- 現代世界不是被「說服」，而是被「觀看方式」統治。The modern world is not ruled by persuasion it is ruled by the way we see.
- 數位時代奪走的不是注意力，而是「感知主權」。The digital age does not steal attention it steals perceptual sovereignty.
- 「如果螢幕毀掉了人類的眼睛，藝術能不能重新教人看？」If screens have broken our vision, can art restore the act of seeing?
- RHS不是裝置，而是觀看的結構。RHS is not an installation it is the structure of seeing.
- 觀看不再是工具，而是作品本身。Seeing is no longer a tool it is the artwork.
你不是在看一件作品，而是在進入一種觀看狀態。積吶虹光，〈虹心球系統（RHS）〉，2019，壓克力顏料、視覺感知結構與圓形木板構成牆面視覺場域（RHS）。You are not looking at a work; you are entering a state of perception.Gina Hong Guang, Rainbow Heart Sphere System (RHS), 2019. Acrylic paint, perceptual structure, and circular wooden panels forming a wall-based visual field (RHS).
一. RHS觀看作為藝術的感知系統
在抽象藝術與感知藝術的歷史脈絡中，從馬克．羅斯科（Mark Rothko）對色域與精神性的探索。詹姆斯．特瑞爾（James Turrell）以光作為空間經驗的生成條件。到安尼施．卡普爾（Anish Kapoor）對感知臨界與內外關係的操演，皆共同指向一個未被完全解決的核心問題：觀看是否能本身成為藝術？積吶虹光（Gina Hong Guang）所發展的《虹心球系統（Rainbow Heart Sphere System, RHS）》正是在此藝術史連續體中，提出一套具有系統性與當代迫切性的回應。
RHS並非以「光」作為被展示或被操控的對象，而是將觀看本身轉化為可被策展、可被經驗、亦可被反覆啟動的感知結構。作品不依賴投影、螢幕、感測或數位介面，而是回到顏料、色彩邊界與空間節奏等最基本的視覺條件，使光不再是外在的物理現象，而是在觀者視網膜中被生成的感知事件。於此，藝術不再存在於牆面或物件之中，而是在觀看的行為裡被完成。
I. RHS: Seeing as a Perceptual System of Art
Within the historical lineage of abstract and perceptual art from Mark Rothko’s exploration of color fields and spiritual experience, through James Turrell’s use of light as a generative condition of spatial perception, to Anish Kapoor’s operations on perceptual thresholds and the relationship between inside and outside there remains a core question that has never been fully resolved: can seeing itself become art?Gina Hong Guang’s Rainbow Heart Sphere System (RHS) positions itself within this continuum of art history by offering a systematic and urgently contemporary response.
Rather than treating light as something to be displayed or manipulated, RHS transforms the act of seeing itself into something that can be curated, experienced, and repeatedly activated as a perceptual structure. The work does not rely on projection, screens, sensors, or digital interfaces. Instead, it returns to the most fundamental visual conditions pigment, chromatic boundaries, and spatial rhythm allowing light to cease being an external physical phenomenon and become a perceptual event generated within the viewer’s retina.
Here, art no longer resides on the wall or within an object; it is completed through the act of seeing.
二. RHS後數位時代的觀看問題
在當代視覺文化中，人類的觀看長期受到螢幕、演算法與即時影像的全面調度。視覺不再是自主的感知活動，而逐漸成為被導引、被切割與被優化的注意力資源。《虹心球系統》所面對的，正是這種「感知主權」的流失。積吶虹光並不以反科技的姿態回應，而是提出一種後數位（post-digital）的觀看模型：在完全不倚賴科技裝置的前提下，重新喚回身體與視覺的主動性。
RHS將展覽空間視為一個「感知場域（field）」，而非訊息展示的介面。觀者在其中不被要求理解論述、不被說服立場，而是被邀請進入一種節奏被放慢、刺激被過濾的觀看狀態。觀看在此不再是消費影像，而是一種重新學習存在的過程。
II. RHS and the Question of Seeing in the Post-Digital Age
In contemporary visual culture, human vision is continuously orchestrated by screens, algorithms, and real-time imagery. Seeing is no longer an autonomous perceptual act; it has become an optimized, segmented, and directed form of attention. The Rainbow Heart Sphere System (RHS) directly addresses this loss of perceptual sovereignty. Rather than adopting an anti-technological stance, Gina Hong Guang proposes a post-digital model of seeing one that restores the agency of the body and the eye without relying on technological devices.
RHS treats the exhibition space as a perceptual field rather than an interface for the delivery of information. Within it, viewers are not asked to process arguments or adopt positions, but are invited into a state in which rhythm is slowed and stimuli are filtered. Here, seeing ceases to be the consumption of images and becomes a process of relearning how to exist.
三. RHS色彩、邊界與視網膜事件
在RHS中，色彩並非圖像或象徵，而是一種直接作用於神經系統的力量。圓形牆面單元與場域中的色彩配置，使不同色域在視覺中彼此貼近、震盪與拉扯，於視網膜上形成持續生成的邊界。這些邊界不是形式的輪廓，而是感知發生的臨界點，觀看正是在這些不穩定的交界中被啟動。
因此，光不再被視為來自外部光源的照明條件，而是一種由觀看所生成的內在經驗。觀者的移動、停留與視線選擇，皆直接參與了作品的完成。RHS由此將抽象藝術從形式構成的問題，推進為對「如何看」的系統性研究。
III. RHS: Color,Boundaries, and Retinal Events
In RHS, color is not an image or a symbol, but a force that acts directly on the nervous system. Circular wall units and spatial color configurations bring different chromatic fields into close proximity, causing them to vibrate, press against, and pull away from one another, producing continuously shifting boundaries on the retina. These boundaries are not formal contours, but thresholds where perception itself takes place. It is within these unstable intersections that seeing is activated.
Light, therefore, is no longer understood as illumination originating from an external source, but as an internal experience generated through the act of seeing. The viewer’s movement, duration, and choices of gaze directly participate in the completion of the work. In this way, RHS advances abstraction beyond formal composition into a systematic inquiry into how we see.
RHS將展覽空間轉化為光譜化的感知場域，每一顆虹心球與牆面單元都是感知節點。RHS transforms gallery space into a spectral field of perception each Rainbow Heart Sphere and wall unit is a node of perception.
四. RHS光譜作為倫理結構
《虹心球系統》提出一種以光譜為核心的倫理模型。在此，倫理不再被理解為規則、立場或判斷，而是差異如何被容納、如何在同一感知場域中共存的問題。光譜取代了黑白二元，成為衝突得以被看見、而非被消除的視覺結構。
圓形在RHS中並非象徵符號，而是一種拒絕線性、階層與指向性的形式選擇。每一顆虹心球都是一個感知節點，為矛盾與差異提供居所；多個節點所構成的場域，則成為一個非對抗性的倫理空間。觀者在其中不必選邊站，而是被允許停留於複雜性之中。
IV. RHS: The Spectrum as an Ethical Structure
The Rainbow Heart Sphere System proposes an ethical model structured around the spectrum. Here, ethics is no longer understood as a system of rules, positions, or judgments, but as the way differences are held and allowed to coexist within a shared perceptual field. The spectrum replaces black and white binaries, becoming a visual structure in which conflict can be seen rather than erased.
The circle in RHS is not a symbol, but a formal choice that rejects linearity, hierarchy, and directional logic. Each Rainbow Heart Sphere functions as a node of perception, offering a dwelling place for contradiction and difference; together, these nodes form a non-adversarial ethical space. Within it, viewers are not asked to take sides, but are allowed to remain within complexity.
五. RHS是系統而非單一作品
作為一套感知系統，RHS超越了單一作品或單一展覽的邏輯。其結構可被反覆配置、長期展出，並隨不同場域、文化與策展命題而啟動新的觀看經驗。對美術館而言，RHS提供的不僅是一件作品，而是一個可被研究、教學與持續實踐的觀看模型。
在此意義上，《虹心球系統》重新界定了公共美術館的角色：不只是展示藝術史的成果，而是提供一個讓感知得以被重新校準的空間。在一個過度發聲、過度可視的世界中，RHS所提供的，是一種視覺的避難所，也是後數位時代倫理與美學得以共構的實驗場。
《虹心球系統》最終指向的，不是一種風格或媒材的創新，而是一個根本性的命題：當觀看重新成為一種行動、一種倫理姿態，藝術是否能再次回到人類感知本身，作為我們理解世界與彼此的起點。
V. RHS as a System, Not a Single Artwork
As a perceptual system, RHS transcends the logic of a single artwork or exhibition. Its structure can be repeatedly reconfigured, displayed over the long term, and activated differently across sites, cultures, and curatorial frameworks. For museums, RHS offers not merely an object to be collected, but a model of seeing that can be studied, taught, and continuously practiced.
In this sense, The Rainbow Heart Sphere System redefines the role of the public museum not simply as a repository of art history, but as a space in which perception itself can be recalibrated. In a world of constant noise and visual saturation, RHS provides a visual sanctuary and a laboratory where ethics and aesthetics can be co-constructed for the post-digital age.
Ultimately, The Rainbow Heart Sphere System does not propose a new style or medium, but a fundamental proposition: if seeing becomes once again an action, an ethical stance, can art return to human perception itself as the ground from which we understand the world and one another?
六. RHS核心理念
- 觀看即行動(Seeing as Action)：觀看不再是被動接收，而是一種身體化行為。每件作品都是被啟動的感知架構，純粹透過顏料與光作用於感官，而非依賴互動科技或數位介面。
- 光譜作為倫理(The Spectrum as Ethics)：色彩、光與空間不只是形式語言，而是承載情感、價值與差異的結構。光譜取代二元對立，使衝突得以被看見而非被消除。
- 後螢幕時代的觀看(Post-Screen Vision)：在影像、演算法與即時資訊主宰視覺的時代，RHS保留了不被中介的觀看自由。作品不告訴你看什麼，而重新教你如何去看。
VI. Core Principles of RHS
Seeing as Action：Seeing is no longer a passive act, but a bodily practice. Each work functions as an activated perceptual structure, engaging the senses directly through pigment and light without reliance on interactive technologies or digital interfaces.
The Spectrum as Ethics：Color, light, and space are not merely formal elements, but structures that carry emotion, value, and difference. The spectrum replaces binary oppositions, allowing conflict to be seen rather than erased.
Post-Screen Vision：In an era dominated by images, algorithms, and real-time information, RHS preserves a freedom of perception unmediated by technology. The work does not tell the viewer what to see; it teaches how to see.
七. RHS系統架構
- 牆面單元(Wall Units)：圓形色域非圖像，而是視覺觸發器。色彩與邊界在觀看中持續重組，使感知成為動態生成的過程。
- 圓形單元(Spheres)：圓形不是形式象徵，而是光譜在空間中的錨點，聚焦色彩、亮度與視覺注意力，形成感知節點。
- 場域(Field)：多個圓形單元與牆面色域構成的展場，使空間本身成為可進入的觀看狀態。觀者行走於光譜組織的感知環境，場域成為非語言的視覺實驗室。
在此系統中，作品不位於牆上，而發生於觀者的視覺與身體之中；RHS是一種可長期策展、反覆啟動、跨文化運作的感知結構。
VII. The Structure of the RHS System
Wall Units：The circular chromatic fields are not images, but triggers for vision. Color and boundaries continuously reorganize through viewing, making perception a dynamically generated process.
Spheres：The circles are not formal symbols, but anchors of the spectrum within space, directing color, luminance, and visual attention to form nodes of perception.
Field：Composed of multiple spheres and wall-based color fields, the exhibition transforms the space itself into an enterable state of seeing. As viewers move through this spectrally organized perceptual environment, the field becomes a nonverbal laboratory of vision.
Within this system, the work does not reside on the wall it unfolds within the viewer’s vision and body. RHS is a perceptual structure that can be curated long-term, repeatedly activated, and adapted across cultures.
VIII. Supplementary Information
Related RHS Exhibitions:
- The Middle Way Manifesto: Gina Hong Guang’s Field of Reconciliation Rainbows From All Over the World in Contemporary Practice
- Silent Immersion: Methodology of Gina Hong Guang’s Rainbow Heart Sphere System (RHS)
- Gina Hong Guang: Rainbow Heart Sphere System (RHS) A Post-Tech Visual Sanctuary
RHS是第一套不依賴螢幕、不透過投影，直接在視網膜上運作的抽象系統。RHS is the first abstract system to operate directly on the retina without screens, projections, or technology.
- RHS不是呈現光，而是重構我們如何觀看光。RHS does not present light; it reconstructs how light is seen.
- 在《虹心球系統》中，作品不位於牆面或空間，而是在觀看中被完成。In the Rainbow Heart Sphere System, the artwork is not located in space, but completed through perception.
- 光譜在此不是形式語言，而是一種容納差異的倫理結構。Here, the spectrum functions not as a formal language, but as an ethical structure that holds difference.
- RHS提出一種不依賴螢幕與介面的後數位觀看模型。RHS proposes a post-digital model of vision that operates without screens or interfaces.
- 觀看不再是被動接收，而是一種生成作品的身體行動。Seeing is no longer passive reception, but an embodied action that generates the work.
- 美術館在此不再是資訊的介面，而是感知被重新校準的場域。The museum becomes not an interface of information, but a field for perceptual recalibration.
- 《虹心球系統》將感知本身確立為當代藝術的媒介與倫理。The Rainbow Heart Sphere System positions perception itself as both the medium and the ethics of contemporary art.
