"Spring of 2019", 09, Jun, 2019

Dimensions: Immeasurable, adjusted to fit the space.

Medium: Moving image installation.

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This work delves into the core of nihilism, exploring the concepts of repetition and difference, and how they manifest the inherent contradictions in the perception of reality. It not only integrates the neuroscience of the Default Mode Network (DMN) theory but also incorporates philosophical thought, offering a critical perspective aimed at examining the complex relationship between the brain, dreams, and reality. Particularly ironic is the fact that even our autonomous consciousness participates in the unconscious closure and deception of our perception, revealing a deep-seated self-deception phenomenon.

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Research on the Default Mode Network (DMN) has uncovered how the brain processes self-related thought, memory integration, and future planning while at rest. Especially in dreams, the activity of the DMN indicates that the brain engages in complex information processing activities even in our unconscious states. However, this process does not always aim to enhance self-understanding and clear perception. On the contrary, it often leads to a distortion of reality and a veiling of inner truth, reflecting a profound psychological and cognitive contradiction.

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"Spring of 2019" simulates this psychological phenomenon by projecting video onto transparent glass containers filled with water and transparent gauze. This creative method challenges the audience's traditional expectations of visual authenticity and symbolically shows how our brain, in interpreting and reorganizing internal information, both creates and distorts our perceived world. This duality is not only a critique of individual perception but also reflects a broader social and cultural phenomenon — in the information overload of modern society, how we selectively interpret and ignore information to construct a reality that fits our expectations and desires.

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Furthermore, by referencing neuroscience research on the DMN, the work criticizes the sometimes oversimplified models of the human mind in modern science. It emphasizes the complex role of dreams in emotional processing, memory integration, and self-awareness, challenging the outdated view that dreams are disorderly or meaningless brain activity. This critique targets not only the limitations in the field of science but also the societal misunderstanding and neglect of the individual's inner world.

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In summary, "Spring of 2019" showcases an in-depth dialogue between art and science, encouraging viewers to re-examine and question our understanding of the self, dreams, and reality. By revealing the role of autonomous consciousness in the unconscious closure and deception of our perception, this work not only enhances our insight into psychological and cognitive processes but also offers a profound critique of modern lifestyles and knowledge systems, sparking deep reflection on the concepts of truth, perception, and how we define and pursue these ideas.