My previous essay, Building a Generative Artwork That Can Change Its Maker, ended with the thought that the artwork had answered back. This essay begins where that formulation became insufficient. “Answering back” still suggests two relatively stable partners: a maker on one side and a completed work on the other. What actually developed was less orderly. A visual system generated forms; the forms changed my questions; another person’s response changed how I understood the forms; an old theoretical vocabulary…
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Eine generative Kunst schaffen, die ihren Schöpfer verändern kann: Von der Generierung zur Begegnung und wieder zurück
Drei Tage nachdem ich einen Artikel darüber veröffentlicht hatte, wie sich der Aktualisieren-Button meiner Website in eine künstlerische Geste der Komposition verwandeln lässt, lud mich Prof. Yvonne Dohna-Schlobitten unerwartet dazu ein, an ihrem sich entwickelnden internationalen Projekt als Künstler teilzunehmen – und beinahe im selben Atemzug auch in wissenschaftlicher Funktion. Dieses konkrete Werk hatte sie zu diesem Zeitpunkt noch nicht gesehen. Ich schickte es ihr, erklärte, dass jede Aktualisierung oder Navigation eine neue Komposition hervorbringen könne, und bat sie, es…
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Building a Generative Artwork That Can Change Its Maker: From Generation to Encounter and Back Again
Three days after I published an article about turning the refresh button of my website into an artistic compositional gesture, Prof. Yvonne Dohna-Schlobitten unexpectedly invited me to participate in her developing international project as an artist—and, almost in the same breath, in a scientific capacity as well. She had not yet seen this particular work. I sent it to her, explained that every refresh or navigation could produce another composition, and asked her to try it. Her first response…
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奇迹与 Loïc 被赋予的道德代价：论《冬天的故事》（1992）里的希望、信仰和确信（及其区别）
我原本以为，埃里克·侯麦（Éric Rohmer）的《冬天的故事》（Conte d’hiver, 1992）最终会让我思考爱情中的忠贞、偶然性，也许再加上一点神学。然而实际发生的却完全不是这样：我发现自己不断地在与菲莉茜（Félicie）争论，一会儿替她辩护，一会儿又批评她；重新回到剧本以后，我又不得不修正自己先前的一些批评；我开始追问，她所谓的“信”究竟是不是真正意义上的信仰；而到最后，比起夏尔（Charles）那场近乎奇迹般的归来，我反而对洛伊克（Loïc）产生了更大的兴趣。这部电影在我的理解中变得越来越丰富，恰恰不是因为我逐渐找到了一套能够解释一切的答案，而是因为我最初提出的一个又一个解释，在重新面对时间顺序、对白、人物行动和后果时相继失效，而每一次失效都迫使我看见此前没有注意到的东西。
What Loïc Taught Me About the Moral Cost of a Miracle: A Tale of Winter (1992) and the Difference Between Hope, Faith, and Certainty
I expected Éric Rohmer’s Conte d’hiver (A Tale of Winter, 1992) to leave me thinking about romantic fidelity, chance, and perhaps a little theology. Instead, I ended up arguing with Félicie, defending her, criticizing her again, correcting some of my own criticisms after returning to the screenplay, questioning whether her “faith” is really faith, and finally becoming much more interested in Loïc than in the miraculous return of Charles. The film grew richer every time one of my…
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阿狄森氏病 (Addison’s Disease) 危险的“隐形性”
医学说明：本文仅用于一般性教育、残障意识普及以及帮助机构理解相关问题，不提供医疗建议、诊断、急救指示或个体化治疗建议。阿狄森病与肾上腺危象应依据患者个人的临床方案，并在专业医疗人员指导下进行管理。肾上腺危象属于医疗急症，需要立即治疗并紧急就医（NICE, 2024）。
关于阿狄森病，一个最危险的误解，往往恰恰始于一种看似令人安心的现象：一个人可能看起来完全健康。他们可以无需帮助地走进大学办公室，参加研讨课，正常交谈，旅行、工作、运动、谈笑，看起来与房间里的任何其他人没有区别。观察者很容易把这种外在表现转化成一个医学结论：这个人看起来很健康，因此病情不可能有多严重。
La pericolosa invisibilità della malattia di Addison (morbo di Addison)
Nota medica: Questo articolo ha finalità esclusivamente informative, di sensibilizzazione sulla disabilità e di comprensione da parte delle istituzioni. Non fornisce consulenza medica, diagnosi, istruzioni di emergenza né raccomandazioni terapeutiche personalizzate. La malattia di Addison e la crisi surrenalica devono essere gestite secondo il piano clinico individuale del paziente e sotto la guida di professionisti sanitari. La crisi surrenalica è un’emergenza medica e richiede un trattamento immediato e un’assistenza medica urgente (NICE, 2024).
Uno dei fraintendimenti più pericolosi…
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