黑格尔在《精神现象学》中指出：“一般来说，熟知的东西所以不是真正知道了的东西，正因为它是熟知的。有一种最习以为常的自欺其人的事情，就是在认识的时候先假定某种东西是熟知了的，因而就这样地不管它了。”在布莱希特看来，间离的过程，就是人为地与熟知的东西疏远的过程。这样一来，从表面上看，这些人或事突然变得非同一般，令人吃惊和费解，自然就会引人深思，并最终获得全新的认识。所似“陌生化“的反映是这样一种反映 --- 它能使人认识对象，但同是又使它产生陌生之感。
Panic in the last World
It has been 500 years since Leonardo da Vinci asked about his body with a ruler. Today we live in a treacherous era, all of which make the imagination of the end of mankind so lifelike. Because of this, we still believe that human beings should be able to cooperate, empathize and coexist as a whole. This is also an era when more and more people begin to call for spiritual power, the whole, the system and the connection to think about human destiny. The body, mind and society shape each other and form a dynamic system of continuous evolution. In the "flow" of change, our "self" is written by our own experience. The body often unconsciously shapes our needs, habits, interests and pleasures, as well as our abilities to achieve those goals and means. All of these determine that we choose different goals and different ways.
search of that sea
"Body theater" is a series of photography works derived from Lin Ran's research on new media drama therapy "immersive drama". Lin ran believes that the body, as the most instinctive and real perception carrier of human beings, connects with the world through five senses of body movements (vision, hearing, smell, taste and touch). The cognition of the world is constructed by the body actions of self and others. This series of photography works takes the body as the medium to change the theater from a space environment to any place, and the body itself is a theater, and every action has a plot. There is a dramatic conflict between the performer's body and body. And the plot clue is not from the story of the photographer, nor the story of the performer, but every audience reading the picture. The plots strung up in the mind of the viewer, and everything related to the viewer's knowledge, experience and emotion, become the picture for the viewer to interpret and create his own story. It explores an open and boundless plot.
Under the guidance of photographer Lin ran, it presents a natural group performance. The props held by actors are also the most common cheap masks in daily life, such as balloons, umbrellas, raincoats, pajamas, etc. The performer shows the character as strange and turns the daily life into abnormal, while the audience views the performer and the final photography with a distance (alienation) and surprise (strangeness) attitude. These performances come from Lin RA's research on Brecht's "alienation" and "Defamiliarization". Defamiliarize an event or a character, strip away the self-evident, well-known and obvious things of the event or character, which makes people surprised and curious. "Defamiliarization" is also a kind of understanding (Understanding - not understanding - understanding), negation of negation.
Hegel pointed out in phenomenology of spirit that "generally speaking, what we know well is not what we really know because it is well known. One of the most common self deceptive things is to assume that something is familiar when we know it, so we don't care about it. " In Brecht's view, the process of separation is the process of man-made estrangement from familiar things. In this way, on the surface, these people or things suddenly become unusual, surprising and puzzling, which naturally leads to people's deep thinking and eventually new understanding. The reflection of "Defamiliarization" is such a reflection - it can make people know the object, but at the same time make it feel strange.
In general, aesthetic experience itself is aroused to make a utopian suspension. In modernism, aesthetic value is often regarded as a call for fundamental innovation, whether as a call for modernization or innovation, whether as a substitute for modernization or revolution, or on the contrary, as a reinforcement of one or both, which has never been very clear, sometimes as a remedy for them. So what we study in these works is a kind of Brecht's theatrical aesthetic photography.