leaf

I just finished writing a blog, and I was educated by players from the black hat hacker community. However, thanks to the friendly black hat magician, they deleted it kindly, and my account was compromised (after all, there is no eternal security; curiosity is the ladder for hackers' progress).

Let's make friends next time.
While there are few people around, let me bully you a bit [tv_doge]
{__/}
( • . •)
/ >⚪️
Did you see this coin?

{__/}
( • - •)
⚪️<
I won't give it to you even if I eat it.

{__/}
( • . •)
/ >⚪️
Just kidding, here you go.

{_/}
( • - •)
⚪️<
Hey, I snatched it back again.
{_/}
( • . •)
/ >⚪️
Here you go, I'm not joking.

{__/}
( • - •)
⚪️<
Hey, I was just teasing you a bit.

Σ(っ °Д °;) っ
Hey, why are you crying?

{__/}
( • . •)
/ >Coin Like
Here, take it all.
As for cyberspace, a hacker alone is different from a hacker organization.
“We are Legion.”
Translation: We are Legion.
This slogan is often used to represent the decentralized nature of hacker legions, implying that its members are numerous and cannot be easily defeated. It emphasizes the concept of collective power.
2. “We do not forgive. We do not forget. Expect us.”
3. “Knowledge is free. We are Anonymous. We are Legion. We do not forgive. We do not forget. Expect us.”
Translation: Knowledge is free. We are Anonymous. We are Legion. We do not forgive. We do not forget. Expect us.
This version of the slogan combines the spirit of information freedom and opposition to the suppression of free speech, while reaffirming the organization's threats and determination.
4. “The Internet is the last bastion of freedom.”
Translation: The Internet is the last bastion of freedom.
The hacker legion often advocates for freedom of speech and privacy, claiming that the Internet is an open and free space that should maintain its independence and oppose surveillance and suppression by governments, corporations, or other organizations.
5. “If you are not doing anything wrong, you have nothing to fear.”
Translation: If you are not doing anything wrong, you have nothing to fear.
This statement reflects the hacker legion's criticism of privacy and surveillance, emphasizing the importance of individual privacy rights in modern society. It also satirizes certain authorities or organizations that treat violations of personal freedom with a "fearless" attitude.
6. “Anonymous has no political affiliation.”
Translation: Anonymous has no political affiliation.
The hacker legion often emphasizes that it is an organization that transcends political positions, focusing on information freedom, opposing suppression and injustice, rather than supporting any specific political agenda.
7. “Expect Us, we are everywhere.”
Translation: Expect us, we are everywhere.
This quote emphasizes the widespread influence of the hacker legion and their anonymous actions through the Internet, capable of appearing anywhere and taking action at any time.
8. “Injustice anywhere is a threat to justice everywhere.”
Translation: Injustice anywhere is a threat to justice everywhere.
This statement is inspired by a famous quote from American civil rights leader Martin Luther King Jr., and the hacker legion uses it to express resistance against global injustices, advocating for fairness and justice on a global scale.
These quotes represent the core values of the hacker legion: supporting free speech, information transparency, opposing suppression, and taking a strong stance against injustice and abuse of power. Although the methods of the hacker legion are often controversial, they reflect a deep-seated belief in the importance of these values.

Finally, the world allows us to grow, and it is also because our dreams take root.

This is the Chinese translation of the philosopher Descartes' famous saying "Cogito, ergo sum" (I think, therefore I am). In reverse thinking, the English translation of "I am here, I think" can be: "I am here, I think."
Combining dialectical thinking, when translating "I think, therefore I am. I am here, I think," we can emphasize its multi-layered, variable, and interdependent relationships. These two sentences demonstrate the relationship between thought and existence, reflecting the dialectical unity between thinking and self-awareness.

Here is the English translation based on dialectical thinking:

"I think, therefore I am."

This part is Descartes' famous saying, reflecting the dialectical relationship between thinking and existence. The translation remains concise because it conveys that thinking is the foundation of existence, the core of "self-awareness" and "self-affirmation."

"In my being, I reflect; in my reflection, I think."
"In my being, I reflect; in my reflection, I think."

Here, "I am here, I think" is understood dialectically, reflecting the interaction between thinking and reflection. According to dialectical thinking, we can understand that "existence" and "reflection" do not exist separately but are interconnected and mutually influential. Thinking is not just about cognition; it is also about the perception and reflection of one's existence, with both coexisting.

This expression emphasizes the dialectical unity of "I think" and "I am judging," indicating that the awakening of self-awareness is not only a result of thinking about matters but also a dynamic process of thinking through reflection and self-examination.

Here and Now (IOC)#

The Internet is the most miraculous thing created by humanity over thousands of years, providing opportunities to liberate oneself from technical, knowledge, and historical structures. The freedom and democratic awareness it brings, personal awakening, participation, and experience allow individuals to be independent and freer. It is a true revolution that will ultimately change the world's landscape.

Memory is a particularly important cognitive aspect of how people view the retrospective effect of themselves.

• Memory is more like a path pattern of our behavioral cultural habits.
• Whatever we do usually establishes culture and teaching based on a sense of security, and this sense of security is built on the foundation of memory sorting. Memory influences our current behavioral decisions and perceptions.
• High-level needs for dreams; I don't have many dreams, and it's hard to see good results from dreams.
  • Sensibility allows our lives to have emotional experiential possibilities—smells, light, making us aware that life continues, with pleasure or pain. Sensibility informs us of the existence of life.
  • Rationality is a tool of cognitive order that ensures the continuity of sensibility. Rationality tells us about the psychological safety and discernibility of the cognitive process of experiencing a segment of time; it can sometimes be narrow and one-sided.
  • Sensibility does not wish to remain within this narrow range; it hopes to make the impossible possible. Sensibility is a temptation for us to move forward, often concealing and deceiving; it is often the reason for our actions.

Education#

Education, in essence, is about telling others what is possible to achieve.

• However, the education we receive often tells us what is impossible; it is neither enlightening nor a current model. Bad education is worse than no education; it misleads a person for a lifetime. I myself am the most uncertain and unconfident example; I have no possibility of educating others and am confused about many issues.

Art is only valuable as a practice and experiential process of beauty and cognitive sensibility.

• Its value lies in the new understanding of life gained by practitioners, experiencers, and viewers—on personal behavior, on epistemology, life thus individual thinking, and the educational social structure differs from the past. The meaning of this understanding is actually limited, but our lives are so rudimentary that this limitation appears precious, making such practices necessary.

• Whether it is worth the price, why it is worth the price, who decides, all have little reason. Just like the stock market, it is a very vague matter. Some people are willing to spend money to buy, willing to speculate, or worship it like a relic; this is entirely a personal matter.

  It has no real significance for art itself. Art does not become better or worse because of it.

  The art market is a game for the wealthy, a game for museums and art institutions, closely linked to human desires, power, possession, the hope for eternity, and the desire to conquer death. It is actually quite foolish.

  • Works often socialize and symbolize the expression of boredom, lacking profound thoughts—my thoughts are very simple, but people do not allow such simplicity; they must complicate it and give it some meaning. Human artistic ability is like the desire to eat; everyone should possess it.

The way artists behave is beneficial for the mental awakening of others; through an artwork, they help us redefine a possibility that is astonishing.

• Photography records images on a flat surface through light in an instant. These images seem to be the most authentic records of reality, yet they are deceptively disguised.
• It distances itself from realistic expression, betraying the closest kinship to reality, honestly stating the greatest lie. Photography is photography itself. Once photography is completed, everything else is quickly destroyed.

Photography is the same as other visual art forms like painting and film; when a person recognizes, the brain stubbornly loads a program of others, expressing itself with great desire, saying things that are not easily clarified. Only the act itself has real meaning; reproducing it forms another kind of behavior, another possibility. Things that cannot be realized can only express an attempt, an illusion, which relates to our ignorance, our obstacles, or our defects.
Adapted from "Images"

Seeking a Possibility#

Do you think there is an inseparable relationship between art and politics?
All human activities are inseparably linked to politics. Art, as a form of human linguistic activity, is difficult to separate from politics. Art requires self-expressive ways to represent social symbols, expressing possibilities that can create certain effects and a butterfly effect among others and other groups.
It allows people to potentially transcend outdated modes of expression and communication; when this mode of expression and communication changes, society has already changed, and its original power structure, value system, and center have all changed. The possibility of personalized and independent thinking has truly emerged for the first time in human history, technically enabling personalization and independence.

What is your creation exploring? What does it reflect?#

Most of my activities are about seeking a possibility. Possibility is not a clear goal; it is a human need, questioning whether this knowable world is as imagined, whether it is necessarily so, whether it is what we recognize, and whether this understanding is reasonable.
Your father is a poet; how has he influenced your growth and later work? What does poetry mean to you?
If there is an influence, it is to make me aware of the existence of language and thought. Spirit is a part of human existence; it is a fundamental content of strong human existence. The era I grew up in was a dark time when many people faced misfortune; their life experiences merely expressed the darkness of that era. Only in dark times do those with the capacity for thought suffer.
Having engaged in architecture, sculpture, painting, design, installation art, and book editing, do you consider yourself an artist, a multimedia creator, or something else?
I don't like or care about these titles; they are merely saying you are a pig, he is a dog, she is a cat; there is no more meaning in that. Here, perhaps the reason for life is a more important matter; a living person needs to breathe, needs to deal with things they face and have to do, and these things bring some pleasure. Many things I will not repeat because the pleasure no longer exists.
What does contemporary art mean to you? What is the value of contemporary art's existence?
Contemporary art is a way for humans to respond to contemporary life through aesthetics or philosophical thinking, expressing a form, color, sound, or a highly personal sense of language and thought, expressing an understanding and evaluation of modern life. Contemporary art has replaced the position of philosophy, possessing attributes of modern people that counter simple desires like pragmatism and materialism.
If measured by monetary value, artworks have held an important position in the global art market in recent years. What do you think about this?

Is art a reflection of history, a reflection of the present, or an expectation for the future?

• Art is the formalization of symbolic forms; it does not possess these clear social responsibilities. It can be both a retrospective reflection of memory input and a so-called psychological expectation. However, art is actually nothing; it is not something that can be directly appropriated by society; it is an expression of existence beyond practicality.
• What is the relationship between the expansion of materialism and artistic creation? Is it good or bad?
  Materialism, or nihilism, or violence and corruption, or religion, can all relate to art because art itself is something that is everywhere and nowhere; this relationship is both latent and evident.

From creation to circulation, to collection, to criticism, this system is certainly in a state of ambiguous movement. How do you view this system?

Society naturally gives birth to its system, from imperfection to perfection, allowing it to operate. However, I feel I have no relation to it; I can live without it. My happiness or unhappiness is unrelated to this; it is an internal state, a psychological feedback to the brain's pleasure or sadness, which others cannot decide.

• Whether a nation or a country, its quality is also unrelated to this; like this country, even if it builds a thousand more museums or two hundred more opera houses,

• Should we draw big powder people or draw big powder people?
  How are these projects chosen?
  Most of the time, these projects are chosen during boring moments or are selected. Everyone encounters various opportunities and setbacks; there is no need to care too much about this issue.
  How do the family, history, and cultural inheritance factors carried by an individual influence their later problem-solving methods?

• One should look closely and experience carefully. This influence only becomes apparent when encountering other events or handling different matters. Culture lurks in a person like a virus; only when it truly erupts does the virus reveal its characteristics, surfacing.

• Politicization is entirely accomplished through the planning of agencies and administrations. However, due to the presence of huge interest groups, there are significant gaps; where there are gaps, there are many places to hide dirt, and I belong to this dirt. Power itself is so strong that it no longer cares about these surrounding matters, thus granting us great freedom; various other values may survive here. This is inherently a contradictory and complex place; it has such great irrationality yet meets the necessary human needs, but there are also detailed descriptions of human existence. I believe contradiction is a necessary condition for human thought.

• Indeed, in a huge system, individuals are very powerless in the face of power. In the city, you can see devilish operations, but at the same time, you can also see the heroic feelings you hope for. There is still a space for doing good; individuals will still have anger and emotions.
  The whole society is like this.
  This is a very interesting era. A highly centralized society, once it loses the basis of power, will become the freest society. Because its past power was highly concentrated, the social structure is very singular; once lost, it becomes completely chaotic and disordered.

What about the relationship between artists and intellectuals?#

• An artist is an unavoidable cultural expression of a socialized intellectual; you possess a special religious ideological consciousness, which plays a special role in the culture of power. All the value of an artist is reflected in the experiential foundation related to human cognitive sensibility.

• When the range of issues an artist focuses on is too small, collective cultural conceptual repetition often occurs. However, installation or conceptual art will always involve some public topics. For example, if your work crosses into the field of architecture, how do you view the conceptual issues of artists?

• Concepts are ubiquitous; they can be politicized, mathematical, or simple logic. Conceptual art has very extreme forms, and there are semantic repetitions that are entangled and unclear. After all, art is an observation of a person's life activity; as long as there are personal characteristics and privacy, it will naturally help others. One cannot expect an artist to accomplish something remarkable; the key is whether they possess independent characteristics.

• You have a dual identity as an architect and an artist. Which identity do you think has a greater impact on society?
  It depends on what kind of impact it is; you cannot say that architecture can live in a way that influences people. I believe these two are one identity; it is not that I am an architect and also an artist. Everything I engage in, including my blog, is actually the same thing.

On the jar, smashing a Han dynasty urn on the ground. It seems you want to explore how history transforms into today's societal setting for new brands, with major trademarks appearing in major cities worldwide, while the past was discarded by everyone in a very natural and simple way.
When we consume something, whether it is Coca-Cola or an expensive Han dynasty pottery piece, our brains are also consumed by that consumer item simultaneously; consumption is bidirectional. We must acknowledge its value and ideology, which provides a possibility for culture, meaning we will continuously ask what value is.

So what is our culture today?#

Today's culture is more of an uncertain dynamic state of change.

• This uncertain state produces consciousness because we possess too many different types of emotions, values, and morals;
• On the other hand, we no longer believe in these; we are always waiting for something new to appear, ready to intervene at any time.
  But here is a residential area, not just your house.
  Initially, I only built my house, and for the next seven years, no one came to find me. Only in the last two years did the villagers begin to realize that this house brought me wealth, so they started asking me to design more similar buildings to rent to galleries or artists.
  I agreed, right next to my house, and it was also not troublesome. So I built many such houses in the village one after another, requiring little design, like template replication.
  Design is not important here; it can be said to be a minimalist project, showcasing a certain control to prevent things from becoming overly complex. I do this merely to avoid worsening the situation. I am not saying I do it well; it just prevents the situation from getting worse, avoiding this place from becoming as shocking as future urban areas.
  People say they have succeeded; the meaning is the same, regardless of whether you are trading stocks or running a small business. The standard of success is a series of numbers, that is, how much you can sell; people do not have time to question or discuss other matters. Now you know, those works are products of a certain public desire, born from the devil's hand, which only wants to fill its belly and satisfy its desires. Those people are merely victims, just passersby at this feast.
  Just like what is written on your doorplate, is it a fake?
  That's right; I would call it a fake because whether classical or contemporary, our values should be linked to our perception of reality to discern what is real and what is fake.
  Just like in your work, what is new and what is old.
  The question lies in how we make judgments and how we evaluate our value standards.
  Numbers seem to have become the only value standard now.
• Life has become so simple that it feels sad. Suddenly, we have become strangers in our own world; we are so familiar with a place, yet we are strangers there.
  So is that why you carry a camera and keep shooting everywhere?
  It's like watching a monkey show. You sympathize with those monkeys; why are they jumping around? If someone looked down from above, they would have the same question: what is this fool busy with?

So why do you keep recording?#

Because the feeling is disconnected from reality. No matter what you do, you cannot feel the connection with people, with reason and mind. You cannot truly understand anything, always on the brink of madness.

Your camera is an extension of your brain and hand, right?
Photography should faithfully record scenes or real conditions, such as distance, light, and position. But where is the meaning of the recorded phenomena? How can they be pieced together? Is it that after collecting all the facts, you can find meaning and truly understand reality?
Especially with digital cameras, we can take thousands of photos at once.
Yes. The more images there are, the less meaning there is.
So there is neither a beginning nor an end, just a cyclical possibility?
Exactly; after repeating it twice, three times, or a hundred times, the meaning automatically dissolves.
The first time I saw you, I thought you looked like Andy Warhol's son, always shooting.
I think Andy Warhol was ahead of his time. In that era, there were no digital devices; he had to overcome technical limitations. When making screen-printed works, he had to have the factory repeat the pattern a hundred times, but today, you can copy it a billion times with just a click of a mouse. He was fortunate not to have been born in today's era because if he were, he could not have created anything. He just happened to be ahead of the times, which is why Andy Warhol became Andy Warhol.

• The way the human brain operates has changed significantly. Thinking has become outdated; what we do is merely receive and react. You do not need to clarify things; the result comes out before you understand it; you must learn the result from the media.
  Do you write?

• I write some things to clarify my attitude. I believe text is still the primary tool for recording; this way, people can say, "Oh, that person indeed said such things at that time." I want to challenge myself to write something, just like walking, with many different ways.
  At the same time, maintaining production and creation.
  Production and creation are not very meaningful; making something takes too long and can easily turn into a performance.
  Is there anything that makes you feel closer?
  My attention is mainly not focused on the art circle but elsewhere.

Because the evaluation of various social structures operated by humans is completed under very limited performance conditions; it can give you honor or let you lose honor. I have no illusions about this issue. I do not care much about public evaluation; I am part of the public, so I do not care about my own evaluation.
If everyone blindly pursues trends and fashions, the world will become very boring. Life is about each person walking towards their own place, doing things in their desired mood. Being true to oneself is the most important and also the most difficult because after so many historical struggles, hardships, poverty, and the shackles of thought, the decline of education, and the decay of aesthetics, reality is riddled with holes. Although it is difficult to be one's original self, it is indeed important.
This is a relatively complex issue. The so-called good house is made for a specific purpose within a specific complex cultural environment, specific group conditions, and a specific historical period.

• Why emphasize this specificity of culture and historical limitations? Because only this specificity and limitation can present what is called "good." Without this specificity and limitation, moving to another place, the evaluation standard of this "good" will be lost.

• Therefore, a good building can be a mountain path, a bridge, a farmhouse, or an art museum. Any "man-made" thing possesses human aesthetic evaluation, appropriate means, and effective efforts, which is the so-called human judgment. These should not be limited to modeling means or merely a subjective ideological intention; many architects have this ambition, which is a very low-level approach.

• Architecture is built through layers of human cooperation; merely having a beautiful idea in one's heart is meaningless. Because architecture is "constructed," if architecture only remains in the stage of fantasy, then it is not architecture. The gap between this desire and reality exists because most architects or most people in this industry lack good training and literacy; they hardly know what kind of industry they are engaged in and what the basic characteristics of this industry are.

• This is a failure of education. Just like someone engaged in aircraft design does not make an airplane based on their wishes but follows constraints to build. When these constraints are not fully respected, good architecture cannot emerge.

• Is the process of building a house still enjoyable?
  In reality, troubles outweigh the pleasures; in most cases, you cannot truly realize all your imaginations. Although the people I build for are relatively free, only those who believe in freedom will come to me for architecture. Even so, you still have to face a huge social structural system; you are often a prophet rather than a true, complete implementer. This process involves investors, structural design, construction processes, and various policy and regulatory transformations.

• This process is complex; you consume a lot of energy in it. By the time it is completed, you are no longer willing to think about it, but you still have to think about it; otherwise, you will forget this pain. But when I say "can do," I mean I can still place my fantasies on the next thing. The next and the previous are not much different; after a certain point, you will feel it is not worth it. Doing art and doing architecture are two kinds of dilemmas. In architecture, due to its inherent constraints, its results have a relatively complete rationality; achieving this point means it is basically a complete thing. In art, there is no such completeness; whenever it becomes complete, it means that thing has lost its meaning, and it is time to overturn it again. Therefore, the enemy of doing art comes from within. If you are willing to compromise, you are complete. If you are unwilling to compromise, you will always be fragmented and cannot be complete. This is a struggle in two senses.

• "Reality" does not need to be sought; "reality" and "facts" are right there; "truth" has many human layers, only requiring cultural recognition.

When lies and hypocrisy become a collective consensus of society, we will face the loss of systemic principles and judgment. When basic principles and judgments are lost, aesthetics loses its basis.

• Everything has a collective ideological consciousness; this ideological meaning expresses the state of language dissemination consciously or unconsciously.

• Architecture is the same. If you only evaluate it as good or bad, then your evaluation is an ethical or moral evaluation; aesthetics is always related to this. This reason is important. Where does this reason come from? This reason should clearly not be a simple architectural reason. Universal philosophy and ethics are in a low ebb; society does not possess this evaluation system. This is a premise for saying it is chaotic; in the absence of this system, this aesthetic reason becomes very questionable.

• Therefore, I usually avoid evaluating such a question; I can only say which thing is effective relative to this era; it is not about aesthetics being good or bad, there are no absolute standards; and which are ineffective, or not ours, but problems that another country or period should solve. This is as simple as it gets.

• If we seek specific conditions, we must seek a standard, which is human emotion, the real ability to recognize, the ability to distinguish right from wrong, and good judgment training. Because these have an impact on human life.

• Whether it is architecture or not is not important; it always has an impact on our lives because we use it to treat others, use it to buy clothes, and use it to decide who to meet today. This is useful and effective.

• So when encountering architecture, we place its scale on a choice issue, just like we choose to buy this or not buy that, which relates to our economic conditions, the period we are in, and our judgments about material things, which are also related to the temptations presented by products. The world is complex, especially today; it seems there are more choices, but choices still need to be based on your cultural ability and social class, belonging to a set of emotional ways and moral judgments you have formed. It sounds very ethereal, but this choice and judgment cannot be lacking.

Shouldn't we follow our primal instincts more, rather than rigidly establishing standards?#

This statement is correct; we should follow our primal instincts, but what are instincts? How much of our instincts remain? After education, a child grows up in a specific place, regardless of where it is, goes through primary school, middle school, and several teachers' education, and then scores some points to enter Tsinghua University; how much of their instincts remain?
Is your instinct the same as his instinct? If your instinct is his instinct, then it is a shared thing. So, I think these are all questions. You can say these questions are negligible because everyone has this problem, but when talking about a nation's creativity and creative power, when discussing the qualities of people in a certain period, these things must play a role. Their enthusiasm, their ability to complete tasks, and the paths they choose constitute a characteristic of the creations of that historical period.

Yes, you can talk to someone about gravity, you can talk about how an apple falls from a tree, and you can also say, oh, how the jumping muscles work. But you can also emphasize absolute height; you must surpass this height to win a medal or receive a prize.

• But another person might say, I will break this child's leg to prevent him from winning that medal. Indeed, there exist multiple perspectives and standards in this world, and various circumstances force them.

• Schools have a training mode of obedient norms; for example, if you want to participate in gymnastics competitions, you must press your legs for so many hours every day. I think it is a barbaric, inhumane, and foolish training method because it simply aims to achieve an effect, saying that if you do not press your legs, you cannot accomplish this; it does not care why you need to press your legs. The person pressing the legs has no interest in aesthetics; as long as they do not fall from the bar, that is enough.

• Schools are increasingly resembling such a structured social entity; you must not fall; if you fall, it will be embarrassing, and you will be eliminated; if you fall, no one will catch you. This cultivates many inhumane individuals who feel they have entered an environment that is advantageous compared to others, reveling in the fact that most competitors are far behind them, right? This mentality is very Nazi-like; in fact, I believe people are all the same. You begin to disrespect the most basic feelings of people, and then you will obey the standards of those very hypocritical professors in universities.

• Most professors are miserable people; they have no real abilities in reality. These people have neither basic emotions nor behavioral abilities, reciting strange vocabulary in a tongue-twisting manner to make a living.

• Now, where can we get information that we cannot obtain, but must get from their mouths? But if he is a role model for humanity—if only in one aspect, his education is effective; if not, he is not worthy of being a teacher; he is just an extra trouble in your life because you must spend time with him. So education is a significant issue. But usually, many people want to use this to talk about proportions, scales, materials, light, and the transformation of space... but these people are not capable; they are very poor; I do not want to discuss this with them because none of them dare to talk to me about this.

• I believe education and other emotions are consistent; it is a material reflection under those emotional judgments. If you do not have a good emotional state, all of these are very questionable; there cannot be absolute scales. Life may be worse; we may have to deal with disasters or must be in dilemmas. Therefore, human life should not be an absolute state; it is not that we must have a certain number of rooms and square meters; these matters are ridiculous because pleasure is unrelated to this; this is something everyone knows.
  Does this mean that you emphasize those very technical things, space, scale, etc., are unrelated to pleasure and exciting things?

There are too many possibilities for people to choose from. Because we have already stepped out of primitive barbarism, there are more and more possibilities for choice, and more and more possibilities no longer respect past principles.
What is civilization? It means that your material obstacles are fewer, but your inner self remains the same. In the past, it may have been relatively uncivilized, needing to rely on rituals or primitive cultural totems to accomplish things; today, we must rely on our own understanding or character to complete this.
Now, to complete this process requires accumulating experience and providing a set of standards; it will not appear out of thin air. For example, perhaps our judgment standards come from the most superficial scale of space we learned in architecture. Do you think that in the most mundane education, learning these things is a helpful process for our understanding and recognition of the world?
It is effective, but it should continuously emphasize its imperfection. Because you can imagine, if you train a person with an incomplete emotional system to have a very complete set of methods, it is very dangerous; if you hand a quickly sharpened knife to a person without judgment, it is better not to teach them. Good education should be complete. The so-called completeness means that all its various needs can simultaneously support each other; otherwise, it will become biased and turn into an unbalanced object.

If you are interested in architecture, come in and do architecture. What do you think of this phenomenon? Do you think artists have some advantages or disadvantages in architecture?

Generally speaking, architectural thinking does not require architects to do it. It was not necessary in the past. The term architect is a Western term about social division of labor.

• Architecture in China is a set of carpenter's conventions because the best possibilities regarding architecture at that time have already been established. It is related to materials and ethics; it is a fixed regulation, like a chess game with established patterns. Other crafts and details change according to your state and the local environment, constantly evolving within this larger system. Like Chinese furniture, the furniture from the north and south has variations in style but is logically the same.

After the Industrial Revolution, skyscrapers emerged, requiring buildings with greater structural strength; such buildings will also exhibit a structural pattern. There are not many other possibilities. They need to face the density of cities, traffic, and the possibility of comprehensive utilization and coexistence, but I do not think these are very complex issues. In fact, when you walk into a village and see some houses built by farmers, they also utilize many architectural elements, often more reasonably than architects do, such as aesthetics born from poverty, practicality, and temporariness, considerations arising from cheapness, appropriation, or borrowing; these are all very important architectural factors, but the academy does not teach you these. They teach how to be a chef in a five-star hotel, but any grandmother can make a dish that is not worse than that of a restaurant, even if it is just picking a few leaves from the backyard or boiling it in water without oil; it can still be a great dish. Why has it developed so abnormally today—that only dishes served in five-star hotels are called food? That is just nonsense. I think the entire education in the academy is a conspiracy; it says: what is the dish your mother makes at home?
The possibilities for people to choose from are too many. Because we have stepped out of primitive barbarism, there are more and more possibilities for choice, and more and more possibilities no longer respect past principles. What is civilization? It means that your material obstacles are fewer, but your inner self remains the same. In the past, it may have been relatively uncivilized, needing to rely on rituals or totems to accomplish things; today, we must rely on our own understanding or character to complete this.

• Now, to complete this process requires accumulating experience and providing a set of standards; it will not appear out of thin air. For example, perhaps our judgment standards come from the most superficial scale of space we learned in architecture. Do you think that in the most mundane education, learning these things is a helpful process for our understanding and recognition of the world?
  It is effective, but it should continuously emphasize its imperfection. Because you can imagine, if you train a person with an incomplete emotional system to have a very complete set of methods, it is very dangerous; if you hand a quickly sharpened knife to a person without judgment, it is better not to teach them. Good education should be complete. The so-called completeness means that all its various needs can simultaneously support each other; otherwise, it will become biased and turn into an unbalanced object.
  Recently, we heard about Helan Mountain House, which found a place and invited some artists to create a set of buildings. This means that now in China, many people who are not trained in architecture, many people from other industries, are interested in architecture and come in to do architecture. What do you think of this phenomenon? Do you think artists have some advantages or disadvantages in architecture?
  Generally speaking, architectural thinking does not require architects to do it. It was not necessary in the past. The term architect is a Western term about social division of labor. Architecture in China is a set of carpenter's conventions because the best possibilities regarding architecture at that time have already been established. It is related to materials and ethics; it is a fixed regulation, like a chess game with established patterns. Other crafts and details change according to your state and the local environment, constantly evolving within this larger system. Like Chinese furniture, the furniture from the north and south has variations in style but is logically the same.

• After the Industrial Revolution, skyscrapers emerged, requiring buildings with greater structural strength; such buildings will also exhibit a structural pattern. There are not many other possibilities. They need to face the density of cities, traffic, and the possibility of comprehensive utilization and coexistence, but I do not think these are very complex issues. In fact, when you walk into a village and see some houses built by farmers, they also utilize many architectural elements, often more reasonably than architects do, such as aesthetics born from poverty, practicality, and temporariness, considerations arising from cheapness, appropriation, or borrowing; these are all very important architectural factors, but the academy does not teach you these. They teach how to be a chef in a five-star hotel, but any grandmother can make a dish that is not worse than that of a restaurant, even if it is just picking a few leaves from the backyard or boiling it in water without oil; it can still be a great dish. Why has it developed so abnormally today—that only dishes served in five-star hotels are called food? That is just nonsense. I think the entire education in the academy is a conspiracy; it says: what is the dish your mother makes at home!

• "I like you," I just need to say "I really like you," without having to quote a line from Shakespeare to express my feelings. Rational expression is an unequal intersection of two lines from a macro perspective of the universe.
  I do not think it is a matter of technique; it is just that it is of no use to me. If a glance and a gesture can express my feelings, I do not need to say I am knowledgeable. I think most people only have false components and do not possess this knowledge. If today it only requires straightforwardly expressing this emotion, I do not need to go around in circles. It is very difficult for people to clearly articulate what they want to say. I am not hypocritical enough to make my words sound more beautiful; I just need to convey my intention.
  Writing a blog, in such a small space, how much impact do you think it can have?
  The Internet is the best peach humanity has encountered since its birth, since humans jumped down from trees. It truly liberates individuals from the old system and traditional information control. The free acquisition of information and free expression are characteristics of today; with the Internet, individual existence truly begins. What is an individual? An individual is one who acquires information and expresses opinions independently; this is the basic characteristic of human existence. The development of technology has the most direct relationship with human rights and freedom of speech, especially in societies that are relatively rudimentary; the role of the Internet in the flow of information is invaluable.

Are you a person with a strong sense of justice?
Do you generally respond to popular information circulating in society?
Everyone has their own judgment about whether a line is straight or slanted, whether a scale is long or short; some people are just more sensitive to these. When a society confuses these judgments, it is no longer a human realm but a ghost domain.
You once said that if you were to inscribe a line on your tombstone, it should read, "A classic personality split, representing all the cultural expression flaws of that era." Why describe yourself this way?
Equally glamorous, equally graceful, equally charming. The difference is that there cannot be an Andy here, a superstar from an ordinary family with its accompanying value orientation and human shine.
Faced with a world that becomes more and more unfamiliar day by day, he endlessly narrates a cold story: "Beware of what you want; it will truly come..."