扩散，2024，3D 数字渲染影像与AIGC影像结合，7'09"，尺寸可变


《扩散》探讨摄影、AI扩散模型与死亡的幽灵学关系，以及核辐射带来的历史创伤。摄影术在东亚早期常被视为捕捉亡魂的媒介，而AI扩散模型通过噪声生成图像，却常伴随畸形“故障”，宛如数字幻觉。艺术家将其与19世纪的“幽灵摄影”并置：这些意外显影的幻影，或许是技术偶然，也是集体恐惧与被遗忘记忆的显现：摄影师困于长崎的辐射梦魇，比基尼环礁的河豚将死亡影像刻入底片。摄影如幽灵般回返，提醒生者铭记时间与创伤。

This artwork explores the hauntology of media, linking early photography, Al diffusion models, the dead, and nuclear trauma. In East Asia, early photography was seen as spirit mediumship, capturing the deceased. Today, Al image tools transform visual noise into coherent imagery,echoing this logic. Early Al glitches-extra limbs or distorted bodies-recall nightmares and 19th-century spirit photography. The work asks: are these apparitions mere accidents, or traces of collective anxiety and historical suffering? The film follows a tormented photographer haunted by the Nagasaki blast, conflating Al visions with dreams, while a radiation-scarred pufferfish leaves its spectral imprint-photography as a lingering phantom of time.