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戒烟:意义+10 》
2025
Photoshop, jimeng, MJ


Daydaykey graduated from exquisite art educations with subscriptions to professional services such as Adobe creative suite, and ChatGPT plus, because they are rather strict on piracies. Speaking of piracies, he didn't give too much concerns to the copy rights of some of the graphic materials he uses and banking on the fact a heavy filter could do the cover.
He scrolls social media daily and posts unconventional opinions using disguised accounts, while he ponders over some of the stuff he sees and plan to make them into artworks, but what is artwork anymore because there are books such as <the end of art> and <the death of the artist>, which he read not complitely, but something is curtain, they must be more dead now becuase the books were written awhile back.
"Then what am I?" he ponders, "or actually, I don't ponder over such pretentious questions", he concludes.
His eyes are sensitive to OLED screens therefore he uses an outdated iPhone and appreciates it a lot, reminds him of consumption. And yes, consumption, that's a buzz word.
He has a less than ideal romantic life, probably due to lack of out door activities.
He has no pets, and he has no artistic statement.
Daydaykey从过于精细化的高等艺术教育中毕业并拥有多项专业服务的订阅,比如Adobe全家桶、Chatgpt Plus等(因为这些服务对盗版管控较为严格)。他的版权意识较为薄弱,他时常寄希望于P得狠一点可以掩盖他所用素材来路不当的问题。
他每天刷社交媒体,并时常与网友对喷,与此同时盘算把这些遭遇放进作品,但作品究竟是什么呢?有一些书写了<艺术的终结>,<艺术终结以后>或是<艺术家已死>,不太好读,但是总之艺术肯定是死透了。
“那我究竟是什么?我在做什么?”他想,“或者,实际上,我不会思考这么装的问题。”
装让他脚趾抠地,他偶尔也会不小心就装了,但是事后基本都会后悔。
“装是对阶级的向往”,“美好是阶级的可视化”,“但是我们是社会主义国家,理论上来说我们不存在阶级”,“那我们到底在装什么?”
这些论断可能有一定的道理,也可能只是在装,但到底是在装什么?
“cao”


装逼视角:是一种独立于艺术进程之外的,把一切对话、行动、念头回归到人类作为社会性动物的生存行为,并重新阅读其之于生存的关系的一种从自然科学出发的视角。不一定好,我正在代谢这个视角。它的漏洞在于会把自己绕进去。
比如,如果我们追求的是不装逼的、纯净的、真实的表达,那这种不装逼就带有某种不为生存而去做出虚假表达的英雄主义的高贵感。也就是我们俗称的“keep it real”。那这个高贵感又是从何而来?为什么英雄主义就是高级?无非就是英雄不为了表面的得失而折腰且依然能够存在,所以“英雄”代表了某种基因上的或是生存资格上的优越,这种优越既高级,既逼。那我们追求这种高级也是装逼。“Keep it real”中的“keep”就是庸人装英雄的动作。那究竟有谁是不用keep就real呢?大概只有无知,不知道在real之上有什么东西的时候才能不费力气的keep就real。而在知道了real之上有什么的时候就必须要把这个事情想通透并且要抵制巨大的诱惑以至于用理智去克制基因最底层的生存的冲动——做出终极的牺牲,才能real。然而,这个抵制、克制的动作就是keep,就是装。所以那么多艺术家哲学家自杀、疯了就是这个原因。他们追求real却越追越装逼,甚至发现不死不足以不装。所以尼采才搞出来了存在主义给自己的苟活找了借口,装了一半不装了,承认这件事情的不纯洁,差不多,中庸,世界如水、漂我在上,看起来装一点也无所谓了。
艺术进程(draft):生物性驱动的语言和生存游戏-----》玩的前提是场域、社群的集中-----》场域被算法去中心了-----》一种终极答案
讨论的语言(draft):从任何字眼出发去讨论任何问题----》学术语言的局限性











and here is me benchpressed 45KG:
daydaykey 祁天天
userfriendly interface operator, recreational player of meaning and formality, one observational ape, hobo 用户友好界面操作员,意义和形式的娱乐玩家,观察猿,无业游民
1994-7-7 born Chinese, male, based in Kunming 男,中国,在昆明宅家
2000, first place in shoe-tying competition, Baoshan Kindergarten 系鞋带第一名,保山市幼儿园;
2001, “Good Child of the New Century”, Baoshan Kindergarten “新世纪好儿童”,保山市幼儿园;
2002, “Well-Behaved Student”, second grade, Baoshan Yongchang Elementary School “文明学生”,保山永昌小学;
2002, fourth place in rope jumping, second grade, Baoshan Yongchang Elementary School 跳绳比赛第四名,保山永昌小学;
etc. 等等。
2016, BFA, Illustration, CCS, Michigan 纯艺术学士,插画,创意研究学院,密歇根;
2019, MFA, Graphic Design, ACCD, California 纯艺术硕士,平面设计,艺术中心设计学院,加利福尼亚;
2023, MRes, Creative Computing, UAL CCI, London 研究硕士,伦敦艺术大学创意计算研究所,伦敦;
etc. 等等。
*** existential ponders***
“Did he just refered to himself as he?”











