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Digital Direction (MA)

Yang Chen (Dim)

Yang Chen (Dim) is an media artist, designer, and developer based in Beijing and London. He is interested in exploring the complex relationships between human cognition, emotions, and our shared reality.

Transitioning from consciousness to matter and from human to machine, his areas of interest encompass:

  • The influence of narrative emotion and STORYTELLING on the collective human subconsciousness and behaviour.
  • The role of physical INTERACTION in brain neuroscience and spatial cognition.The development of methods for visualising and engaging with large amounts of DATA.
  • The use of abstract nodes, graphs, and patterns to establish INTERDISCIPLINARY connections.
  • The investigation of how machine learning can comprehend human CREATIVITY.

He accrued a wide range of experience in product design, data visualisation, and artificial intelligence while pursuing his bachelor's degree in Software Engineering at the Beijing University of Posts and Telecommunications. As a student in the MA Digital Direction programme at the Royal College of Art, he collaborated on intelligent decision systems with Imperial College, worked with a Beijing-based start-up on personal knowledge and information management tools, and participated in exhibitions at IRCAM Paris.

Beyond working as a technical artist, his interests also extend to visual design, synthesizer music, and the fusion of science and art.

Photo of (Dim) Yang Chen

"Hyper-Mythos" is an exploration of the intersection between modern science and ancient mythology. It challenges the boundaries between technology and art, rationality and sensibility. Traversing from 1D data, 2D images to 3D space with complex system and evolutionary networks, this work invites every viewer to reexamine our understanding of the environment, the world, and the ethics of technology in the process of seeking answers.

Is there a new form of digital intelligence that can be explained? How does the human brain understand it? Like Prometheus who stole the fire, are humans gradually acquiring the ability to arrogate to God, since they can fit all the rules through large neural networks, and can rewrite the direction of evolution through genetic engineering and environmental modification?

Through network science and complexity theory, the project seeks to link neuroaesthetics, computational aesthetics and visual art to explore whether the chaotic systems of the generative universe can reflect Escher's labyrinthine game: from disorder to order, a structure made of repeating PATTERNS of this kind, throughout time, geology and genetic formation;

Based on a series of research and interviews with biologists and computational scientists, the project responds to a kind of displacement and internal conflict in contemporary science with the myth of a certain transcendental myth, and how a non-linear, non-hierarchical, non-centralized social structure and knowledge production can be deduced through formal systems, from Adorno's star cluster to Deleuze's tuber, in order to regain the coherence of sense and reason with and the whole connection with the world at large.

See more details on the Behance.

cosmos and nebular scene of hyper-mythos
DNA sequence scene of hyper-mythos
headset exhibition of hyper-mythos
exhibition installation demo of hyper-mythos