimon "End of Summer"
作品说明：
《自我》
我用拼图的方式进行自我表达和审视，及时性的想法与改变描述这一刻的自己。
我们展露的形象，会以我们想要的模样给予他人幻象，是否真实，取决于我们要不要掩盖真实。文字、表情、语气在真实与谎言间交替，覆盖的真实，转化后的谎言，你是否真的了解自己，又是否真的了解别人。
《朋友》
拼图的过程就像认识一位朋友，在这其中重新审视自我与他人的关系，反思自我行为。我们的相识如同在无数碎片中寻找你想要的那块拼图。相知如同左右思虑拼图的方位，时而因为欣喜而持久，时而因我们的遗忘而终止。 遗忘，如同丢失的拼图，无从找起。
我们在复杂的关系中，主观地肆意评判，并不完整的记忆会让我持续扭曲事实，继而做出选择。
《DAY 365》
用图片的存在形式阐述人一生不可见的面貌。平平无奇的日常，时而有点小情绪，就如同许多带有简单质感的图片，看似无序，当你特殊排布后便会发觉它的有序。 记忆如同拼图在有序与无序之间转换，经历没有被真正忘记，它是记忆拼合人生的原料。
ITRODUCTION:
Self
I use jigsaw puzzles to express and examine myself, to describe myself at this moment in time with thoughts and changes.
The image we show will give others the illusion of what we want. Whether it is true depends on whether we cover up the truth. Words, expressions, and tone alternate between truth and lies, covering the truth, the transformed lies, do you really understand yourself, and do you really understand others.Friend
The process of puzzles is like meeting a friend, re-examining the relationship between self and others, and reflecting on self-behavior.Our acquaintance is like finding the puzzle you want among countless pieces. Knowing each other is like thinking about the position of the puzzle, sometimes it lasts because of joy, and sometimes it ends because of our forgetting. Forgetting, like a lost puzzle, cannot be found.
In complex relationships, we subjectively and subjectively judge, and incomplete memories will allow me to continue to distort the facts and then make choices.
DAY 365
Use the existence of pictures to explain the invisible face of a person's life. Flat day-to-day, sometimes a little emotional, like many pictures with simple texture, seemingly disordered, when you special layout will find its order.
Memory is like a puzzle between order and disorder, experience is not really forgotten, it is the memory of the material of life.
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“项目初期，调研水母的过程中，我发现大量的纪录片描写水母的繁殖与捕食的基本情况，但近几年的纪录片中开始反映人类对海洋的破坏，水生生物受到的影响。其中《水母怪》一片中，大量繁殖的越前水母影响着日本民众的生活，渔业产量因水母大量捕食锐减，误入发电厂的水母使当地无法供电......就这一片段给予我对人与环境之间关系的反思，从而构想了一个超现实的生物共存空间，试图去展现当人们不再只追求自我的发展，而是关注整个地球居民的生存状况而发展的未来。”
基于有关水母的调研，我尝试表达海洋污染给予海洋生物的感受，编写有关人类与生物空间共存的畅想。尝试用AE、C4D构建海洋与水母，在模拟它的视角时找不到突破口，总是停留在表面。后来，我用水母质感的几何形状将记忆产生与消失的过程（在脑中的幻象）具象化，用流动、不规则来展现记忆的感性，透明感来表现记忆的模糊和重叠。在尝试用动态和颜色表达情绪的过程中，手法过于抽象以致传达不出预想的内容。在最后的尝试中，产生了新的思路：琐碎的记忆将他人的形象塑造在心中，不同于表象的真实，却是另一种真实 ”
"At the beginning of the project, in the course of investigating jellyfish, I found that a large number of documentaries described the basic situation of jellyfish reproduction and predation, but in recent years, documentaries began to reflect human damage to the ocean and the impact on aquatic organisms. Among them, in the "jellyfish monster", a large number of Yueqian jellyfish affect the lives of the Japanese people. Fishery production is sharply reduced due to a large number of jellyfish predation, and the jellyfish mistakenly entering the power plant makes it impossible for the local electricity supply. This segment gives me a reflection on the relationship between people and the environment, and thus conceives a surreal space for biological coexistence, trying to show that when people no longer only pursue self-development, but pay attention to the living conditions of the entire earth's residents and develop in the future. "
Based on the research on jellyfish, I try to express the feelings of marine life caused by marine pollution and write fantasies about the coexistence of human beings and biological space. Try to use AE, C4D to build the ocean and jellyfish, in the simulation of its perspective can not find a breakthrough, always stay on the surface. Later, I used the jellyfish geometry to visualize the process of memory generation and disappearance (the illusion in the brain), the flow and irregularity to show the sensibility of memory, and the sense of transparency to show the vagueness and overlap of memory. In the process of trying to express emotions with dynamics and colors, the technique is too abstract to convey the desired content. In the last attempt, there is a new way of thinking: trivial memories shape the image of others in the heart, which is different from the apparent truth, but it is another kind of truth. "
有关水母剧增这一事实的情景剧畅想：人类的影响促使大自然试图回到原始状态，最低级的生物扰乱人类的生活时，人们开始反思自我与其他生物之间的关系。
The sitcom about the fact that jellyfish is proliferating is a reflection on the relationship between the self and other creatures as the human influence prompts nature to try to return to its primitive state, when the lowest-class creatures disrupt human life.
我常回头看记忆中映射的自己与他人，但他们总是模糊不清，还掺杂着更加久远的记忆。常常什么细节都想不起，只记得那事情最后留给你的滋味。
I often look back at my memory of mapping myself and others, but they are always vague and mixed with older memories. Often any details can not think of, only remember the end of the matter left you taste.
琐碎的记忆将他人的形象塑造在心中，当我们所知的事情并不完整，加上自己的理解便不同于事实真相。
Trivial memories shape the image of others in our hearts, and when what we know is incomplete, our own understanding is different from the truth.
在第二阶段中，我尝试不规则拼贴、随机拼图、戏剧表演等形式。在报纸杂志上剪切人像，搜集各种物象，后来为强化内容，用相纸打印搜集来的特殊图像。最终选择用带有情绪的生活语句结合象征性的拼图影像，讲述一段感情的变化历程，描述出难以言说的复杂情绪。
实施拼图方案时，偶然发现排布可以将分割画面重组成扭曲的图像，进而尝试了文字、人像、几何等图案。
在Suhee老师分享的案例中，让我印象深刻的是艺术家Georges Rousse ，他在现实中重现ps中轻而易举就能得到的效果，结果可能相同，但它的过程是创新的。这个文件夹重组图像的案例启发于他的创作，让鼠标滑轮改变动效，重新排布的图片位置让文字变形，这样可以达到视频制作中转场过渡的效果。
为了将文件名也作为主题的一部分，以及围绕看不见的肖像这一主题，我将每张图片都当作平凡的一天，让它们重组变动的图像呈现出我们的样貌，来表述我们每天的一点点变化都影响着我们未来的模样，也提醒着自己要把握好每一天，他们都将被记录在我们看不见的肖像中。
In the second stage, I try irregular collages, random puzzles, theatrical performances, and so on. Cut portraits in newspapers and magazines, collect various images, and later, for the enhancement of content, print the special images collected by photo paper. The final choice is to combine a symbolic jigsaw puzzle with emotional life statements, to tell a story of emotional change and to describe unspeakable complex emotions.
In the implementation of the puzzle scheme, accidentally found that the arrangement can be divided pictures to reconstitute distorted images, and then try the text, portraits, geometry and other patterns.
In the case shared by Ms. Suhee, What impressed me was the artist Georges Rousse, who recreated the effects that were easy to achieve in reallife, with the same result, but the process was innovative. The case of this folder recombining the image inspired his creation, allowing the mouse pulley to change the action, rearranging the image position to deform the text, so as to achieve the effect of the transition of the video production transit.
In order to make the file name part of the theme, and around the theme of invisible portraits, I treat each picture as an ordinary day, and let them recombine the changing images to present our appearance, to describe how little of our daily changes affect our future, and to remind myself that every day, they will be recorded in our invisible portraits.
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“有感情的加班机器”
