THOUGHT / CONSTITUTION

Ideas & Constitution

From modes of expression to relationships, and from participation to rules. Theory is tested through artistic practice and remains open to revision.

WORKING DRAFT / V0.1

Constitution of Multimodal Art (Chinese)

Six chapters, twenty-six articles: definitions, participant rights, author permissions, rule revisions, work records and cognitive criticism. The full discussion draft is currently available in Chinese.

Discussion draft · Not a final text

This section draws on earlier discussions between the artist and ChatGPT. The Constitution preserves the Chinese discussion draft; these introductions are editorial summaries, not a substitute for the artist’s future essays. The participation mechanisms described here are proposals, not features currently offered by the website. English terminology remains provisional.

Five connected questions

READING MAP

Mode: how is a work perceived?

Painting and calligraphy have visual forms; text may be read or enter sound. Time, place, participant numbers and algorithms need to be distinguished from perceptual modes.

Relationship: how do expressions meet?

Connecting, disconnecting, replacing, mismatching and refusing offer different ways to examine relationships. The presence of several media alone does not establish a relationship as part of a work’s operative structure.

Rights: what can participation change?

Viewing, suggesting, generating and revising should be distinguished by their actual consequences. Participants may also ignore a form, refuse a connection or leave.

Rules: what determines how a work operates?

The available materials, participation procedures and forms of output determine what can happen in an experiment. These rules should be visible to participants.

Meta-rules: who may change the rules?

Permissions, procedures, effective dates and ways to reverse changes need to be specified. Works with different degrees of openness may use different arrangements.

OPEN QUESTIONS

Keep the questions
open.

Under what conditions does a relationship become the work itself, rather than a way of presenting it?
Is a connection an interpretation or an act of creation? Where is the boundary?
When rules can change, how does a work retain a recognisable identity?
How should a counterexample change a definition and the next experiment?

Online feedback and revision proposals are not yet available. Essays, counterexamples and version changes will be added as the project develops.