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录像创作最吸引我的地方在于对原素材（图像、声音、字幕等）进行随意转译的可能性，但其难度也在于对时空跨度10年的影像材料的处理和镜头之间的自然衔接。片中的素材全都来自于日常生活的“现成品”–自己用数码像机随时随地拍下的DV素材、朋友拍的记录资料、翻制的盗版DVD-CD或网上下载的图像和音乐……, 从几百个小时的资料截取1秒到几分钟的片段中, 拼贴出一个梦幻世界的”虚构现实”。What attracts me most about video creation is the possibility of random translation of the original materials (images, sounds, subtitles, etc.), but the difficulty also lies in the processing of the video materials with a space span of 10 years and the natural connection between the shots. The material in the film all comes fr德里达说：“语境之外别无它物”。片中这些语无伦次的字幕都来自于GOOGLE对14首中西情歌、新闻、广告和对话的翻译，并经过重新的编排而转化成有关国际关系中的双关语和东西方爱恨交加的复杂情感。它们就像我们这个荒谬时代的诗歌，充满了从软件程序冒出的无穷想象力: 同一个文本在不同的语境中被翻译会有何碰撞？语境如何消失在电脑语料库的排列系统里? 翻译软件如何在全球化的今天构建我们对世界的认知?Derrida says, "There is nothing else outside the context." The incoherent subtitles, all derived from GOOGLE's translations of 14 Chinese and Western love songs, news, advertisements and conversations, have been reworked into puns on international relations and mixed feelings about east-West love-hate relations. They are like the poems of our absurd age, full of the infinite imagination that emerges from software programs: how does the same text collide when translated in different contexts? How does context disappear into the arrangement system of computer corpus? How does translation software construct our understanding of the world in today's globalized world?om the "ready-made" of daily life -- the DV material that oneself use digital picture machi
e to take at any time and place, the record m
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