Can be Simplified
Due to historical and collective memory, individual memories can often be reduced by corresponding common factors, forming the concept of the "greatest common divisor of memory".
The work places my personal memories of factories within the collective memory of China's industrial history, searching for possible "common divisor symbols" of memory. It converts memory symbols into objects as comprehensively as possible and builds a continuously generative scene in VR. As audiences roam the scene, they encounter 3D models of memory carriers and search for their own reducible memories and related sensations of deja vu.
In the work, the radio beside the rocking chair is transformed into an agent that constantly writes memoirs under various names. Under the condition of infinite duration, it could theoretically simulate the memories of all people related to factories, like a group of monkeys randomly typing out the complete works of Shakespeare.
At this moment, personal memory and fictional text form a certain intertextuality: Can fictional text effectively evoke real memories? Can real memories be stimulated within a virtual environment?
可被约分
由于历史和集体记忆的因素，人们所拥有的记忆通常可以被相应的公约数约分，进而形成“记忆的最大公约数”概念。
作品将我个人成长历程当中有关工厂的记忆点置于中国工业历程的集体记忆中，寻找可能的“记忆公约数”符号，尽可能全面地将多数记忆符号转化为代表记忆的物体，并在VR虚拟空间中搭建一个不断派生的场景，观众通过在场景中漫游来派生各种记忆载体的3D模型，并试图寻找自己可被约分的记忆及相关的既视感。
作品中摇椅旁的收音机改装为一个不断以各色人称撰写回忆录的智能体，在无限时长的条件下，理论上可以模拟出所有人对于工厂相关的记忆，就像是一群通过胡乱敲击键盘写出莎士比亚全集的猴子。
此刻切身记忆与虚构的文本形成了某种互文性：虚构文本是否有效地勾起了现实的回忆？现实的记忆是否得以在虚拟环境中得到有效的刺激？
