蒋志|Jiangzhi » 2011

A Thought Arises

admin — Mon, 06 Aug 2012 12:42:06 +0000

以观念摄影和录像作品闻名的蒋志此次带来了色彩明丽的大型系列油画新作。作品看似呈现出对上世纪60、70年代美国锋刃派（hard edge）抽象绘画的映射，但是，艺术家完全否认它们是抽象绘画。图像最初是用鼠标在一台有故障的电脑上制成，通过在显示器上移动对话框，交错叠加的图案与优美的构图逐渐显现。艺术家表示“这是一个被瞬间激发而现的世界，也是一个随时都可被更改和另建的世界。更脆弱，更偶然，更无常，更短暂。”这些在有显示故障的电脑上用几个简单的手部动作渲染出的具有瞬时性的图像，再被艺术家一笔一笔精细地描绘在超大尺幅的画布上。颇具冲击力的图像不仅是对数字时代下非写实绘画的一种带有讽刺意味的回应，也对电脑作为具体信息来源的地位提出质疑。与绘画同时展出的还有一个录像和一件摄影作品（6幅），这些作品穿插在一系列大型油画中，帮助大家更好地理解蒋志艺术创作中观念和心理层面的核心要义：录像作品《片刻之光》中，镜头记录了一束阳光偶然通过一张不经意留在某处的玻璃纸在时间流逝的过程中的反射轨迹；而摄影作品则用1-3根缝衣针设置出多种组合存在。与展出的绘画作品一样，录像和摄影作品都暗示着事物序列的脆弱、易变且转瞬即逝。全观展览“一念”中的这些作品，似乎让人们更真切地感受到我们日常现实背后转瞬即逝却令人印象深刻的能量。

Known for his highly conceptual photography and video works, Jiang Zhi presents a new series of vibrant, large-scale, oil paintings. These works, which seem hark back to American hard edge abstract painting of the 1960’s and 70’s, were originally composed with a computer mouse on a malfunctioning PC. By moving the dialogue box across the broken-down computer monitor beautiful compositions and intertwining patterns emerged in its path. However, Jiang Zhi does not consider these images are abstract paintings. The artist states that “This is a world that appears by sudden inspiration; a world that can be changed and renewed at anytime. It is vulnerable, accidental, and transitory.” These instantaneous images, which were rendered with simple hand gestures on a distressed computer terminal, have then been meticulously painted onto extra large canvases. The stunning results are not only an ironic response to the legacy of nonrepresentational painting in the digital age but also an inquiry into the computer as a source of concrete information. Shown in tandem with the paintings are a video work and a small selection of photographs (6 pieces). These works display with the paintings and help to reveal the true psychological and conceptual tenor that is central to Jiang’s work. Like the canvases, Light of Transience, a video which depicts the trajectory of natural light through a reflection of cellophane over the course of an afternoon and the photographs of 1 to 3 needles ordered in various compositions, help to indicate the order of things as a fragile, malleable and fleeting condition. Seen together the works in A Thought Arises reveal the impressionistic and transient energy that lies behind our experience of reality.

上海沪申画廊

SHANGHAI GALLERY OF ART

2011.11.26__2012.01.05

It Finally Made “Me” Malfunction

admin — Mon, 06 Aug 2012 12:10:22 +0000

by He Wenzhao

… …

Here the ellipsis is a confession, showing the author is in an awkward predicament. He doesn’t know where to start with and words seem to be frozen on his lips. He hesitates and begins to stammer: “… …”— That’s true. When I think I heard some special sound from his work and fully catch the meaning of it, when I felt so confident and am about to write the essay, all of a sudden I find Jiang Zhi makes me headache, speechless and even nervous. The severity and duration of such symptom even make me doubt if I am actually the most unsuitable candidate to comment on this artist.

After numerous times of revisions, deletions and start-overs, I finally decided to go back to the origin. Once again, I chose the original title that emerged in my mind: It Finally Made “Me” Malfunction. That’s right. It can be seen as a confession by someone with asymbolia. But it also contains another layer of meaning. I want to prove that such a “confession”, a show of “weakness” in a sense, originated from Jiang Zhi’s work.

Except Everything is So Perfect (photography series, 2007), the other two sets of works put on display were exhibited elsewhere before. Light of Transience (video, Dec, 2011) was exhibited in Guanxi: Contemporary Chinese Art twice. Some pieces of the oil paintings series (2010-2011) were exhibited in two group shows this year under the name of Untitled. – Apparently they didn’t cause any anxiety or confusion back then. Light of Transience features Jiang Zhi’s all time subtle and sensitive expression of time and light, and Untitled is a straightforward representation of abstract painting. Things take place as a matter of course.

Then, what makes me feel it so difficult that I finally malfunctioned and was not able to get rid of such an awkward state?

The problem may lie in the fact that I fail to convince myself to fully accept any fixed concept of pure artwork. AnEdenstructure is not tolerable. I’m inclined to put the “me” as a viewer at the position Roland Barthes put forward. Art can manifest any possibilities in its form as freely as it wants even at the furthest margin of the world. Nevertheless, its content would remain in the blank until it meets “me”. The “me” would gradually take the position of “history of psyche” and finally integrate seamlessly into the form manifested by art. – Obviously, some frustration showed up at this point. Jiang Zhi used to entitle the oil painting series Untitled. But later he gave them specific names (Pathetic, Content Control; Void, Try Now; and Page Not Found, Even Darker, etc.) These paintings combated the presence of “me”, making “me” unable to find the position that theoretically, was supposed to pop up. Moreover, as the artist didn’t consider them as abstract paintings, and in fact, they were not abstract paintings indeed, the way of escape for “me” to resort to certain chapters of art history was also cut off.

It’s inevitable that things didn’t take place as a matter of course.

Before the creation of this series, whether it was poetic imagery, straightforward desires, sharp sarcasm about politics and consumer culture or fables alluding to the reality, Jiang Zhi had always engaged himself in the writing of visual prose teeming with power and his signature personal style. In other words, without strong internal force to push him to make a new move, he had every reason to continue and further his exploration in his original visual prose. – If that’s the case, we probably won’t see this recent oil painting series. The “me” of artist is the same as the “me” of viewer: when there’s no obstacle or challenge, self-content is an easily accessible comfort zone.

The changes in the titles of these oil paintings show that the “me” of the artist sank into a state of anxiety and upset. The idea to make such a series originated from the artist’s attention to the problem of overlapping images on his malfunctioned computer. It was the implication he saw from such overlapping images rather than the form or pattern that had caught his attention. To him, such images could be seen as a break, a pause and a protest to those who made the request. In a sense, it’s like a surrender. It was better to acknowledge that to the world I see and even to myself, “I” had no reign. To give in to the state of ownerlessness was a sensible choice to make.

Based on such understanding, now it’s safe for us to say that what Jiang Zhi presents is not “painting”. – Those on the canvas are different aspects of “me”: the exhausted “me”, the distressed “me”, the vacant “me” and ultimately, the malfunctioned “me”.

All that used to be featured in Jiang Zhi’s art, such as light and poetic sense, seems to go into hiding in this new series of oil paintings. The brilliant colors, various lines and maze-like composition all reflect what “I” think about. In a sense, he was both an artist and a viewer during the creation process. The works show what he saw instead of what he created. Page Not Found, Even Darker and Silence, More Search Entries and the like all fall into this category.

As I mentioned before, Jiang Zhi’s art practice can always attract wide attention and stimulate discussion among a wide range of viewers. He’s good at creating a field of discourse, within which his sensitivity and creative representation of “light” is the most eye-catching. Through his years of consistent efforts, he has captured almost all possible properties of light: violent, redemptive, dramatic, poetic, natural and aesthetic…

Compared to Light of Transience, his previous works tended to emphasize more on the sense of interference and experiment. However, the powerful and even somewhat aggressive “me” of the artist is nowhere to be found in the 37-minute video. It gives out a kind of reserved anxiety. In the video, light is no longer an object in the aesthetic sense. Instead, it is represented as a marker of fleeting time. Transient as it is, it helps people to witness in person the existing and yet invisible force.

The video was filmed at the artist’s house. The trajectory of natural light (through a reflection of a piece of glassine) gradually changed as time went by. Sometimes, it looked so beautiful. Sometimes, it looked so complicated. The artist didn’t endue the image with any intentional implication. Neither did he do that to the orchid at the corner. Viewers may sympathize with the subtle and yet inevitable changes, but the video neither encourages nor inhabits such an impulse.

Nothing but the sense of time and its silent endurance is highlighted in the video. Under an intense gaze, the “me” turns to be weak and dim, as if it is running out of sense of existence. Ambience teeming with unspeakable grief and unstableness overwhelms the image, turning any gaze upon it into a kind of transitory trace.

At this point, it seems both the “me” of the artist and the “me” of the viewer show signs of regaining their vitality, which can also be confirmed in Everything is So Perfect. Then it leads us to ask the following questions: What makes Jiang Zhi willing to present the oil painting series that has been kept from public attention for four years? If the “me” inside the artist doesn’t encounter some kind of unprecedented frustration, does he need to put forward another possibility of his art?

Featuring needles and a table (which looks like a piece of canvas), the photography series gives out a sense of order and perfection. Just as the title indicates: Everything is So Perfect. For the first time, the unique poetic sense and intelligence of the artist are embodied in a simple and crisp way.

Needles (3 at the maximum and 1 at the minimum) are ordered in different but simple configurations at the same place of the table and photos are taken from the same angle. If seen separately, the six photos taken this way are six little poems. If seen collectively, they construct a simple and yet elegant prose (featuring more than one narrative). These needles can be deemed as metaphor of human beings. The different configurations of needles correspond to different types of interpersonal relationship. Any changes to the order of the photos would lead to completely different interpretations of relationship. If people are interested in ordered series of numbers, these images can offer them a landscape featuring mathematical logic. If seen from the perspective of abstraction, the right angles, diagonals, straight lines, color blocks, sense of volume and shadows will change according to different types of reading and will lead viewers into utterly different worlds. – Nevertheless, all these complicated orders and possibilities can be restored to a beautiful picture anytime.

The sentimental and poetic sense revealed in the image is both warm and detached. Most importantly, it is colloquial and doesn’t have any grand narrative ambition. Hence, the body movement required to put everything into order becomes a kind of unique grammar at the artist’s disposal and it becomes traceable within the gaze of viewers. Following such movement, viewers gradually feel the presence of “me”, the “me” as an “object”.

Transient as it is, the “me” is present.

And then what? As poet Gu Cheng wrote in Last Words:

Life is simple

Death is simple

Fall into the water

Grow on the trees

He Wenzhao

2011-11-10

终于使“我”运转不灵

admin — Mon, 06 Aug 2012 11:56:49 +0000

……

在这里，省略号是一个招供，意味着作者的狼狈，他不知道从何说起，欲言又止，或结结巴巴、吞吞吐吐：“……”——这是真的，在我因为自以为听到和理解了其作品中某些特别的声音，并开始信心满满地撰写这篇文章的时候，蒋志突然变得让我头疼、失语、甚至紧张。这一症状的剧烈程度和持续时间，甚至都让我怀疑，自己是否正是评论这位艺术家的最不合适人选。

也因为这样，在几次三番更改、删除、重拟之后，我决定回到原点，重新起用这个最初浮现在我脑海的题目。是的，没错，“终于使‘我’运转不灵”——最低程度，这可视为说示无能者（asymbolia）的夫子自道，但对此一短语，我还另有指望，即证明，这一“承认”，这一“示弱”的声音，同样来自并内在于蒋志的作品。

除了《所有的事物是那么完美》（2007 照片系列），这里展示的其它两组（件）作品，都在不同的场合展出过。——《片刻之光》（2011.12 录像）曾两度现身“关系”展，而呈现在此这组布面油画（2010-2011），也有部分作品以《无题》为名，出现在了今年早些时候的两个群展中。——但很显然，它们并没有引起任何人的不安和疑问，《片刻之光》与蒋志一直以来对时间、光线的敏感表达相关，而《无题》，则可以毫无困难的进入抽象绘画的解读程式：这一切看起来都顺理成章。

那么，是什么让我觉得如此困难，以至要一脚踩进“终于使‘我’运转不灵”的逻辑泥潭？

这里的问题也许是，我无法从根本上说服自己顺从一种纯粹作品的观念，不能容忍事情回到一个伊甸园结构，将艺术家提供的景象从流刑地召回，将之安放在一个“无我”的理论殿堂中。相反，我倾向于将作为观者的“我”置于罗兰.巴特式的位置，让艺术在其最为遥远的边际也依旧得以自由地展现其形式，而且只展现其形式，并确定其内容在遭遇“我”之前能一直处于空白与虚位，直到“我”占据了“历史或心灵（psyche）”的位置，并最终溶于艺术家所展开的形式。——显然，这里出现了挫折，蒋志曾经以《无题》名之，而后又以确定命名——《悲怆，内容控制》、《虚空，立即尝试》、《无法访问，更黑》，等等——出现在这里的那些画作，抵制和消除了“我”的到场，使“我”找不到理论上应该随机出现的那个位置，而且因为艺术家并不认为这是抽象画，事实上也不是抽象画，而同时截断了“我”返身向艺术史个别章节请援的道路。

无法加入“顺理成章”的队伍，势所必然。

至少在这一组作品之前，无论是其显而易见的诗意，还是不加掩饰的欲望，对政治和消费文化毫不客气的讽喻，甚至不惧其惨烈、痉挛，不详与谶纬的寓言，蒋志在不管何种形式的作品中，都一直在企图并成功的建立其强烈和富有个性的视觉文体。这也就是说，除非有更为强烈的内象相为促迫，他完全有理由顺理成章的延续与深化他的这些文体，编织和拓展其形式的边界，继续引发他者无穷无尽的理论冲动并始终保持其亢奋——而如果这是可能的，他的这组绘画，大约就不会发生：因为艺术家的“我”和观者的“我”一样，当其毫无障碍的时候，对于任何欲念、理论、事件、问题式或征兆，都会其应如响，立刻出之以合理化解读或充分自足的意象。

但就像这些油画前后不一致的命名一样，从无题到有题，从对抽象化解读的沉默到以具体命名的回应，艺术家之“我”显然也陷入了某种焦虑和不安的情境当中。而且，正如这些画面最初源于艺术家对故障电脑出现的拖影现象的注意，但其“注意”的焦点在于这些拖影的意味——即一个暂时的隔离，休克，信息过载以后的一次喘息，休止，一次对予求予取之徒的抗议和怠工——而非其形式美感或图像形态：“我”之不安，“我”的不回应或失灵，也意味着艺术家经历的怨恨憎爱别离在内象中的淤积和堆集已经无从图解，与其勉强维持“我”对内心与物象濒于崩溃的统治，不如还于无主，承认“我”之于“我”，之于“我”所见的世界，除了彼此象征，别无联系或权力关系。

也只有理解了这种象征关系，蒋志所呈现的这些巨幅画面才真正进入可见物的序列，而且这种可见与绘画的必然相关也可以解除无虞，而且进一步的，我们可以放心的指认，这不是“画”。——这是留在画布上，但永远无法成为画的疲惫之我，忧伤之我，空白之我，以及失去指代能力的，终于使我失灵之“我”。

光线、诗情，似乎一切在蒋志的艺术中的生效和运行着的元素，在这一组布面油画中都隐匿了，这里的斑斓色彩、丰富线条、迷宫般的构图，都是“我”在想，“我”在以为。而这里的“我在”，是艺术家和观者共构的场域，换言之，艺术家同时也就是观众，不是他创造了什么，而是他看见了什么。他看，及他的看，及他用以对此“看”进行虚拟占有的署名：《无法访问，更黑》，《沉默，更多查询》……

就像前面提到过的，蒋志的艺术实践和创作从来不缺乏讨论，甚至相反，其作品总是能引起多方面的兴趣和理论冲动，从最柔软的抒情到最刚性的论断，从艺术批评的考证到社会学者之援引，一个时而杂乱时而澄澈，但始终兴致勃勃的话语场，一直在围绕和伴随其形式的展现，而将倍数于此的“历史与心灵”代入。而其中，尤以他对于“光”的敏感和创造性表述引人注目，在他持续数年的一系列作品中，近乎穷尽了其所有可能的属性：暴力的、救赎的、戏剧和诗意的、自然的与美学的……

此前这些作品，如果与展示在这里的《片刻之光》相比较，似乎都更注重某种干预性和实验感，艺术家之“我”以一种强烈甚至具有侵略性的姿态呈现于此中，这在此一时长37分钟的影像中几乎是看不到的。在这一不安但内敛的作品，“光”不再主要是一种美学主体和对象，而是成为时间与流逝者的惊鸿一瞥。这一瞥的意志动摇生者但也安抚生者，并向感受到这一目光的人提供了某种契机，使得人在巨大的缺失与转瞬即逝的顷刻依旧能够站立，并找到某种尽管虚弱但确实存在的秩序。

在艺术家摄制于家中的这一video中，墙面上的光线（事实上这是一张玻璃纸在自然光条件下的反射）在时间一分一秒的流逝中悄悄改变着形状，它时而很美，时而很复杂，但图案本身并没有被加诸任何表意功能，角落里那盆兰草亦复如此，尽管观者可能会有将之视为自我替身植入这一影像中的恍惚冲动，但它本身对这一冲动既不肯定也不否定。

这里所及的物象，除了时间及其隐忍，别无他物。凝视之下，“我”变得稀薄、黯淡，似乎正在耗尽所有的存在感，而一种巨大和无法找到喻体的伤逝之情与不稳定感，则正在使任何留驻于此的目光变成一种余物和遗留。

至此，无论是艺术家之“我”，还是观者之“我”，似乎都正在历劫归来，如果还没有开始有效运转的话，至少也有了某种重新活跃起来的迹象……而正是这征兆，也出现在了蒋志这里首次展示的作品里——《所有的事物都那么完美》，这一作品创作于2007年，但直到四年后的今天，艺术家才找到了一种内在契机以支持他公开这些作品（对此的讨论可以是另一篇论文）。

正如作品标题所示，这组以针、桌角（疑似绷好的画布），以及冷灰色背景墙面作为元素的摄影，无论是其构图、颜色，还是整组作品给人的有序感，都显得极其淬炼和完美，而且蒋志独有的诗意与机智在这里第一次以如此短而响亮的“语法”出现。

在桌面的同一位置，将针（最多时候3个，最少时候1个）以不同的方式排列组合，并以同样的角度予以存照。通过所得的六帧画面，艺术家为观者提供了一种既可独立为诗，又可缀连为文（还不止一种叙述），但其美感却高度抽离而又富有表现的图像。在这些图像中，针可以简单的读解为人的隐喻，如是，针的排列方式便与人的存在关系相关，这里，对画幅顺序的任何一次调整，都可以带出对存在关系截然不同的表述；同样的，如果有人从对其数列的兴趣出发，那么，这些图像也能够提供观者以一个由数理逻辑及其哲学构成的世界景观；而如果把构图与画面元素抽象化，那么无论是以直角、对角线，直线的几何方式，或是从那些色块、体感、阴影的绘图美学，其所抽象的主体对象或结果，随着句读方式的改变，都会将观者带入完全不同的世界中。——但所有这些复杂的序列和可能性，都可以在任何时候还原为一张美妙的照片。

这里的抒情性和诗意，既温暖又冷峻，但绝对口语，也没有任何史诗企图。正因其如此，艺术家对此一一排列所需的身体动作成为一种具有体感和姿态的句法，并在观者对图像的观看中变得可以跟随：通过这种开始只是幽灵般的跟随，观者渐次感到了“我”的脉象，不但在观看关系中作为物象存在，而且，“我”正作为“物”在场。

尽管这一短暂物的短暂在场，可能依旧只是幻象，但至少有一个这样的顷刻，“我”到场了。

然后呢？然后正如顾城所写《绝字》：

生也平常

死也平常

落在水里

长在树上

和文朝

2011-11-10

The God of the Small Things 微物之神

admin — Sat, 17 Dec 2011 17:35:55 +0000

《微物之神》

2011

装置

材料：手电筒

The God of the Small Things

2011

installation

material: torch

2011 Painting

admin — Wed, 12 Oct 2011 12:47:54 +0000

不朽的截图之一 Cropped – Immortality No. 1
2011 布面油画 Oil on canvas 220X300cm

不朽的截图之二 Cropped – Immortality No. 2
2011 布面油画 Oil on canvas 220X300cm

法则的置顶之一 Sticky Post – Rule No.1
2011 布面油画 Oil on canvas 200X230cm

法则的置顶之二 Sticky Post – Rule No.2
2011 布面油画 Oil on canvas 200X230cm

无法访问，更黑 Not Found – Darker
2011 布面油画 Oil on canvas 160X300cm

隐私，反复预览之一 Preview Repeatedly –Privacy No. 1
2011 布面油画 Oil on canvas 150X200cm

虚空，立即尝试之一 Try Now – Void No. 1
2011 布面油画 Oil on canvas 225X300cm

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有故障的显示

这些绘画作品来自显示系统故障，当我拖动对话框时留在屏幕上的图像，它经过的轨迹不会消除，除非再次经过而覆盖它。（其实说故障和错误是不准确的，它只是电脑当时的一个状态，虽然电脑会跳出一个警告说，这里出现一个错误，但这不是电脑想说的，是人为的判断。）

这些轨迹形成了图像，进而形成了一个“世界的景观”。它看起来，像是来自一个内在的、有抽象意味的世界。这是一个被瞬间激发而现的世界，也是一个随时都可被更改和另建的世界。更脆弱，更偶然，更无常，更短暂，

为什么说“更”呢？它比较的对象，是我们所谓的“外部世界”吗？是的。

外部世界是如此坚固，接下来，是一个问号。

对于外部世界，我们永远无法直接看到。

因为既然我们无法接触到真正的“外部世界”，它是否存在就被永远存疑了。

我们得到的，都是自己的世界。

每个人只是在看着自己的显示屏，而且那个“显示屏”的显示，都是自示的（见就是自现）。

这个“显示屏”所显示的，这一切，我们称之为“世界”。

而“自己”，说到底，它随时随地都可以／可能成为“另一个自己”。我们在不断地形成另一个自己中度过自己的一生。

它们不是抽象画，理由是，第一，我是对电脑出现的画面写实。第二，产生这些形象的主体，电脑（这个无心的机器），它才不去分辨和判断什么是抽象或写实呢。

那它们是写实吗？所谓的实，在哪？

它是不是绘画对我来说并不重要，之所以要用油画颜料在布上塑造这些表面，是我需要更为“物质化”的媒介，当然，物质是无足轻重的，但我，我们，通过物化，来质疑物化的源头，这是一条便利之道。

这是早两年“表态”展系列的延续，在“表态”展中，针对的是感觉。笑，哭，娇羞，愤怒，颤抖，鸡皮疙瘩………正因为我们产生了这样的生理感觉和反应，我们觉得它们来自“真实的自我”，进而确认“真实的自我”潜伏于“我”，这样搭起一个“真实”的桥梁，视那些使我们产生如此生理感觉和反应的对象／事件的判断为真，进而我们相信那些对象／事件／世界为真。但对人来说，没有客观。

对感觉的观察，使我走到对感觉的对象的源头的观察之路。

所以，我要否定我开始所说的。

这些绘画并不是来自电脑。

蒋志2011/10/10

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Faulty Display

This group of work derives from images of “system errors” from my computer screen. When I drag the conversation bubble on my computer screen, it leaves a trace but does not cover up previous images unless it is overlapped by another image. To call it an “error” or “mistake” is incorrect, as the “system error” warning only appears as an operation status of the computer which is due to our own action and judgment.

These traces become images and are shaped to form “a Vision of the world”. They seem to come from an internal and abstract world, which is created instantaneously and can be changed and renewed any time, but it is also more vulnerable, accidental, fugacious and transitory.

Why “more”? Is it because we compare this world to the “external world”? Yes; however, is the external world truly permanent? Yet another question.

For the external world, we can never see it directly. If we can never truly experience the external world, does it really exist? What we can attain is only our own world. We each stare at our own computer screen and what we see, perhaps, is only a reflection of an illusion of our own representation. What our computer screen shows is what we so-called “our world”.

But in fact, what I call “myself” can, in actuality, be turned into “another self” any time and any where. We are constantly transforming into another self through our entire life.

These are not abstract paintings. First, these paintings are based on actual images of what the computer screen shows. Second, an unconscious computer cannot distinguish and judge what is real or abstract.

Yet, are they realistic paintings? If so, what is real and where is reality?

Whether it is a painting is not important to me. The reason why I painted is because I needed a medium that can materialize. The material itself is insignificant; for me, we can question the origin of materialization by use of such material, which is a convenient way for me to pose my question.

This group of paintings is a continuation of my exhibition “Attitude” from two years ago, which focused on emotions such as, laughing, crying, shyness, anger, fear and trembling. As our bodies produce such natural emotions and reactions, we believe that such feelings are from the “true self” and thereby confirm such “true self” which in fact hides the real “I” from beneath. We then build up a bridge of reality from such so-called “true self” and view those objects or events which generate emotions and reactions as real and so believe that such objects, events and even the world as real, but none of this is an objective truth.

Observing emotions has led me to the observation of the origin of our emotions as well as its object.