该项目是由十方和淡水共同策划实施的游戏形式的虚拟空间（可VR化或跨平台移植），空间由场景一（林中世界）和场景二（展览空间）两部分组成，并由传送门联通。我们联系并邀请了一些参与者，对他们念诵的与历史有关的诗歌进行了收集，并将这些声音放置于场景一（林中世界）的物体之中。我们于场景二（展览空间）展示了部分绘画作品，这些作品会根据观察者的视线运动，当观察者的视线没有投射在画面上时，画面会进行不确定的随机运动，当画面被观察时，画面会逐渐趋于稳定。在画面随机运动的渲染器算法中，我们使用了与空间中山脉相类似的噪音算法，以制造作品与空间同构性。而这些画作在内容上也延续了我们对书写、记忆与技术，以及符号与转译的问题的探索。 “三种不同性质的世界” 概念来自柏拉图主义的描述，既1.理念世界比物理世界更实在，因为物理世界是对理念世界的模仿 2.艺术创作是对物理世界的模仿。通过这一模仿论描述，柏拉图构建起来一种基于“实在”的等级观念，这一观念将艺术创作置于“实在”的下游，以至于《理想国》中得出应该将诗人驱逐的结论。这种“实在”的观念在艺术史上也有其变体，例如库尔贝作品中对抗的“事物等级”，历史上照相术与绘画对纪实性的争夺，复制技术的兴起与现代艺术转向对“精神实在”的追求等等。随着网络空间，虚拟身份的兴起，“虚拟”与现实的界限变得模糊，物理世界与数学模型相互映射，“三种不同性质的世界”终将成为“三种不同的表达”，不再有等级意义上的差别。 展览空间中用到的地形生成算法需要一个种子数据作为输入，经由一系列运算输出一个虚拟的地形空间。其数学性质保证了其确定性：同样的种子数据总会得出同样的地形空间。然而，由于种子的选择是任意的，理论上我们可以生成一个无限而延绵的世界。而林中世界里的模型来自于对现实中具体事物的映射，在这里，地质、树木和诗歌被抽离出它们自身的上下文，并被保存在赛博空间中。展览空间中，一个数学的理念世界试图模仿现实的粗糙，而林中世界中的事物就像是现实事物在理型世界中的倒影。
Simulator of three different worlds
The project is a virtual space experiment in the form of a game (cross-platform and VR available) jointly conceived and implemented by XingXiao and XiyueHu (XY&XX). The virtual space is composed of Scene 1 (Forestial World) and Scene 2 (Exhibition Space), and the two are joined by a portal. We have gathered spoken-words of history themed poems(These poems are still censored and restricted) recorded by invited participants and placed them among the objects in the Scene 1 (Forestial World). Paintings are placed in the second scene (Exhibition Space) and the paintings move according to the observer’s sight: When the obever’s sight is not directly projected on the artwork, the piece will move randomly across the space. When the artwork is being overserved, it will gradually stabilize. We have used a noise algorithm similar to that of the mountains in the space in the renderer algorithm of the random motion to emphasize the isomorphism of the artwork and the space. The contents of these paintings continue our discussion and exploration on the themes of writing, memory, technology, as well as symbolism and translation. The concept of “Three Different Worlds” comes from the description of Platonism: Objects and matter in the physical world are merely imitations to Ideas and that all Art is mimesis, imitation of the physical world. Through this theory of imitations, Plato constructed a hierarchical system based on the idea of “reality” and by whose criteria Art is considered at the lower level to the extent that it was concluded that the Poets should be expelled in Republic. This idea of reality has its variations in art history. For example, the hierarchy which is often confronted in Courbet’s works, the tug of war between photography and painting in revealing the reality or the rise of mass-reproduction technology as well as the pursuit of “spiritual reality” common with modern art. With the rise of virtual identity and the expansion of cyberspace, the boundary between the virtual and the real is blurred; the physical world and mathematical models are mapped to each other and eventually, the “Three Different Worlds” will become “Three Different Expressions” as there will no longer be a distinction in the sense of hierarchy. The terrain generation algorithm used in the creation of the Exhibition Space requires a seed data as input and outputs a virtual terrain space. Its mathematical nature guarantees its certainty: the same seed data will always lead to the same terrain space. However, since the choice of seeds is arbitrary, in theory, we can generate a continuous world with infinite possibilities. While in the Forestial World, the model is based on the mapping of concrete things in reality, where geology, plantations and poetries are drawn out of their contexts and is saved in the cyberspace. In the Exhibition Space, a mathematical world of ideas attempts to capture the roughness of reality whereas the objects in the Forestial World are the reflections of real things in the physical world.