This video work THE PROGRESS OF ENDING（2013） and its installation is a configuration of object, time, space and sound. In the light of theatre, lifeless tops automatically spin on a stage and interact with each other, which eventually leads to an end. However, the performance in theatre is presented according to the real time; actions and narrations begin when the curtain is up and never stop before the curtain is down. TVs and movies on the contrary employ zeit-collage and break up the original actions to attain a continuous and complete narration. This work attempts to present the action and narration of object on a stage in its non-stop and non-missing appearance with no cutting, no interrupting, meanwhile delaying the whole process. Though the real shooting time no more exists in delay, its continuity and completeness still persist in the reel time experienced during watching.The actions of tops in shooting make the confrontation of forces in a field explicit. With their different positions and varying relationships, the boundary and configuration of a field is thus defined. Invisible confrontation and competition between forces result the uncertainty of a field, and hence, its given set is eliminated by interactions. 

受舞台剧的启发,没有生命的物体在舞台上运转,相互影响,且导向最终的结局。然⽽,舞台剧依照故事的真实时间 (real time)进⾏,从幕布拉起到落下,动作和叙事始终是从未被打断的。电视和电影则通过剪辑,即拼贴时间 (zeitcollage)、打断动作来保持叙事的连续和完整。我希望在不使用剪辑、不打断动作,且延长物体运动进程的情况下,仍然连续、完整地呈现物在舞台上的运动和叙事;拍摄的真实时间被破坏,⽽其连续性和完整性却仍保留在观看和体验的“内在时间”(reel time)里。物体的运动在拍摄的时间里构成了场域中⼒的较量,其不同的位置关系定义了空间场域的界限和形构。隐形的博弈和力量的对峙制造了场域的不确定性。