Spring Water, Fault, Body / 泉水、斷層、身體
Director: Hanae Utamura, 宇多村英恵
Duration: 00:16:03; Aspect Ratio: 1.778:1; Hue: 71.400; Saturation: 0.014; Lightness: 0.279; Volume: 0.190; Cuts per Minute: 8.287; Words per Minute: 56.012
Summary: Spring Water, Fault, Body, is inspired by the journal entries of Hanae Utamura’s father, a scientist who spent his life researching nuclear energy. Performative, documentary and found footage is overlaid with the memoirs of a scientist who dreamed of peaceful use of nuclear energy during the economic growth of post-war Japan amidst the Cold War; in the aftermath of the WWII atomic bombs and prior to the Fukushima Nuclear Accident of 2011. In this feminist, intimate retelling of this history, the artist identifies the limits of scientific inquiry, the fragile links between humanity and the planet disrupted by single-minded pursuit of technological advancement and the scope of this legacy as crystalizing in a future strata created through ongoing geoscientific research in disposal of high-level radioactive waste in the deep underground.
〈泉水、斷層、身體〉的創作靈感來源為藝術家父親的筆記內容。宇多村英恵的父親是一名科學家，終其一生都在研究核能。這件作品交織著表演、紀錄，以及現成影像，參雜著一名生在戰後日本經濟發展以及冷戰期間、二戰核爆以後以及2011年福島核災之前的年代、幻想和平使用核能的科學家的回憶錄。〈泉水、斷層、身體〉以女性主義的視角，親暱地重述了這段歷史，也呈現科學的限制、人性的軟弱，以及對於科技的獨斷追求如何重挫了整個星球，和未來地底深層掩埋高放射性廢料所生成的地質層。
Supported by Aomori Contemporary Art Center, Squeaky Wheel’s Workspace Residency program
The tree that we see here represents life, and a portrait of a scientist, including that of Hanae’s father. The script is based on her father’s autobiography and the visual vocabulary of the work attempts to extend the notion of family to other species through a deeply personal story. The work explores means to recover our long lost kin and reframe the notion of life across species and geological entities. Trees communicate and live in harmony. For instance, it was thought that trees compete for light in the forest, but it turns out that they actually orient themselves so that they can all share the sunlight, cognizant of the entire forest. The silver ribbons that hang from the tree was chosen specifically by Hanae Utamura as a mediator for the performance that later on appears in this video work, that shines only when light falls directly on it and disappears when there is no light. The ribbons symbolise the interconnectedness of all forms of life, the consciousness of human and non-human, organic and inorganic. The force of nature sustains life and interdependence. The ribbons also mediate and give form to invisible forces including the wind. The wind represents many forces such as the strong force of economy and technological advancement, as well as the force of history. Through the portrait of a scientist and his generation, that was behind post-war influx of development in Japan, she intends to capture a generational perspective influenced by the desire for a strong economy, technological advancement and the entanglements between self-will and choices influenced by historical events. Later in the film, the silver ribbon also becomes a longing or search of human’s lost kinship with nature.
Utamura provides an intimate, embodied reading of a scientist’s journey narrated from a feminine perspective, which brings to focus the civilisational paradoxes in the pursuit of scientific advancement vis a vis nuclear technology. Language is juxtaposed here, spoken in Japanese, translated in English and Chinese characters. The Latin language consisting of alphabets, and linear construction divides the human and non-human into categories. In pictorial forms of language such as Chinese, characters have a way of understanding the world through embodiment. The performance presented here tries to decipher existence by situating the body as a place of negotiation with the world. It is a place for inventing new vocabularies, accumulating forgotten systems of knowledge and rethinking modes of communication beyond linguistic expression to reconcile with what had become separate through rationalised coding.
影片中我們看到的樹代表生命，以及一位科學家的描寫，也就是藝術家宇多村英惠父親，本片劇本根據她父親的自傳，作品的視覺語言試圖藉由一個深刻的個人故事將家庭的概念擴展到其他物種，因此於片中探索了重現已失去親人的方法，並重新構建了跨物種和地質體的生命概念。樹木間相互交流且和諧共處，舉例而言，人們認為樹木在森林中相互爭奪光，然實際上其是為了自己定位，以便都彼此能共享陽光，並意識森林的整體。此片段內掛在樹上的銀絲帶是藝術家專門挑選以作為其後片中表演的中介，只有當光線直接照射時絲帶才會閃爍，當光線消失時便無，絲帶象徵著所有生命形式的互連，即人類與非人類、有機物與無機物的知覺意識，自然的力量維持生命和彼此間的相互依存，絲帶另中介且塑形看不見的力量，好比風，風代表著各種如經濟和科技進步的強大力量，以及歷史的力量。藝術家透過描繪戰後科學家和他那一代人所經歷的高速發展日本，嘗試擷取當時對強大經濟、技術進步的渴望及在自我意志、史實抉擇間糾纏的世代視角。在影片的後段，銀絲帶也將變成一種人類與自然失去親緣關係的渴望或尋找。
從女性的角度，藝術家宇多村對科學家旅程提供了深入且具體之解讀，並將關注集中至追求科學進步的文明悖論，即核技術所相應的。影片中各國語言並列著，日語旁白描述，英文和中文翻譯字幕，由字母和線性結構組成的拉丁文將人類和非人類之間的類別分開，而像中文這樣的圖像語言中，文字透過具像化的方式去認識世界，同樣地片中呈現的表演則試圖藉由身體化為一與世交涉之場所來理解世界，這個場所是一個發明新詞彙、積累被遺忘的知識系統和重新思考超越語言表達的溝通模式之地，以便協調因合理化編碼而剝離之種種。
銀色的絲線是十分引人入勝的物件。女性聲音的親密的旁白，使人注意到這些線條似乎一部分與人的因緣（Nidana）有關，另一部分又像是一個人的生涯成其為生涯的構成過程。包含出生的時代、學生時代乃至於就業時代中，世界發生的各項大事：蘇聯的火箭發射與美蘇的太空競賽、冷戰、核能源的開發。每一件事情都促成了敘事者在生涯中的選擇，以及最後的放棄。
Nidāna
occasion
The silver streamers are quite captivating. The voice of the female narrator makes an intimate claim upon the autobiographical account. The streamers partly evoke “Nidana” ("cause or cause of existence"), and in part also seems to be about the journey of a person’s life or the development of it. Being presented are various major events that had happened during the protagonist’s year of birth, student life, and years in the workforce, including when the Soviet Union launched a rocket, the space race between the US and the Soviet Union, the Cold War, and the invention of nuclear power. Each event impacted specific decisions that the protagonist made in his life and also ultimate relinquishment.
Part I
Portrait of a Scientist
An excerpt from an autobiography of a life-long nuclear power engineer and nuclear safety researcher in Japan.
I was a curious and mischievous boy in my childhood.
In 1957, when I was 9 years old, the former Soviet Union launched humanity’s first satellite into Earth’s orbit, Sputnik 1.
Sputnik barreled through space at 18,000 mph, orbiting Earth every 95 minutes, while transmitting beeping signals, which were broadcasted across Earth.
The forest in Aomori almost becomes a forest in outer-space, perhaps outside of measured time. It reminds us of the opening sequence of Stanley Kubrick's 2001: A Space Odyssey (1968) where a bone tossed by an ape shoots into outer-space and dissolves into a satellite, four million years later. The bone is a tool that morphs into another tool, the satellite. Similarly, the Sputnik 1, the first satellite to be launched into space formed a vivid memory in the scientist’s memory, who was a child at the time. The satellite hurtles forward vertically, transmitting a dream of infinite progress. Verticality opened up a space age with force of capital where material gain and achievement has no limit. The whole world was watching this on the television, as the footage was transmitted across the world, marking the Cold War era space race. Scientific progress was absorbed into the tenor of nationalism, also in Japan.
青森的森林，幾乎變成外太空般脫離時空的森林，這讓人聯想到史丹利·庫伯力克的《2001：太空漫遊》(1968) 開場片段，在四百萬年後，猿人拋下的骨頭射入外太空並溶解成衛星，骨骼除自身為工具外，也是可變形為另一工具，衛星，同樣地，第一顆發射到太空的衛星，史潑尼克1號，對當時仍是孩子的科學家構成了生動的記憶。衛星筆直地向前衝刺，傳遞著無限進步的夢想，也筆直地開啟太空時代，一個資本力量的物質收益和成就沒有限制的時代。全世界都在電視上觀看這一幕，因為這段影片被傳到世界各地，導致了冷戰時代的太空競賽，科學進步被民族主義的基調所汲取，在日本也是如此。
我們重回到青森的森林，銀絲帶在空氣和光線中飄蕩且與世隔絕，這鏡頭中的樹木象徵著失落的萬物有靈論知識體系，已被人類理性實踐下的現代化和工業化所取代。
We cut back to the forest in Aomori, where the silver ribbons drift in air and light, cut off from each other. The trees in this shot signify a lost body of animistic knowledge which was displaced through modernisation and industrialisation—where the powers of human reason came to be crystallised.
這段來自維基共享資源的鏡頭是弔詭的，其並非人造衛星發射時的真實片段而是後製而成，其中唯一真實存在的科學家之臉被抹去，我們從中所見的實際上是一種幻想，它滋養對太空的集體想像，而科學家的觀點是讓倡導者認同自己，即創造者，這與早期為博物館展示而製作的史潑尼克1號高解析複製影像不同，其不僅是一歷史事件之紀念，而是標誌著一位新神的誕生，並以神一般的姿態確保了人類的至高無上。
This footage sourced from Wikipedia commons is paradoxical, as it's not really actual footage from the launching of Sputnik, but an animated sequence where the scientist's face is erased, even as he is the only presence that is real. What we see is actually a fantasy that feeds the collective imagination of space, and the scientist's point of view is where the protagonist identified himself, that of the creator. This is unlike the earlier footage which is a high resolution image of the replica of Sputnik 1 which was created for museum display, commemorating the historical event. This event marks the birth of a new god. It secured the supremacy of humankind, in this god-like gesture.
We cut back to the forest with the silver cords drifting in the wind.
我們重回森林，銀絲帶正隨風飄揚。
The first part of the film is based on an autobiography of a nuclear power engineer
and nuclear safety researcher in Japan. Yet, the nuclear specialist is not an unknown
person but inspired by the artist Hanae Utamura’s own father. So, we can also see poetic
images and performances of a daughter’s intimate commemoration of a father.
Footage of natural sceneries and the narration about the memories of different pets
like dogs, cats, goldfish, and canaries during childhood put together a picture of the pre-
atomic age in Japan.
The way Utamura looks into family members’ past can be associated with artist
Umber Majeed’s In the Name of Hypersurface of the Present (also screening in
Phantasmapolis: Looking back to the future) in which Majeed, during her field research
in Lebanon, came to realise her grandfather’s indirect involvement in the atomic tests
in Pakistan. (source:
https://artviewer.org/screen-in-the-name-of-hypersurface-of-the-present-by-umber-majeed/)
影片的第一部份改編自一名日本核能工程師兼核能安全研究員的自傳，然這位核能專家並非外人，而是藝術家宇多村英恵的父親，因此其中的詩意影像、表演，可視為女兒對父親的親暱紀念，而自然景貌的片段與對童年時期寵物，如狗、貓、金魚及金絲雀回憶之描述，共同構成了日本前核災時代畫面。
宇多村檢視家族成員過往的方式與藝術家溫柏．馬濟德作品《
當下的超曲面》（也在展覽「未至之城：回望未來」放映）有所關聯，馬濟德於黎巴嫩田野調查期間發現其祖父曾間接參與巴勒斯坦的核武試驗。
The water body is Jigoku (Hell) swamp. Air bubbles in the water indicate the birth of will or consciousness. Next scene is the Gudari pond in Aomori, which is the birthplace of spring water. Spring water is a cyclical medium that passes through bodies, trees, all living entities and returns to the source. Aomori is supposed to have the best, tastiest spring water in Japan. From here we switch to another body of water, a stream close to the source which has the purest spring water. Spring Water represents the source of life, but also carries with it the memory of collective consciousness, encompassing within it the wisdom of the world.
此片段內的水域是青森的地獄沼，水中氣泡表示意念或意識的誕生，下一個場景是青森的古達里池，為泉水的發源地，泉水是一種循環介質，流過水域、樹木、所有生命體而返回源頭，青森應有日本最優良、最美味的泉水。從這我們切換到另一個水體，一條靠近源頭的溪流，具有最純淨的泉水，泉水代表生命之源，也承載著集體意識的記憶，蘊含著世界的智慧。
I was surrounded by many pets: dogs, cats, goldfish, and canaries.
It was the same for my neighbors.
It was that kind of era.
When I would finish school, my dog would wait for me at an unattended railway crossing, as if he knew when I would come home.
Even when I came home early, he was there waiting for me.
Trees reflect in a patch of water, encouraging us to dream. The shadowy trees in the water fade into foliage against the night sky, revealing the cruelty of life and nature. Juxtaposed against this is a Darwinian account.
樹木倒映於一小塊積水中，鼓勵我們做夢，水中幽暗的樹影淡化為夜空下的樹葉，揭示了生命與自然的殘酷，對比著達爾文進化論般的說法。
The story of a cat named “Mi”
The predatory cat attacks a rat, providing a sharp contrast between life in Japan in the post-war era when life was raw, unlike Hanae's childhood where everything came to be sanitised and organised. The nature’s law of predator-prey relationship also gestures towards the coloniser and colonised, capitalist logic of development, and how science has aided this civilisational approach.
貓「咪」的故事
這隻掠食性的貓捕捉了一隻老鼠，這與戰後日本原始的生活形成了鮮明對比，在藝術家的童年時代，日本一切都經過淨化與整頓，而這種捕食者與獵物關係的自然法則也指涉殖民者和被殖民者、資本主義發展邏輯，以及科學如何促進此類文明進程。
When my calico cat Mi became pregnant, she started to catch rats.
She brought her prey to my pillow at night.
After I patted her head, she felt calm and loudly ate her prey.
When I woke up the next morning, there was only a tail.
There were also draft cattle, goats, sheep, chickens, and even some White-eyed Warbling.
光源由裂縫出現於黑暗中，體現了經驗主義、理性和工業化，這些推動了日本戰後的大部分發展，然而光是一自相矛盾且包含許多層面的實體，就像言靈概念，為日本人信念的一種，即存在於單詞和名稱中的神秘力量，讓語言或每個單詞都有靈魂，一旦說出這個詞，這個靈魂可進入自我生命，提醒著我們不要濫用語言的力量。
Light emerges into the darkness through what appears to be slit, embodying empiricism, rationality and industrialization which fuelled much of the post-war development in Japan. However the light is a paradoxical entity, that encapsulates many layers like the concept of Kotodama 言霊which refers to the Japanese belief that mystical powers dwell in words and names, that language or each word has a soul. This soul can come into its own, take a life of its own once the word is uttered, as a warning to not misuse the power of language.
Ancient geological Strata from Dekijima seashore, Aomori with a submerged forest which spans 1km. The buried coniferous trees (Yezo spruce (Picea Jezoensis); Jezo spruce & amp; Picea Glehnii) are from 30000-28000 years ago. At the end of the ice age, the big flood buried the coniferous forests like they were preserved in vacuum packing. Ancient trees are still alive because they've been constantly wet.
In the strata, you also find cyanobacteria, the first life form to perform oxygen emission based photosynthesis, emitting oxygen on earth for the first time. Cyanobacteria creates stromatolite. Dekijima is the world’s largest of its kind (thousands of trees are buried).
Here, the ancient buried coniferous trees resemble the goat’s red bottoms, juxtaposing the mammal’s creation of life and the emission of oxygen by the first life form on the earth.
青森出來島海岸的古地質層，有長達一公里的水下森林，是三萬至二萬八年前沈沒的針葉樹林（魚鱗雲杉; 赤蝦魚鬆），冰河時代末期，大洪水淹沒了針葉林，如同被真空包裝一樣，經常性保持潮濕的狀態讓古樹還活著，在此地層中另可發現藍藻，其為地球上首個因進行光合作用而排放氧氣的生命形式，疊層石則是由藍藻沈積堆砌而成。出來島具有世界上最大的沈水林（有數千棵樹木被掩埋），這段影片中，古老沈沒針葉樹好比於山羊的紅屁股，即哺乳動物交配而創造生命，對比並列地球上首次排放氧氣的生命形式。
My role was to milk the goats.
During Spring, when the female goats would seek to mate and their bottoms would become red, we passed over the hills and headed to a place where they would mate.
When the female goats give birth, they would eat all of the placenta.
During the summer, we would cut the wool and exchange it for yarn.
My mother knitted sweaters, trousers, and gloves with a special machine.
銀絲帶由水池向表演者延伸，攝影機的水平運鏡表明了對重新建立與水聯繫之渴望，相比之下，垂直運鏡則表明從水的水平面到天空的垂直面的偏離。
The silver reflective ribbons extend from the waterbody towards the performers. Horizontal camera movement suggests the longing to reestablish the connection with the water. In contrast, vertical camera movement suggests the departure from relating to the water horizontality towards the sky.
When I entered junior high school in Japan in 1960, the Japan – US Security Treaty had recently been concluded.
Humanity began reaching outer space at this time.
And the world was filled with the belief that everything can be explained by science.
In 1962, when I was 14 years old, the first joint Russian space flight with Vostok-3 and Vostok-4 successfully docked.
There was something miraculous, even seductive about Yuri Gagarin, the first Russian astronaut, going to space. At that time, he also didn't know if he would come back alive. There was a great possibility of accident or an explosion.
俄羅斯第一位太空人尤里·加加林的太空旅程帶有一種神奇、甚至是誘人的感覺，那時他也不知道自己是否能活著回地球，由於極可能發生事故或爆炸，但他活著回來了。
E:
“Time in space is completely fused with space,” writes Wang Da Hong in Phantasmagoria, “There is no urgency, nor punctuality, no division.” It is from this futuristic void filled with ennui in outer space, where time stands still, and has no meaning or value, while most of the Solar Empire is in a state of drug induced utopia, that the architect and writer faces the past, confronting a previous life on Earth whose memory still resides with Prince Denoh, the protagonist. I am reminded of the ambitions of Russian Cosmism, where space travel, immortality and resurrection of the past align to erase the premium on time—that all of us individually have only so much of it—seeing the necessity of it being a collectivist experience to realise what its proponents considered to be the ‘real development’ sought by the Marxist project. In Wong Kar Wai’s 2046, a train carries its travellers to the future so that they can find their past. The limits of our imagination is defined by what we already know, what we have been told has already happened. And this is what we continue to manifest in our present. As the clock is ticking on humanity, what we can reasonably expect ahead of us in time is the antithesis of the utopia imagined by Wang Da Hong. The future is a defined period whose conclusion is within sight, where civilizational errors of compounding ecological ruination, development-philic industrialization, heteronormativity, patriarchy, and various paradigms of alienation and marginalization that occupy most of the dominant narratives of written history are to be repeated. It is no longer the endless expanse into which multiverses residing in our present can be projected and redeemed; where optimism may reside. Space travel is the exclusive domain of technocracy in the guise of its billionaire stake-holders and not a collectivist dream, or returning to Wang Da Hong, pursuit for knowledge when all causes of war have been eliminated, as have conflicts of financial interest, ambition for power, and thirst for excitement. Sikarnt Skoolsariayporn’s film Before the Fall Every Movement is Aerobics locates interplanetary configurations right here on earth, in the debris raised by the collapse of capitalist progress, its infinite desire for industrial development and its love of spectacle, represented by one of the tallest buildings on earth.
E: 王大閎在小說《幻城》（Phantasmagoria）中寫道：「太空中的時間與空間完
全融合」， 1 「沒有急迫性，沒有所謂的準時，亦無分岐」。 2 正是在外太空這個
充斥著倦怠感的未來主義虛空當中—在此，時間是靜止的，亦不具任何意義或
價值，而太陽帝國的大部分地區則處於藥物導致的烏托邦狀態—那位建築師暨
作家面對過去，直視以往在地球上的生活，他的記憶仍駐留在主角迪諾王子身
上。這令我想起俄羅斯宇宙主義（Russian Cosmism）的野心， 在其中，
太空旅行、不朽，以及過往的復活聯合起來，消弭了時間的溢酬—我們每個人
都只有同樣多的時間—將時間的必要性視為一種集體主義經驗，用以實現馬克
思主義支持者認為馬克思主義計畫所尋求的「真正發展」（real
development）。在王家衛的電影《2046》中，一列火車載著旅客駛向未來
，以便讓他們找到各自的過去。我們的想像力受限於我們已知的事物，亦即我
們被告知已經發生的事物。而這正是我們當今持續彰顯的事物。隨著人類的時
間不斷推進，我們對時間的合理期待，就是王大閎所想像的烏托邦之對立面。
未來是一段確定的時期，其結果是可預見的，在其中，各種文明錯誤（包括複
合式生態破壞、嗜發展的工業化、異性戀本位、父權制，以及各種佔據書面歷
史大部分主流敘事的異化與邊緣化典範）重複出現。未來不再是無限遼闊，存
在於當下的多元宇宙再也無法被投射至未來，並在其中獲得救贖，讓樂觀主義
得以存在。當導致戰爭的所有原因都被消除（就如同導致金融利益衝突、權力
野心與渴求刺激的原因被消除那樣），太空旅行便成為以億萬富翁利害關係人
作為幌子的技術官僚主義之專屬領域，而不再是集體主義的夢想，也不再是王
大閎所言的知識追求。席堪特．斯古理撒理雅彭的影片〈在崩塌前，一切行為
都是有氧運動〉正是在地球上發現星際結構，確認它位於資本主義進展的崩潰
所揚起的塵屑中，在資本主義對工業發展的無窮欲望以及對奇觀的熱愛中，並
以地球上最高的建築物之一為代表。
這是我們之前看到的泉水發源地「地獄沼」，此為火山地區，水中所冒出的熱氣使其成為溫泉。
This is the same waterbody “Jigoku (Hell) swamp” that we saw earlier which is the birthplace of spring water. This area is volcanic and we see hot gas bubbling in the water making it a hot spring.
The ribbons are now drifting in the air away from the water, even as the performers face it.
銀絲帶正於空中飄揚，並飄離表演者面朝的水面。
行為表演、表演者和水的分離與太空旅行的片段並列，人類慾望和親近開始被他處及能實現物質和領域擴張的技術所取代，影片中表演者向上指向天空，再次彰顯垂直面和對無止境進步的渴望。
The performance, and the severing of the performers and the water is juxtaposed with footage of space travel. Our desires and closeness began to be displaced elsewhere; towards the technology that enables material and territorial expansion. The performers gesture upwards to the skies, again indicating verticality and aspirations for endless progress.
Here we see the performers walking in a line at the edge of the path, almost as if they were walking on a tightrope between the concrete and the forest. If they miss a step they could fall on either side, signifying the risk society that humanity has evolved into. The silver chords are channels to listen to the voice of nature, while also articulating longing for a connection that has now been lost, untethered to each other or other than human entities.
影片中表演者並排走在小徑邊緣，就像在混凝土和森林間走鋼絲般，如果失足，他們可能會跌倒在任何一方，這意味著人類世界已演變為一個風險社會，銀絲帶是聆聽自然之聲的渠道，同時也表達了對現已失去聯繫的渴望，不受彼此或與人類實體之束縛。
在森林周圍的開闊處中，藝術家單獨地向天空舉起銀絲帶，承載著她的身體、她父親的生命，同時身為藝術家、作者也為全人類及其行為負責。
The artist is a lone figure raising a silver cord to the skies in the open fields close to the forest, bearing upon her body, her father’s life and also, as the artist, the authorial figure, taking accountability for all humanity and their actions.
Artist’s decades-old mortal body and the rock formation which holds billions of years of time are aligned to the camera. In contrast to her previous performance video where she takes actions in collaboration with nature and their all-encompassing enormity with repeated gestures, here, she just stands still and tries to listen to the “unheard” in silence.
Artist is standing at 仏ヶ浦 (Hotokegaura), Sai Village, Aomori Prefecture in Japan.
Hotoke means Buddha.
As many of the rocks take their names from elements of Buddhism, the rocky formations are collectively known as “Hotokegaura”, meaning “Buddha Inlet”. Long considered a sacred spot to locals, Hotokegaura is also considered a gateway between the dead and the living, and for spirits to pass between this world and the next. She tries to listen to what has disappeared from culture during the modernisation process of Japan since opening the country to the global neo-liberal economy.
藝術家數十年的肉身和擁有數十億年時間的岩層正對準著相機，相較於之前表演片段，表演者與自然互動並以重複的手勢包羅萬象，然於此處，藝術家卻保持靜止不動，試圖在沉默中聆聽「聞所未聞」，她所站之處是日本青森縣佐井村佛浦，Hotoke的意思是佛，由於許多岩石的命名來自佛教元素，所以這些岩層統稱為「Hotokegaura」，意思是「佛陀灣」，長期以來被當地人視為聖地，佛浦也被認為是死者與生者的門戶，也就是靈魂在這個世界和來世之間的通道，於此藝術家試圖傾聽日本自向全球新自由主義經濟開放以來，現代化進程中文化內消失的東西。
In the autobiography, the father recalls his first encounter with George Gamow’s Big
Bang theory in his teens and how it transformed his understanding of the universe,
then he goes on to discuss the age of the universe. This is where we see a young
man with curiosity in his heart, which later grows into that of a specialist in physics. In fact, in the 1980s there was a Japanese physicist Katsuhiko Sato who published the
significant cosmic inflation theory which has had influences on sci-fi literature and the
themes in comic books ever since.
Here is another association with Majeed’s In the Name of Hypersurface of the
Present (also screening in Phantasmapolis Looking back to the future), when the
concepts of light, cone and time were contemplated in relation to big bang theory.
在自傳中，宇多村父親回憶了他少年時期第一次接觸喬治伽莫夫的大爆炸理論，及這個理論如何改變了他對宇宙的理解，以致於影響了他走上物理研究之路。 1980年代日本物理學家佐藤勝彥發表了具有重要的宇宙膨脹理論，也對漫畫題材和科幻文學產生影響。
這段落關於大爆炸理論，與光錐和時間概念的探討，可以與溫柏．馬濟德作品《當下的超曲面》（也在展覽「未至之城：回望未來」放映）相互參照。
藝術家個體倍增為向行星手勢致意的所有表演者， 附加上嚮往太空的姿態，宇宙的無限膨脹映照著人類無限的野心。
The artist's body multiplies into that of all the performers gesturing towards the planets. Coupled with the gesture of longing for outer space, the infinite expansion of the universe mirrors the infinite ambition of humans.
My world view changed dramatically after encountering the Big Bang cosmology of George Gamow.
That cosmology starts with the birth point of ever-expanding universe, and that the universe became its current size by explosively expanding at a super high temperature.
At that time, humanity did not know the age of the universe.
When I was a sophomore in high school, I stood at the edge of Shiono Cape at Kii Peninsula, and I was able to feel that the earth was round by seeing the edge of the horizon slightly tilted over the Pacific Ocean.
The silver ribbons float in the air as they are tied to the barrier between the boardwalk and the ocean. The scientist’s initial foray into scientific deduction and reasoning were drawn from observing nature and hyper-sensitivity to its particularities.
We witness the calm of the sea right after the typhoon had passed. Under the clear blue sky, the ribbon is blown afar towards the sea. The wind also symbolizes the strong force and rise of economy.
綁在步道與海洋間欄杆上的銀絲帶漂浮在空中，科學家最初是從觀察自然及對其特殊性的敏感而進入科學演繹和推理。
影片中我們目睹了颱風過後海面的平靜，湛藍天空下，絲帶被吹向遠方的大海，風也象徵著經濟的強大和崛起。
At that time, Japan was experiencing high economic growth, and the Olympic Games were held in Tokyo in 1964 for the first time in Asia.
That same year, the first Tokaido bullet train left the station.
Together with the Osaka Expo in 1970, the society was filled with dreams and job opportunities.
When I was a university student in 1969, Apollo 11 succeeded in landing on the moon’s surface.
The rapid economic development in Japan in the 1960s and the 70s, marked a new era for the country after post-war development. International recognition of technological advancement in the country with the arrival of bullet trains were also accompanied by the first man on the moon elsewhere in America. With Japan hosting the 1964 Olympics, celebrating nationalism, strength, valour, endurance and speed, there was nothing that could stand in its way. Humanity could be considered to be infallible. And the possibilities presented by technological advancement (always in the service of capital) was perceived to be endless. It was in this moment in history that the boy decided to be a scientist, that too a nuclear scientist embracing the technology of the future.
日本經濟在1960和70 年代快速發展，標誌著戰後發展的新時代，國內技術進步隨著新幹線到來而受到國際認可，也伴隨著第一個登陸月球的人類。1964 年日本舉辦奧運，慶祝民族主義、力量、勇氣、耐力和速度，不受任何事物之阻擋，人類被視為無懈可擊，而技術進步（始終為資本服務）則帶來無窮無盡的的可能性，正是在歷史的此刻，男孩決定成為一名科學家，一名擁抱未來技術的核科學家。
A strong wind led by the passing of the typhoon symbolises a strong belief in the inevitable force of nuclear technology as the technological solution to humankind’s wants.
颱風過境帶來的強風象徵著對核技術的堅定信念，以及其作為處理人類需求之必然的科技力量。
Nuclear power was believed to be the technological solution to the problem of depleting energy resources.
This became my main reason for choosing my career path.
The class on thermodynamics and reactor engineering was particularly interesting.
My bachelor thesis was on silvering copper plates with particle accelerators.
It was the numerical simulation of hitting the copper plate with the silver ion, diffusing it, and physically silvering phenomena.
表演者持續地被銀絲帶纏繞，且在祝福中彼此相連著。
The performers remain wrapped in the silver chords, tied to each other in bliss.
We see strata and ancient trees that are in the process of becoming fossil at the Dekijima seashore in Aomori. The submerged forest here spans 1 kilometres. The buried coniferous trees (Yezo spruce (Picea Jezoensis); Jezo spruce & Picea Glehnii) are from 30000-28000 years ago.
我們在青森縣出來島海岸看到了正在變成化石的地層和古樹，此處的水下森林綿延一公里，沈沒的針葉樹（魚鱗雲杉; 赤蝦魚鬆）則來自三萬至二萬八年前。
The horrifying Hiroshima bombing in 1945 is touched upon slightly here by
mention of the broken glasses that became embedded into the father’s neighbour’s skin for
more than sixty years. The snow-covered scenes represent the lifeless and resting land.
Ironically, it was after the two atom bombs dropped in Hiroshima and Nagasaki by the
US that the then American President Eisenhower announced the “Atoms for Peace”
program that supplied techniques and knowledge to facilitate nuclear power stations
around the world. Fukushima Daiichi Nuclear Power Plant was the first nuclear
power station built in 1971 in Japan which is now decommissioned because of the disastrous
311 earthquakes and tsunami in 2011. Yet, in the radioactively contaminated area, an
exhibition project “Don’t Follow the Wind” took place in the Fukushima
exclusion zone, the evacuated area nearby the Fukushima Daiichi Nuclear Power
Plant in 2012. Before the project was initiated, one of the artist groups Chim↑Pom
who participated in the exhibition conducted the act of skywriting the Japanese letters
ピカッ(PIKA, onomatopoeia which refers to “flesh,” and is often used as a symbol
for an atom explosion) with a small plane in 2008.
當片中輕描淡寫地提及1945 年駭人聽聞的廣島原子彈爆炸事件與當時嵌入父親鄰居皮膚六十多年的碎玻璃，此時的雪景鏡頭代表了無生機的安息之地。諷刺的是，正是美國在廣島和長崎投下兩顆原子彈之後，當時的美國總統艾森豪宣布了「原子促進和平」計畫，為世界各地的核電站提供技術及知識。福島第一核電廠是日本 於1971 年建成的首座核電站，由於 2011 年災難性的 311 地震和海嘯現已退役，然自2012年起，一展覽計畫「別跟隨風的方向」於福島第一核電廠附近的疏散區，即福島放射性污染之禁區展出，在計畫啟動之前，參展的藝術家團體之一Chim↑Pom於 2008 年以一架小飛機進行了日本字ピカッ（PIKA，擬聲詞，意指「閃光」，常被用於象徵原子爆炸）的天空書寫行為。
I was particularly interested in the fast breeder nuclear reactor, a sort of dream reactor, which was believed to be the solution to fossil fuel extinction.
The company I chose to work for, I chose because it was not producing weapons.
When the bomb was dropped on Hiroshima, the window glass exploded and the glass embedded itself into my neighbor’s skin.
The glass remained there and lived with him for over 60 years.
The leaves in the forest turn orange and red, ready to shed them, also indicating the beginning of the demise of the scientist’s dreams when Fukushima nuclear disaster hit, changing the perception that nuclear energy was docile even if only meant for peaceful purposes. Humanity was undergoing a transformation. Just as the scientist’s neighbour had glass embedded in his body from the tremors that extended from Hiroshima, we were also beginning to morph into a combination of the organic and the inorganic. A bare tree in the snowy winter, holding on to the silver ribbons waving in the wind.
森林裡的葉子轉為橙色和紅色並準備脫落，也預示著科學家夢想破滅的開始，當福島核災難來襲時，轉變了核能是溫和可被控制的看法，即使其目的用於和平，人類當時正在經歷一場變革，正如這位科學家的鄰居因廣島核爆延伸的震動而讓碎片嵌入其身體一樣，我們也開始演變為有機和無機的結合體。一棵光禿的樹上掛著隨風飄揚的銀絲帶於白雪皚皚的冬日中。
Performers are holding glass balls and moving around the glass, the key material to both parts of the film as glass is the main medium identified to solidify nuclear waste, since glass was proven to have the most longevity among all materials.
表演者手拿玻璃球在玻璃周圍移動，這兩片段內的關鍵材料為玻璃，因其被確認為固化核廢料的主要介質，且被證明是所有材料中持久度最長的。
Fast neutron reactor systems have the potential to extract 60 times more energy from uranium compared to existing thermal reactors, and they contribute to a significant reduction in the burden of radioactive waste. Wide progress has been made of late in many countries that are actively developing the reactors and related fuel-cycle technologies.
In the decades that followed the Argonne breakthrough, the concept that a nuclear reactor could “breed” more fuel than it consumed rapidly became a big subject of national research adopted by a handful of other countries, including the Soviet Union, the UK, France, Germany, Japan, and India. Yet to date, only about 20 fast reactors have operated, some since the 1950s, and only one has operated in a commercial capacity—France’s 1,250-MWe commercial prototype Superphenix, which ran from 1985 to 1998, when it was closed on political grounds.
More recently, however, owing to technical advancements and growing operational experience, interest in fast reactor technology appears to have been piqued again. At the end of 2016, Russia put online the BN-800 at its Beloyarsk nuclear plant (a POWER Top Plant winner in November 2016), a project widely deemed the “most-powerful fast-breeder reactor in the world.” At least 16 other fast reactor projects are inching closer to deployment spearheaded by the U.S., France, Belgium, Romania, Russia, China, South Korea, India, and Japan. Two of these projects—Russia’s BN-1200 and China’s CDFBR-1200—could be commercial projects when they come online by 2030.
Source: Rapid Advancements for Fast Nuclear Reactors published in POWER, written by Sonal Patel, a POWER associate editor.
https://www.powermag.com/rapid-advancements-for-fast-reactors/
與現有的熱反應爐相比，快中子反應爐系統有機會從鈾中提取多六十倍的能量，並且有助於顯著減少放射性廢料，近期許多國家在開發反應爐和相關燃料循環技術上取得了廣大進展。在阿貢國家實驗室重大突破後的幾十年裡，核反應爐可生產的能源遠多於其所消耗的能源更多這件事，成為少數其他國家主要研究，包括蘇聯、英國、法國、德國、日本和印度。然迄今為止，大約只剩二十座快反應爐仍運行，有些是1950 年代就建造的，並且僅有一座以商業機能運行—法國1,250 兆瓦商業原型的Superphenix—從 1985 年運作至 1998 年因政治因素而關閉。然而，最近由於技術進步和經驗的積累，對快反應爐技術的興趣似乎再次興起，2016 年底，俄羅斯在其別洛亞爾斯克核電廠（2016 年 11 月POWER Top Plant 獲獎者）的 BN-800開始運作供電，該案被廣泛認為是「世界上最強大的快速增殖反應爐」。在美國、法國、比利時、羅馬尼亞、俄羅斯、中國、韓國、印度和日本的帶領下，至少還有 16 個其他快堆項目計劃即將開展，其中兩個計畫—俄羅斯的 BN-1200 和中國的 CDFBR-1200—於2030 年運作時可能成為商業用途。
資料來源：發表在 POWER 期刊上的<快中子核反應爐的迅速發展>，
https://www.powermag.com/rapid-advancements-for-fast-reactors/，作者 Sonal Patel，POWER期刊副主編。
As I wished, I was allocated to a research department at a nuclear power station, and oversaw the engineering development of the fast breeder reactor.
At the moment, there are many unresolved problems, such as no storage for spent fuel and incomplete technology for recycling.
Due to the government’s abandonment of fast-breeder reactor development, I gave up on my dream of realizing a reactor which would solve humanity’s energy problem.
No one knows, but one day, with nuclear fusion, there may be a miniature Sun on Earth.
The location where the artist was earlier performing alone with silver cords (04:31) is now covered in snow.
The artist walks on a thinly iced frozen water to the direction of the tree from the first scene.
The ice is so thin and it can break at any moment, but it is holding the weight of her body. She is heading to the tree from the first scene with the support of water.
此為藝術家早先獨自以銀絲帶表演過(04:31)的場地，現已被雪覆蓋著。
從第一個場景開始，藝術家朝著樹的方向行進於薄冰水面上。
即使冰很薄，隨時可能破裂，但其仍承載著她身體的重量，並在水的支撐下從第一個場景走向樹。
Gödel's incompleteness theorems
The gap in the architecture serves as a metaphor. Since realising that the development of the human knowledge system and the meta-knowledge system are strong enough, the consistency of the system itself becomes unprovable. The camera’s top-down perspective of the building visually explains the gap. However, such visual explanation may lead to a misunderstanding of Gödel’s incompleteness theorems.
建築的缺口作為一種隱喻，由於理解到人類發展的知識系統與後設（meta-）知識系統在系統本身夠足夠強（strong enough）的狀況下，就不能證明該系統本身的一致性。而鏡頭本身對於該建築物的俯視，透過了缺口作為一種視覺上的說明。不過，這樣的視覺上的說明，有可能會引起對哥德爾不完備定理的一種誤解。
Around this time, I got to know Godel’s incompleteness theorems.
They asserted that human intelligences and cognitive capacities have their limits.
I was in shock because I thought everything could be explained by science and the study of natural laws.
The mathematician Kurt Gödel showed that some mathematical propositions are neither right nor wrong.
It means that there is a defect or fault in the system of mathematics, the most rigorous science.
Since then, I tend to ask myself if there is ever an answer or solution to deep questions.
I got to know that there is a question that can’t be answered within finite time.
We enter the nuclear waste repository underground research centre, which attempts a rewriting of the past. It is in the deep time of future past.
The Horonobe Underground Research Center conducts research and development on geological disposal of high-level radioactive waste and geoscientific research to verify the technical reliability of geological disposal through testing and research conducted in actual deep geological environments.
The basic national policy of Japan is to dispose high-level radioactive waste in the deep underground after extracting usable uranium and plutonium from spent fuel.
The underground research pit is situated situates in 350 meter underground.
我們隨著影片進入了核廢料儲存地下研究中心，這裡試圖重寫過去，並身處未來過往的深層時間內。
幌延深地層研究中心研究與發展高放射性核廢料地質處置和地球科學，通過在深地質環境中進行試驗研究，驗證地質處置技術可靠性。
日本的基本國家政策是從已消耗燃料中提取可用的鈾和钚後，將高放射性核廢料棄置到地下深處。
此地下研究坑位於地下350公尺處。
Part II
Future Strata
Honorobe Underground Research Center
The composition of Hieronymus Bosch's "Ascent of the Blessed"(1505-15) in the mirror image.
The composition of Hieronymus Bosch's "Ascent of the Blessed"(1505-15) in the mirror image.
Situated in Hokkaido, Japan’s most northern island, the center carries out geoscientific research and development and radioactive waste disposal at 350 meters underground.
In a dream, Tomorrow was Yesterday.
Future was Past.
A day, a week, a month, a year, a hundred, a thousand, a million, billion years.
The second part of the film focuses on the Horonobe Underground research center In
Northern Japan. The research center conducts geoscientific studies and is in charge of
the geological disposal of high-level radioactive waste. In this sequence, the camera
moves in a seemingly endless tunnel that is rooted vertically into the earth. This is the
entrance to the different parts of the research center underneath the surface of
the land, and the radioactive waste is placed at the 350-meter-deep storage. With the
hypnosis-like patterns in the tunnel, the monologue contemplates the dream, future,
and past.
This sequence offers a conversation with Rosalind Williams’ book, Notes on the
Underground: An Essay on Technology, Society, and the Imagination. the
underground space can escape from the connotation of hidden shelter with fear
throughout the late nineteenth century and be seen as a tool for envisioning the future.
影片的第二部分聚焦於日本北部的幌延深地層研究中心，此中心以地理科學研究為主要任務，負責高放射性核廢料的地質處置，在這一連串的鏡頭中，攝影機在一條看似無盡且垂直地紮根於地底的隧道中移動，這是進入地層研究中心不同區域的入口，而放射性廢料被放置於三百五十公尺深的儲存庫中，透過催眠般的重複隧道景象，影片獨白思索了夢想、未來和過去。
這些片段可以與羅莎琳．威廉斯的著作《地底筆記：關於技術、社會和想像力的論文》對話，威廉斯論及地底空間如何擺脫十九世紀後期對隱藏庇護所內含之恐懼，並被視為一種展望未來的工具。
A stream of spring water is present underground
Underground construction work elevator station (shaft), entrance to the pit, and Pit passage.
地下工程升降機站（豎井）、坑口與坑道。
地下泉水
We see views of the treatment plant. From the passage to the pit to the Electronic equipment operation system and buffer material block, called Bentonite, for radioactive waste disposal.
我們看到了處理廠內部景象，從坑道到電子設備操作系統和放射性廢料處理的緩衝材料塊。
Fault means responsibility.
Who is at fault?
Buffer Block
Soon-to-be-used Solidified Glass Body Storage Facility of Radioactive Waste
The model displays a solidified container and the glass that would contain the high-level radioactive waste. The outer black part is Bentonite which expands when the spring water leaks in and seals the inner part of the metal and glass permanently. This scene connects with the scene in Part 1 that related the memory of Hiroshima and the glass that was embedded inside the skin.
Here, Earth as body and human body have been juxtaposed, situating the underground world as underneath the skin of the earth.
此模型展示一個固化容器和裝有高放射性廢料的玻璃，外面的黑色部分是膨潤土，當泉水滲入時會膨脹，並永久密封金屬和玻璃的內部，這個場景與第一部分中有關廣島記憶和嵌入皮膚的玻璃碎片片段有關，於此地球作為身體和人體並置—將地下世界置於其土地的表皮之下。
Water marks always make people feel uneasy, which corresponds with the word “fault” which is being narrated. However, the word is soon explained in the shot as: “A fault, in geology, is a crack in the Earth’s crust.”
水痕總是令人不安，恰與敘述文字中的「fault」相映照，而這個字又很快地在下下顆鏡頭被說明：在地質學中，這個字的意思是「斷層」。
Spring water running underground on the wall—where bacteria also lives—which resembles the geological strata at the scene illustrating the mating of goats from Part 1 (00:02:24)
地下牆體泉水流淌，與影片第一部份山羊交配場景中的地質地層相似(00:02:24)。
Scientists are mining the ground further to expand the research field. They sometimes place research samples (replicas of nuclear waste containers) inside and then seal them with the concrete over it. They then observe it to see how the spring water and seismic shifts influence the container to observe its safety.
挖掘地下以擴大現有研究。
Marks left behind by mining at Horonobe Underground Research Center
幌延深地層研究中心採礦留下的痕跡
A fault, in geology, is a crack in the Earth’s crust.
It produces repeated displacements through earthquakes and other ruptures.
Rockslides and fault lines distorted by human activity.
geology
History
The word-play on fault is extended here to highlight the main theme of this video: resources and development. Different decisions are constantly made throughout the human race’s technological evolution. However, these decisions, like a “fault”, will always leave behind visible, documented, and traceable marks. At the same time, it is also possible that decisions that were once considered correct might later be thought of as wrong. Regardless of what choices have been made, people still have to constantly maintain, repair, and monitor the outcomes resulting from historical decisions, similar to the way that people monitor the faults caused by geological progression.
此處利用同一個詞彙的兩種意義：「斷層」和「錯誤」，來擴充本片所關注的主題：能源與開發。人類在科技的演進當中不斷地做出各種選擇，而這些選擇都像斷層一樣會永遠留下可見的、可記錄的、可追溯的痕跡。同時，這些選擇也有可能一度被認為正確，不久後又被認為是錯誤。不管做了什麼判斷，人仍然要不斷地為了這些歷史的選擇結果進行維護、修理、監視，如同人對於地質歷史上造成的斷層所進行的監視那樣。
Human/nature/strata - rockslides and fault lines distorted by mining and eventually, the future strata starts sliding.
人性地層 - 岩石滑坡和斷層線因採礦而扭曲，最終未來的地層開始滑動。
A seismometer is monitoring the buffering capacity of sedimentary rock in relation to diastrophism to estimate the location of the faultline.
地震儀正在監測沉積岩與地災有關的緩衝能力，以估計斷層線的位置。
Earthquake observation system
電梯正在啟動，我們看到研究人員從地下來到坑里。
The elevator is activating and we see researchers coming down underground to the pit.
Pad.ma requires JavaScript.
