人力走马灯

作品简介: 在这套作品的创作过程中，先利用 Adobe Illustrator 生成重叠与交错的线条，再通过切割绘图仪（通常用于切割贴纸或工业用途的设备）装入笔，重新“手工”式地在纸面输出线条。这种方法巧妙地让数字工具与手工痕迹交织在一起：虽然图像在数字环境中被设计，但最终的描绘过程却由绘图仪的机械臂完成。笔触的粗细、速度、摩擦，甚至偶尔的抖动，都让输出的线条拥有了人工痕迹般的“偶然性”。作品既是数字时代的产物，又延续了传统手工劳动的身体感。它像走马灯一样，不断轮转着意义与表现的二重性——一方面是 Illustrator 内精准的几何与理性控制；另一方面是绘图仪输出时笔与纸之间物理接触所产生的温度与不可预测性。

Description: In creating this work, overlapping and intersecting lines were first generated with Adobe Illustrator, and then output onto paper using a cutting plotter—normally a device for cutting stickers or for industrial purposes—loaded with a pen, thereby reintroducing a “handmade” process. This method cleverly intertwines digital tools with traces of the handmade: while the image was designed in a digital environment, the final drawing process was carried out by the mechanical arm of the plotter. Variations in pen thickness, speed, friction, and even occasional vibrations gave the output lines a kind of “accidental” quality reminiscent of human touch. The title Human-powered Zoetrope suggests that the work is both a product of the digital age and an extension of the physicality of traditional manual labor. Like a zoetrope, it constantly revolves between dualities of meaning and expression—on one hand, the precise geometry and rational control of Illustrator; on the other, the warmth and unpredictability arising from the physical contact between pen and paper during the plotter’s output.

作品简介: 在这套作品的创作过程中，先利用 Adobe Illustrator 生成重叠与交错的线条，再通过切割绘图仪（通常用于切割贴纸或工业用途的设备）装入笔，重新“手工”式地在纸面输出线条。这种方法巧妙地让数字工具与手工痕迹交织在一起：虽然图像在数字环境中被设计，但最终的描绘过程却由绘图仪的机械臂完成。笔触的粗细、速度、摩擦，甚至偶尔的抖动，都让输出的线条拥有了人工痕迹般的“偶然性”。作品既是数字时代的产物，又延续了传统手工劳动的身体感。它像走马灯一样，不断轮转着意义与表现的二重性——一方面是 Illustrator 内精准的几何与理性控制；另一方面是绘图仪输出时笔与纸之间物理接触所产生的温度与不可预测性。

Description: In creating this work, overlapping and intersecting lines were first generated with Adobe Illustrator, and then output onto paper using a cutting plotter—normally a device for cutting stickers or for industrial purposes—loaded with a pen, thereby reintroducing a “handmade” process. This method cleverly intertwines digital tools with traces of the handmade: while the image was designed in a digital environment, the final drawing process was carried out by the mechanical arm of the plotter. Variations in pen thickness, speed, friction, and even occasional vibrations gave the output lines a kind of “accidental” quality reminiscent of human touch. The title Human-powered Zoetrope suggests that the work is both a product of the digital age and an extension of the physicality of traditional manual labor. Like a zoetrope, it constantly revolves between dualities of meaning and expression—on one hand, the precise geometry and rational control of Illustrator; on the other, the warmth and unpredictability arising from the physical contact between pen and paper during the plotter’s output.

松田 洋和