Inventing Dreams 發明了 發夢

Science and art are not that different when it comes to the nature and process of their creation. Scientists and artists work in similar ways. They both have to make great efforts of labour and imagination in the process of creation; they create for creation’s sake, striving for perfection and supremacy instead of serving practical purposes. Scientists and artists are, to a certain degree, the same kind of people. While the interests of the former lie in their own experiences that require logic in thinking, the focus of the latter is squarely on themselves – the world is perceived through their senses and expressed through the engagement of their bodies. Yet, as dreamers and idealists who keep a necessary distance from reality, they are able to work free from the restriction of practical conditions and moral codes. They are bona fide dream specialists.

Sigmund Freud believed that the function of dreams is to allow the release of repressed thoughts and impulses and the mind is at its most creative in the realm of dreams. Dreams made by scientists and artists are not necessarily narrative, nor do they function as an after-sleep theatre. As professional dreamers, artists live in a dream-like state of consciousness, projecting their desires through precise technological operations.

The almost innate interest that men have in mechanical components is exemplified not only in their love of building models, but also in their enthusiasm for tools and machines – along with their structured and complex nature comes a sensual side – reflecting certain male archetypes as well as a paradoxical need for complementing/compensating them. The employment of machine and technology is less an exercise of muscles and brawn and more a longing for the softer, more delicate qualities of the female.

Many of the participating artists of the exhibition are currently attending or have recently graduated from the Department of Fine Arts of The Chinese University of Hong Kong . Its all-male line-up stands out as particularly unusual when there are more female students studying arts than their male counterparts in Hong Kong . As well as a showcase of men’s fascination with technology, this all-male presentation is also a screen for the projection of men’s desires through logical, structured means and, less conspicuously, a recognition of or indemnity for the opposite gender.

科學與藝術的發想在創意上並無太大分別。科學家和藝術家的創造過程尤為接近,大家都須投入大量的勞動與想像力;大家都為創造而創造,追求完美和極致,並未必為具體實用的目的而服務。

這兩種人同時都是夢想家、理想主義者;和現實世界總保持一種距離,因此在創造時總不為現實的條件所窒礙,不為世俗道德條件所限。他們是發夢專家。

佛洛依德(Sigmund Freud) 認為夢能釋放人類心底潛藏慾望,亦是最具創造力的表達場所。科學家和藝術家的夢,未必敍事性的,也不是晚上就寢後的劇場;作為專業夢者,他們在清醒的時候仍處於夢遊狀態,他的慾望往往能透過精確的技術操作「投射」出來。

男性對機械構件的興趣可能是與生俱來,這除了反映在砌模型的喜好,也反映在對機械工具的興趣--結講性和複雜性自有其性感的一面--它既反映了男性的某種典型,也在尋求一種反面的補充/補償,機械科技的借用不一定是筋骨肌肉的表現,更可是對陰柔細緻女性特貭的憧景。

是次展覽參展者為香港中文大學藝術系近年的校友和學生,全體都是男性。在香港,以藝術為學習專業的學生皆以女性為主,男性反而是少數;這次是男班組合的特色除了展示一般男性對科技的偏好,也希望反映邏輯、結構手段過程中的慾望投射,當中也希望呈示對異性的認同或補償。