美国纽约现代美术馆（Museum of Modern Art) 展览的题目为”自动更新，”是国际五位艺术家的连展,主要讨论的是.com时代之后的新的艺术现象, 也讨论艺术家在”video艺术”时代之后, 如何对高科技的丰富材料的反应,调整和使用. 此展览是首次探索”新媒体”艺术家是怎样通过荒诞和幽默的手法对高科技的使用和展示.
作品的共同处在它们都被前十年的科技发展启发。装置利用电脑，LCD屏幕，DVD,电子录象，用者互动结构来表现艺术家的创新。展览包括五个作品，艺术家有：Cory Arcangel, Xu Bing, Rafael Lozano-Hemmer, Jennifer and Kevin McCoy.
徐冰的作品曾使用多种媒体评论人，文化和语言的密切关系。 这次展览徐冰的装置是地书（2007，在进行中）。装置和课堂相似，两个桌子在一堵墙的两边， 墙上有两种文字。两张桌子上有电脑。观众可以通过电脑用徐冰的标志语言来和墙另一边的人通话。 徐冰的句子是用简单的通用标志组成的。这些标志是无不所在的，它们传达信息，可是不用文字， 不受多语言限制，也不会出现翻译语言过程中的误解。“标志”这个词的意义曾经是一种和信仰有关的象征，不过今天的“标志”往往是品牌商标。地书体现了艺术家寻找普天同文的理想.
Tuesday, July 17, 2007
实习助理 Intern to Assistant
徐冰工作室(纽约)聘请实习助理一位。Xu Bing Studio currently has an opening for one intern. This internship will lead to a more permanent position in the fall.
基本要求：
个人：负责任，肯吃苦，好学，细心，有独立工作能力。有图片艺术类背景和广泛的国际文化艺术兴趣。
电脑：熟练的操作：Word, Illustrator, Photoshop, CMS systems, Dreamweaver.
对以下软件有基本了解：Indesign, Finalcut, Fireworks
语言：有良好的中英文表达能力。
Intern will be compensated for meals and transportation. Permanent paid position will start in the fall.
Contact/联系: jesse@xubing.com
基本要求：
个人：负责任，肯吃苦，好学，细心，有独立工作能力。有图片艺术类背景和广泛的国际文化艺术兴趣。
电脑：熟练的操作：Word, Illustrator, Photoshop, CMS systems, Dreamweaver.
对以下软件有基本了解：Indesign, Finalcut, Fireworks
语言：有良好的中英文表达能力。
Intern will be compensated for meals and transportation. Permanent paid position will start in the fall.
Contact/联系: jesse@xubing.com
Wednesday, June 27, 2007
Xu Bing's Babel by Leslie Von Holten
From http://www.lawrence.com/blogs/art/2007/apr/17/xubing/
Xu Bing's Babel
By Leslie vonHolten
Tuesday, April 17, 2007
No kidding: contemporary art is an opaque language. What a relief when, literally, the work is unreadable.
In the late 1980s, Xu Bing crafted, with amazing precision and scope, 4000 “Chinese” characters according to traditional printing methods. To the untrained eye, the character strokes are the graphic, lyrical style we associate with Chinese calligraphy. They are, however, illegible and meaningless. Xu invented, carved, and printed all 4000 characters himself.
“Book from the Sky to Book from the Ground: Xu Bing’s Book Work” is currently on view at the Spencer Museum of Art through April 29. The exhibit is in conjunction with the Lifetime Achievement Award granted to Xu as part of the Southern Graphics Council Conference recently held in Kansas City. Xu will lecture on his work Thursday, April 26 at 7 p.m. at the Spencer.
Xu, the son of a librarian, had an intimate relationship with words while growing up, a privilege not common during China’s Cultural Revolution. At the time, Mao’s government was wrestling with words: characters were simplified, discarded, revived, revised, then discarded again. People were not allowed to read what they wanted. This cultural affront, Xu has noted, combined with his voracious appetite for reading led to confusion over the meaning of language: “The more I read, the more muddled my thinking became, until I felt as if something had become lost to me.”
Xu’s ambitious printing of the semantically empty 4000 characters culminated in the installation “A Book from the Sky” (pictured above), which was first seen in Beijing in 1988. It created a sensation, but he lost favor with members of the Chinese Communist government, who criticized him as a “bourgeois liberal.” He emigrated to the United States in 1990. Samples of the printed scrolls, as well as the hand-carved, pear-wood type and traditional printing tools, are on display at the Spencer.
Acclimating to a new language inspired Xu’s “Introduction to Square-Word Calligraphy,” in which he devised a Roman alphabet and English words in the manner of Chinese calligraphy. By applying quick but careful study of these words, English-speaking viewers can easily make out the letters in each character word, demystifying the process of such a graphic writing system.
Bringing his art off the page, Xu expanded his “Square-Word Calligraphy” with his installation “Living Word 2.” In this, Xu beautifully rendered Oxford English Dictionary definitions and shaped them from Roman to Square-Word type styles, and eventually a graphic image of the form itself. In other words, one can see “bird” shape into a Chinese-appearing character and then transform again to a drawing of a bird taking flight. In the installation, the paper birds then broke free, ascending toward the ceiling.
Today, Xu is working on his “Book from the Ground,” what he says is a “novel written in a ‘language of icons.’” He uses pictographic forms found on airline safety cards to create a narrative that could possibly be readable to everyone on the planet, a language with a very small learning curve involved.
It’s interesting that Xu’s work is evolving from nonsense and tradition to new, readable, almost democratic forms. One may cringe to think that a universal language can burst forth from commercial icons, but perhaps this dynamic to the “Book from the Ground” will eventually attain a statement on capitalism’s vast sweep of the planet.
In 1999, Xu was awarded a MacArthur genius grant, for good reason: his prolific body of work reaches beyond his deconstruction and manipulation of writing systems. He has worked with glass, silkworms, Braille, stamps, installation, tutorials, computer programs, among other mediums. The Spencer sampling of artworks shows Xu’s adept hand and ability to stand firm in tradition while at the same time pioneering the art world forward in repeatedly progressive, contemporary, and accessible moves.
The Spencer curation and installation are an interesting turn: whereas Xu’s art may set the form upfront, asserting function as irrelevant, the Spencer show is a function-heavy tour of the artist’s illustrative career. The exhibit—crowded, hidden, and quiet, but also honest and educational—lacks the poetry of Xu’s installations and the magnitude of his mind-bending exercises. One could bemoan the tiny scale, but when it comes to art of this caliber, gratitude for its stay in Lawrence is more appropriate.
Xu Bing's Babel
By Leslie vonHolten
Tuesday, April 17, 2007
No kidding: contemporary art is an opaque language. What a relief when, literally, the work is unreadable.
In the late 1980s, Xu Bing crafted, with amazing precision and scope, 4000 “Chinese” characters according to traditional printing methods. To the untrained eye, the character strokes are the graphic, lyrical style we associate with Chinese calligraphy. They are, however, illegible and meaningless. Xu invented, carved, and printed all 4000 characters himself.
“Book from the Sky to Book from the Ground: Xu Bing’s Book Work” is currently on view at the Spencer Museum of Art through April 29. The exhibit is in conjunction with the Lifetime Achievement Award granted to Xu as part of the Southern Graphics Council Conference recently held in Kansas City. Xu will lecture on his work Thursday, April 26 at 7 p.m. at the Spencer.
Xu, the son of a librarian, had an intimate relationship with words while growing up, a privilege not common during China’s Cultural Revolution. At the time, Mao’s government was wrestling with words: characters were simplified, discarded, revived, revised, then discarded again. People were not allowed to read what they wanted. This cultural affront, Xu has noted, combined with his voracious appetite for reading led to confusion over the meaning of language: “The more I read, the more muddled my thinking became, until I felt as if something had become lost to me.”
Xu’s ambitious printing of the semantically empty 4000 characters culminated in the installation “A Book from the Sky” (pictured above), which was first seen in Beijing in 1988. It created a sensation, but he lost favor with members of the Chinese Communist government, who criticized him as a “bourgeois liberal.” He emigrated to the United States in 1990. Samples of the printed scrolls, as well as the hand-carved, pear-wood type and traditional printing tools, are on display at the Spencer.
Acclimating to a new language inspired Xu’s “Introduction to Square-Word Calligraphy,” in which he devised a Roman alphabet and English words in the manner of Chinese calligraphy. By applying quick but careful study of these words, English-speaking viewers can easily make out the letters in each character word, demystifying the process of such a graphic writing system.
Bringing his art off the page, Xu expanded his “Square-Word Calligraphy” with his installation “Living Word 2.” In this, Xu beautifully rendered Oxford English Dictionary definitions and shaped them from Roman to Square-Word type styles, and eventually a graphic image of the form itself. In other words, one can see “bird” shape into a Chinese-appearing character and then transform again to a drawing of a bird taking flight. In the installation, the paper birds then broke free, ascending toward the ceiling.
Today, Xu is working on his “Book from the Ground,” what he says is a “novel written in a ‘language of icons.’” He uses pictographic forms found on airline safety cards to create a narrative that could possibly be readable to everyone on the planet, a language with a very small learning curve involved.
It’s interesting that Xu’s work is evolving from nonsense and tradition to new, readable, almost democratic forms. One may cringe to think that a universal language can burst forth from commercial icons, but perhaps this dynamic to the “Book from the Ground” will eventually attain a statement on capitalism’s vast sweep of the planet.
In 1999, Xu was awarded a MacArthur genius grant, for good reason: his prolific body of work reaches beyond his deconstruction and manipulation of writing systems. He has worked with glass, silkworms, Braille, stamps, installation, tutorials, computer programs, among other mediums. The Spencer sampling of artworks shows Xu’s adept hand and ability to stand firm in tradition while at the same time pioneering the art world forward in repeatedly progressive, contemporary, and accessible moves.
The Spencer curation and installation are an interesting turn: whereas Xu’s art may set the form upfront, asserting function as irrelevant, the Spencer show is a function-heavy tour of the artist’s illustrative career. The exhibit—crowded, hidden, and quiet, but also honest and educational—lacks the poetry of Xu’s installations and the magnitude of his mind-bending exercises. One could bemoan the tiny scale, but when it comes to art of this caliber, gratitude for its stay in Lawrence is more appropriate.
Automatic Update Article 1
Please visite link below
http://www.artdaily.com/section/news/index.asp?int_sec=2&int_new=20694
http://www.artdaily.com/section/news/index.asp?int_sec=2&int_new=20694
In Beijing for the Olympics?
2008 CHINA INTERNATIONAL NEW MEDIA ARTS EXHIBITION
" During the 2008 Beijing Olympic Games, the National Art Museum of China will present “China International New Media Arts Exhibition 2008” in its current location at the center of Beijing. NAMOC is the only national art museum in China that is dedicated to research, presentation and promotion of modern and contemporary arts. “China International New Media Arts Exhibition 2008”, scheduled from June 20th to July 10th, will be one of the most important cultural events leading up to the Olympic Games in Beijing.
The exhibition will occupy approximately 4500 square meters (48000 square feet) of the museum gallery space and an additional outdoor area of ca. 3000 square meters (32000 square feet). The internationally recognized Dutch architecture firm NOX/Lars Spuybroek will architecturally transform the galleries in response to the nature of the works on display. A full-color catalogue will be co-published by NAMOC and the MIT Press to accompany the opening. An online forum dedicated to the discourse of the respective exhibition themes and beyond will be created prior to the opening of the event. A pre-Exhibition symposium will be held in New York City in collaboration with key international art and educational institutions. The forum and the subsequent symposia will be moderated by a group of distinguished scholars and media arts professionals. Selected discussion essays will be included in the catalogue. In addition, a number of special evening events during the opening days of the Exhibition are conceived to celebrate countries with significant contribution to the development of media art and culture.
China International New Media Arts Exhibition 2008 will showcase both established and emerging artists from around 27 countries, over 50 seminal and current media art works will be on view along with performances, workshops and symposia. The Exhibition is envisaged as a landmark art event in the history of contemporary Chinese cultural calendar with dedication to embrace the most innovative artistic production and theorization to date, aspiring to foster and advance new modes of thinking and novel ways of artistic engagement in an ever technologically immersed society and global cultural landscape."
- From the exhibition website.
Visit: http://www.cinmae.org
" During the 2008 Beijing Olympic Games, the National Art Museum of China will present “China International New Media Arts Exhibition 2008” in its current location at the center of Beijing. NAMOC is the only national art museum in China that is dedicated to research, presentation and promotion of modern and contemporary arts. “China International New Media Arts Exhibition 2008”, scheduled from June 20th to July 10th, will be one of the most important cultural events leading up to the Olympic Games in Beijing.
The exhibition will occupy approximately 4500 square meters (48000 square feet) of the museum gallery space and an additional outdoor area of ca. 3000 square meters (32000 square feet). The internationally recognized Dutch architecture firm NOX/Lars Spuybroek will architecturally transform the galleries in response to the nature of the works on display. A full-color catalogue will be co-published by NAMOC and the MIT Press to accompany the opening. An online forum dedicated to the discourse of the respective exhibition themes and beyond will be created prior to the opening of the event. A pre-Exhibition symposium will be held in New York City in collaboration with key international art and educational institutions. The forum and the subsequent symposia will be moderated by a group of distinguished scholars and media arts professionals. Selected discussion essays will be included in the catalogue. In addition, a number of special evening events during the opening days of the Exhibition are conceived to celebrate countries with significant contribution to the development of media art and culture.
China International New Media Arts Exhibition 2008 will showcase both established and emerging artists from around 27 countries, over 50 seminal and current media art works will be on view along with performances, workshops and symposia. The Exhibition is envisaged as a landmark art event in the history of contemporary Chinese cultural calendar with dedication to embrace the most innovative artistic production and theorization to date, aspiring to foster and advance new modes of thinking and novel ways of artistic engagement in an ever technologically immersed society and global cultural landscape."
- From the exhibition website.
Visit: http://www.cinmae.org
Tuesday, June 26, 2007
Metamorphosis in Tampere, Finland
The Tampere Art Museum is hosting a show of Xu Bing's works including "Book from the Ground" from June 15th to Sept. 30th.
http://www.tampere.fi/english/artmuseum/index.html
http://www.tampere.fi/english/artmuseum/index.html
Monday, June 25, 2007
Automatic Update
Automatic Update
June 27–September 10, 2007
The Yoshiko and Akio Morita Media Gallery, second floor
"The momentum of the dot-com era infused media art with a heady energy, artists, many switching from analog to digital equipment, tried their hands at a range of newly invented art forms. They built interactive installations, electronic publishing networks, and art for the Internet. Technology evolved so fast that in some cases an art form may have disappeared while an artist’s work was still in the making.
By the year 2000, this quasi-revolutionary aura had dissipated and media art had settled into the mainstream. Automatic Update features several installations from this later period. They are mature works that ease the somber mood of the times with entertaining presentations. Nevertheless, their humor does not soften their biting commentary on our social milieu. What at one time was Pop art has now become pop life." - From the exhibition website at moma.org
Organized by Barbara London, Associate Curator, Department of Media, The Museum of Modern Art.
June 27–September 10, 2007
The Yoshiko and Akio Morita Media Gallery, second floor
"The momentum of the dot-com era infused media art with a heady energy, artists, many switching from analog to digital equipment, tried their hands at a range of newly invented art forms. They built interactive installations, electronic publishing networks, and art for the Internet. Technology evolved so fast that in some cases an art form may have disappeared while an artist’s work was still in the making.
By the year 2000, this quasi-revolutionary aura had dissipated and media art had settled into the mainstream. Automatic Update features several installations from this later period. They are mature works that ease the somber mood of the times with entertaining presentations. Nevertheless, their humor does not soften their biting commentary on our social milieu. What at one time was Pop art has now become pop life." - From the exhibition website at moma.org
Organized by Barbara London, Associate Curator, Department of Media, The Museum of Modern Art.
Selected Sources 1
Umberto Eco, The Search for the Perfect Language (Cambridge: Blackwell, 1995),158–59.
Michael Evamy, World Without Words (London: Laurence King, 2003, 12.
International Organization for Standardization, Public Information Symbols ISO 7001: 1990; Graphical symbols incorporating
arrows—Synopsis ISO/TR 10488: 1991; Basic principles for graphical symbols for use on equipment—Part 1: Creation of symbol originals IEC 80416-1: 2001; Basic principles for graphical symbols for use on equipment—Part 2: Form and use of arrows ISO 80416-2: 2001; Basic principles for graphical symbols for use on equipment—Part 3: Guidelines for the application of graphical symbols IEC 80416-3: 2002; Basic principles for graphical symbols for use on equipment—Part 4: Guidelines for the adaptation of graphical symbols for use on screens and displays ISO 80416-4: 2005.
Ibid., 11.
David Crystal, English as a Global Language (New York: Cambridge University Press, 1997), 5.
Michael Evamy, World Without Words (London: Laurence King, 2003, 12.
International Organization for Standardization, Public Information Symbols ISO 7001: 1990; Graphical symbols incorporating
arrows—Synopsis ISO/TR 10488: 1991; Basic principles for graphical symbols for use on equipment—Part 1: Creation of symbol originals IEC 80416-1: 2001; Basic principles for graphical symbols for use on equipment—Part 2: Form and use of arrows ISO 80416-2: 2001; Basic principles for graphical symbols for use on equipment—Part 3: Guidelines for the application of graphical symbols IEC 80416-3: 2002; Basic principles for graphical symbols for use on equipment—Part 4: Guidelines for the adaptation of graphical symbols for use on screens and displays ISO 80416-4: 2005.
Ibid., 11.
David Crystal, English as a Global Language (New York: Cambridge University Press, 1997), 5.
Regarding Book from the Ground
by Xu Bing
Book from the Ground is a novel written in a "language of icons" that I have been collecting and organizing over the last few years. Regardless of cultural background, one should be able understand the text as long as one is thoroughly entangled in modern life. We have also created a "font library" computer program to accompany the book. The user can type English sentences (we are still limited in this way, but the next step will include Chinese and other major languages) and the computer will instantaneously translate them into this language of icons. It can function as a "dictionary," and in the future it will have practical applications.
This project first began with my collecting safety manuals from a number of airlines. In the past decade, I have spent countless hours in airports and aboard airplanes. The design of airport signs and airline safety manuals is based upon image recognition. Diagrams there are employed as the primary means of communication in an attempt to explain relatively complex matters with a minimum of words. It was this that truly fascinated me. Since about 1999, I have collected over one hundred safety cards, but until recently I had no clear goal in so doing. Then, in 2003, I noticed three small images on a pack of gum (they translate into please use your wrapper to dispose of the gum in a trashcan), and came to realize that in so far as icons alone can explain something simple, they can also be used to narrate a longer story. From that point on, through various channels, I began to collect and organize logos, icons, and insignia from across the globe, and I also began to research the symbols of expression employed by the specialized fields of mathematics, chemistry, physics, drafting, musical composition, choreography, and corporate branding, among others. In recent years, the expanding speed of the Internet and the widespread emergence of a language of computer icons have greatly increased the scale and complexity of this project. But the more this becomes the case, the more I am able to sense the significance of this work, about which I have had the following thoughts:
In 1627, the French thinker Jean Douet, in an essay titled "Proposal to the King for a Universal Script, with Admirable Results, Very Useful to Everyone on Earth," first suggested that Chinese was a potential model for an international language. The word "model" is important here because Douet does not limit this "universal script" to the form of Chinese characters per se. He instead focuses on the universal potential of the system of recognition upon which the Chinese language is based. Today, nearly four hundred years later, human communication has indeed evolved in the direction predicted by Douet. We have come to sense that traditional spoken forms are no longer the most appropriate method for communication. And, in response, great human effort has been concentrated on developing ways to replace traditional written languages with icons and images. For this reason, among others, humankind has entered the age of reading images.
Most languages take shape among a small group of people (a tribe or a village) sharing a similar set of vocalized expressions. As the scope of the group’s activities expands, its language also develops into a regional mode of expression. The people’s geographic expansion across multiple localities and political boundaries is also the millennia-long process of its language’s growth. Today, spurred by a trend of internationalization, the world is contracting, creating the sense of a "global village." However, this huge "village" is distinct from the early villages out of which language first took shape: as citizens of the global village, we use a rich and varied range of dialects and often employ mutually incomprehensible systems of symbols to express information in written form. We must, however, live and work together (in the sense that we share information on a global scale). As a result, the inconvenience of language and miscommunication has become a significant burden in many of our lives. Our existing languages are based on geography, ethnicity, and culture (including all-powerful English), and all fall short. Written languages now face an entirely unprecedented challenge. Today, the age-old human desire for a "single script" has become a tangible need. This predicament requires a new form of communication better adapted to the circumstances of globalization. Only today can the implications of the Tower of Babel truly be revived.
The formation of nearly every language relies on two systems: phonetic and visual. Due to the wide range of phonetic systems currently in use throughout the world and the global trend of using evermore standardized goods, in addition to technological innovations such as the growing ease and speed of duplicating and sending visual data, it is thus natural (and necessary) to use images and pictographic icons as a means of communication. In truth, today’s "big village" has reignited the historical process of early linguistic development, beginning again with pictographs.
Let’s analyze existing phenomena:
The broadening range and increasing density of movement among peoples has impelled the rapid formation and use of a system of international icons. These symbols are most commonly found in areas of concentrated human density and diversity, and so it follows that the airport was among the first locales to make wide use of them. It could be said that along with airline safety cards, airport signs were the first "common-reader" texts. The airport epitomizes the global village, and, unconsciously, these texts have come to form an effective visual system of direction that transcends the written word.
The continued standardization of transnational products and consumer lifestyles, the growth of a "repetitive environment" and a "copy culture," and the daily accelerating homogenization of a global mode of living have rendered the visual form of things far more recognizable, and the growth of international media has further strengthened their symbolic quality. To a certain degree, this phenomenon has begun to eliminate illiteracy on a global scale and has resulted in the utilization of images as a basis for recognition and communication in contemporary life, making it much easier than in the past to reach a common understanding.
It can be said with certainty that anything aimed at a global audience must make use of a quick, effective mode of recognition and dissemination. Economic globalization demands direct commercial communication. Consequently, companies and products must employ corporate and product logos that transcend language and locality and possess clearly recognizable characteristics. Today, these logos appear everywhere, in high volume. Early attempts to market products to a global audience utilized translation, but now multinational businesses are developing in the direction of wordlessness. Past Coca-Cola ad campaigns included text translated into the language of the customer. But three years ago, the Coca-Cola Company made a decision to present their brand name to the international market in the form of an image, and not as a word. From this, "Coca-Cola" became an image that requires no translation.
Numeric commands can now be represented as icons, thus turning a specialized vocabulary into an intuitive visual one; this, for our purposes, is the most significant development in personal computing. It has significantly lowered the base level of knowledge required to take advantage of a technology that "one must study in order to grasp." Now anyone can distinguish computer functions and operate programs. While the computerization of the workplace has, on the one hand, resulted in a degree of physical laziness and degeneration, it has also created a group of people and a physical and technological environment easily adapted to this pictographic age. This is reflected in a new generation of people who find themselves at loggerheads with traditional reading and captivated by intuitive graphics.
The ubiquity of the Internet and the convenience of ever faster trans-global communication and information sharing have further exposed the limitations of inter-language conversation. As a result, the language of icons, the Internet, and online gaming, consisting primarily of pictographs and images, has already emerged in great volume. This vocabulary is developing at lighting-quick speed, of its own accord, and is not bound by the geographical concepts of the past.
We at first overlooked the fact that practitioners of such fields as mathematics, design, drafting, music, and dance already use their own "international languages" to communicate with one another. But the international language of "everyday life" has yet to be found. In 1990 the International Organization for Standardization (ISO) announced the final version of the first group of fifty-five "Public Information Symbols." From 2001 to 2005, the ISO separately published guidelines for the design of symbols (for instance, what visual elements an unambiguous symbol must possess), how to use these symbols (to the point of specifying the use of arrows), etc. This can be seen as the embryonic form of a universal language for everyday life.
Humans have never abandoned the ideal of overcoming the obstacles of the written word, yet only under the favorable conditions of the "global village" has a turning point existed for such a system to emerge. The phenomena described above illustrate that a model based fundamentally on images, with the potential to surpass our current systems of writing, and drawing strength from a common desire, has clearly begun to appear. I have come to realize this trend and its possibilities.
As we collected and organized these images that are already in use and possess both a foundation of common recognition and the quality of language, we had one principle: not to engage in any subjective invention or fabrication, because most sound writing systems first arise from common usage and then take shape through a process of organization. We regard our set of previously organized symbols as a type of language because it has not been invented, fabricated, or defined by any particular person. Generally speaking, subjective, man-made symbols are personalized, lack a natural logic, and are not based upon a widely shared understanding. They cannot support easy recognition or repeated and uniform use. (This is also the reason that the cartoons cannot be considered a descriptive language.)
Every "word" in this system has its own source or origin. The "grammar" (including adjectives, person, tone, prepositions, etc.) is similarly a collection of widely used and commonly recognized "representations," which we have analyzed and compiled according to their visual and psychological indicia. All of these elements are pre-existing. I have only collected and organized them.
In certain respects, this language transcends our structures of knowledge and the limitations of geographic and cultural specificity; it reflects the logic of real life and objects themselves rather than any preexisting text-based knowledge. Comprehension is not contingent upon the reader’s level of education or knowledge of literature, but instead stems from his/her experiences and way of life. Moreover, this language need not be taught or learned through traditional educational models. Regardless of your cultural background or mother tongue, you will be able to read this book as long as you have experience of contemporary life. The educated and illiterate should be able to enjoy equally the pleasure of what it means to read.
In addition, after our currently un-finished computer program is perfected, writers of every language will be placed on equal footing. To a certain extent, this software will function as a point of transfer between dissimilar languages. This early result should not be minimized because it has limitless potential to expand into even larger arenas. The relationship between our new language and other, preexisting languages resembles the relationship between Mandarin and the many Chinese dialects: disparate pronunciations refer to identical characters. English cannot become a "global language," as its relationship with other languages is one of mutual exclusivity. As the use of English expands, other languages are lost. Michael Evamy states, "for now, the world’s peoples must either be addressed in their own language, or by non-verbal means." In that respect, a pictographic language not reliant upon phonics has a special advantage.
The success of a language is in large part dependent on the power of its political and economic force. Emperor Qin Shi eliminated the Six Kingdoms and unified the Chinese language; Mao popularized "standard" Mandarin characters through political means. Both revisions were undertaken with the aim of effectively communicating orders and unifying a country. This new system, the development of which I am now introducing to you, also draws its strength from political and economic factors but does not take the nation-state as its basic unit. It is rooted in the market rules of the global economy and world politics. Capital has become the new global language of power, but it must still undergo large-scale unification before it can more effectively control commerce.
It would be reasonable to expect that I use this new "language" to write an introduction. Unfortunately this is, as of yet, impossible. However, all languages begin at the most elementary level of communication and only later develop into a medium suitable for complex expression. In this process, major components of the original language are lost, and only small portions survive to form the languages we recognize today. Undoubtedly, this new language has only reached the oracle bone phase (the most rudimentary pictographic state). Yet, one cannot judge the potential of a language based on its current level of expressiveness. Instead one should consider its possibilities as a language of the future, and whether its linguistic DNA allows for its continued growth.
I believe that the significance of a work does not lie in its resemblance to art, but in its ability to present a new way of looking at things. I have created many works that relate to language. This subject first took shape twenty years ago with a piece called Book from the Sky. It was called Book from the Sky because it contained a text legible to no one on this earth (including myself). Today I have used this new "language of signs" to write a book that a speaker of any language can understand; I call it Book from the Ground. But, in truth, these two texts share something in common: regardless of your mother tongue or level of education, they strive to treat you equally. Book from the Sky was an expression of my doubts regarding extant written languages. Book from the Earth is the expression of my quest for the ideal of a single script. Perhaps the idea behind this project is too ambitious, but its significance rests in making the attempt.
New York, 2006
Book from the Ground is a novel written in a "language of icons" that I have been collecting and organizing over the last few years. Regardless of cultural background, one should be able understand the text as long as one is thoroughly entangled in modern life. We have also created a "font library" computer program to accompany the book. The user can type English sentences (we are still limited in this way, but the next step will include Chinese and other major languages) and the computer will instantaneously translate them into this language of icons. It can function as a "dictionary," and in the future it will have practical applications.
This project first began with my collecting safety manuals from a number of airlines. In the past decade, I have spent countless hours in airports and aboard airplanes. The design of airport signs and airline safety manuals is based upon image recognition. Diagrams there are employed as the primary means of communication in an attempt to explain relatively complex matters with a minimum of words. It was this that truly fascinated me. Since about 1999, I have collected over one hundred safety cards, but until recently I had no clear goal in so doing. Then, in 2003, I noticed three small images on a pack of gum (they translate into please use your wrapper to dispose of the gum in a trashcan), and came to realize that in so far as icons alone can explain something simple, they can also be used to narrate a longer story. From that point on, through various channels, I began to collect and organize logos, icons, and insignia from across the globe, and I also began to research the symbols of expression employed by the specialized fields of mathematics, chemistry, physics, drafting, musical composition, choreography, and corporate branding, among others. In recent years, the expanding speed of the Internet and the widespread emergence of a language of computer icons have greatly increased the scale and complexity of this project. But the more this becomes the case, the more I am able to sense the significance of this work, about which I have had the following thoughts:
In 1627, the French thinker Jean Douet, in an essay titled "Proposal to the King for a Universal Script, with Admirable Results, Very Useful to Everyone on Earth," first suggested that Chinese was a potential model for an international language. The word "model" is important here because Douet does not limit this "universal script" to the form of Chinese characters per se. He instead focuses on the universal potential of the system of recognition upon which the Chinese language is based. Today, nearly four hundred years later, human communication has indeed evolved in the direction predicted by Douet. We have come to sense that traditional spoken forms are no longer the most appropriate method for communication. And, in response, great human effort has been concentrated on developing ways to replace traditional written languages with icons and images. For this reason, among others, humankind has entered the age of reading images.
Most languages take shape among a small group of people (a tribe or a village) sharing a similar set of vocalized expressions. As the scope of the group’s activities expands, its language also develops into a regional mode of expression. The people’s geographic expansion across multiple localities and political boundaries is also the millennia-long process of its language’s growth. Today, spurred by a trend of internationalization, the world is contracting, creating the sense of a "global village." However, this huge "village" is distinct from the early villages out of which language first took shape: as citizens of the global village, we use a rich and varied range of dialects and often employ mutually incomprehensible systems of symbols to express information in written form. We must, however, live and work together (in the sense that we share information on a global scale). As a result, the inconvenience of language and miscommunication has become a significant burden in many of our lives. Our existing languages are based on geography, ethnicity, and culture (including all-powerful English), and all fall short. Written languages now face an entirely unprecedented challenge. Today, the age-old human desire for a "single script" has become a tangible need. This predicament requires a new form of communication better adapted to the circumstances of globalization. Only today can the implications of the Tower of Babel truly be revived.
The formation of nearly every language relies on two systems: phonetic and visual. Due to the wide range of phonetic systems currently in use throughout the world and the global trend of using evermore standardized goods, in addition to technological innovations such as the growing ease and speed of duplicating and sending visual data, it is thus natural (and necessary) to use images and pictographic icons as a means of communication. In truth, today’s "big village" has reignited the historical process of early linguistic development, beginning again with pictographs.
Let’s analyze existing phenomena:
The broadening range and increasing density of movement among peoples has impelled the rapid formation and use of a system of international icons. These symbols are most commonly found in areas of concentrated human density and diversity, and so it follows that the airport was among the first locales to make wide use of them. It could be said that along with airline safety cards, airport signs were the first "common-reader" texts. The airport epitomizes the global village, and, unconsciously, these texts have come to form an effective visual system of direction that transcends the written word.
The continued standardization of transnational products and consumer lifestyles, the growth of a "repetitive environment" and a "copy culture," and the daily accelerating homogenization of a global mode of living have rendered the visual form of things far more recognizable, and the growth of international media has further strengthened their symbolic quality. To a certain degree, this phenomenon has begun to eliminate illiteracy on a global scale and has resulted in the utilization of images as a basis for recognition and communication in contemporary life, making it much easier than in the past to reach a common understanding.
It can be said with certainty that anything aimed at a global audience must make use of a quick, effective mode of recognition and dissemination. Economic globalization demands direct commercial communication. Consequently, companies and products must employ corporate and product logos that transcend language and locality and possess clearly recognizable characteristics. Today, these logos appear everywhere, in high volume. Early attempts to market products to a global audience utilized translation, but now multinational businesses are developing in the direction of wordlessness. Past Coca-Cola ad campaigns included text translated into the language of the customer. But three years ago, the Coca-Cola Company made a decision to present their brand name to the international market in the form of an image, and not as a word. From this, "Coca-Cola" became an image that requires no translation.
Numeric commands can now be represented as icons, thus turning a specialized vocabulary into an intuitive visual one; this, for our purposes, is the most significant development in personal computing. It has significantly lowered the base level of knowledge required to take advantage of a technology that "one must study in order to grasp." Now anyone can distinguish computer functions and operate programs. While the computerization of the workplace has, on the one hand, resulted in a degree of physical laziness and degeneration, it has also created a group of people and a physical and technological environment easily adapted to this pictographic age. This is reflected in a new generation of people who find themselves at loggerheads with traditional reading and captivated by intuitive graphics.
The ubiquity of the Internet and the convenience of ever faster trans-global communication and information sharing have further exposed the limitations of inter-language conversation. As a result, the language of icons, the Internet, and online gaming, consisting primarily of pictographs and images, has already emerged in great volume. This vocabulary is developing at lighting-quick speed, of its own accord, and is not bound by the geographical concepts of the past.
We at first overlooked the fact that practitioners of such fields as mathematics, design, drafting, music, and dance already use their own "international languages" to communicate with one another. But the international language of "everyday life" has yet to be found. In 1990 the International Organization for Standardization (ISO) announced the final version of the first group of fifty-five "Public Information Symbols." From 2001 to 2005, the ISO separately published guidelines for the design of symbols (for instance, what visual elements an unambiguous symbol must possess), how to use these symbols (to the point of specifying the use of arrows), etc. This can be seen as the embryonic form of a universal language for everyday life.
Humans have never abandoned the ideal of overcoming the obstacles of the written word, yet only under the favorable conditions of the "global village" has a turning point existed for such a system to emerge. The phenomena described above illustrate that a model based fundamentally on images, with the potential to surpass our current systems of writing, and drawing strength from a common desire, has clearly begun to appear. I have come to realize this trend and its possibilities.
As we collected and organized these images that are already in use and possess both a foundation of common recognition and the quality of language, we had one principle: not to engage in any subjective invention or fabrication, because most sound writing systems first arise from common usage and then take shape through a process of organization. We regard our set of previously organized symbols as a type of language because it has not been invented, fabricated, or defined by any particular person. Generally speaking, subjective, man-made symbols are personalized, lack a natural logic, and are not based upon a widely shared understanding. They cannot support easy recognition or repeated and uniform use. (This is also the reason that the cartoons cannot be considered a descriptive language.)
Every "word" in this system has its own source or origin. The "grammar" (including adjectives, person, tone, prepositions, etc.) is similarly a collection of widely used and commonly recognized "representations," which we have analyzed and compiled according to their visual and psychological indicia. All of these elements are pre-existing. I have only collected and organized them.
In certain respects, this language transcends our structures of knowledge and the limitations of geographic and cultural specificity; it reflects the logic of real life and objects themselves rather than any preexisting text-based knowledge. Comprehension is not contingent upon the reader’s level of education or knowledge of literature, but instead stems from his/her experiences and way of life. Moreover, this language need not be taught or learned through traditional educational models. Regardless of your cultural background or mother tongue, you will be able to read this book as long as you have experience of contemporary life. The educated and illiterate should be able to enjoy equally the pleasure of what it means to read.
In addition, after our currently un-finished computer program is perfected, writers of every language will be placed on equal footing. To a certain extent, this software will function as a point of transfer between dissimilar languages. This early result should not be minimized because it has limitless potential to expand into even larger arenas. The relationship between our new language and other, preexisting languages resembles the relationship between Mandarin and the many Chinese dialects: disparate pronunciations refer to identical characters. English cannot become a "global language," as its relationship with other languages is one of mutual exclusivity. As the use of English expands, other languages are lost. Michael Evamy states, "for now, the world’s peoples must either be addressed in their own language, or by non-verbal means." In that respect, a pictographic language not reliant upon phonics has a special advantage.
The success of a language is in large part dependent on the power of its political and economic force. Emperor Qin Shi eliminated the Six Kingdoms and unified the Chinese language; Mao popularized "standard" Mandarin characters through political means. Both revisions were undertaken with the aim of effectively communicating orders and unifying a country. This new system, the development of which I am now introducing to you, also draws its strength from political and economic factors but does not take the nation-state as its basic unit. It is rooted in the market rules of the global economy and world politics. Capital has become the new global language of power, but it must still undergo large-scale unification before it can more effectively control commerce.
It would be reasonable to expect that I use this new "language" to write an introduction. Unfortunately this is, as of yet, impossible. However, all languages begin at the most elementary level of communication and only later develop into a medium suitable for complex expression. In this process, major components of the original language are lost, and only small portions survive to form the languages we recognize today. Undoubtedly, this new language has only reached the oracle bone phase (the most rudimentary pictographic state). Yet, one cannot judge the potential of a language based on its current level of expressiveness. Instead one should consider its possibilities as a language of the future, and whether its linguistic DNA allows for its continued growth.
I believe that the significance of a work does not lie in its resemblance to art, but in its ability to present a new way of looking at things. I have created many works that relate to language. This subject first took shape twenty years ago with a piece called Book from the Sky. It was called Book from the Sky because it contained a text legible to no one on this earth (including myself). Today I have used this new "language of signs" to write a book that a speaker of any language can understand; I call it Book from the Ground. But, in truth, these two texts share something in common: regardless of your mother tongue or level of education, they strive to treat you equally. Book from the Sky was an expression of my doubts regarding extant written languages. Book from the Earth is the expression of my quest for the ideal of a single script. Perhaps the idea behind this project is too ambitious, but its significance rests in making the attempt.
New York, 2006
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