圆
如果一个圆代表完整的事件，或者特定时空的话，那么把圆分隔为若干区域就象征着汇集了众多事件的集合，或者说这是一个由各种不同时空交织的特殊结构。
时空分隔越多，这个事件就越趋于复杂，各种时空所组成的秩序，结构就像DNA 链一样越明确，就越呈现出它的精神性。
这是一个实验微观的过程，自从一个完整的图像被分隔为两半起。但是它最后又不得不回到宏观的层面上，也许这就是圆这个形状所暗含的一个解——从任何一点往前走，最后又回到起点。
前面说到了结构，秩序，这两个词语正是我现在最感兴趣的汉字，从我们生活的社会，到一根头发的纤维，都在这两个词语的统制之下。
能看到这篇文章的，应该大部分都是艺术家，或者准艺术家。这类人有一种情节，想把自己觉得有意思的事情往艺术上套，所以我们就来说一说艺术。
大部分时候，我们觉得艺术是无趣的，令人厌恶的，我们从所有能看到的艺术品身上感知到一些信息，这些信息其实是社会这个高维物体（如果能把社会当作一个物体）通过人在现实中的低维投影里的蛛丝马迹。在这里低维投影指的就是艺术品。而人在里面是个变量，它有着不确定性。
我想做这样的比喻：我们所从事的艺术，就好像一群孩子在玩七巧板的拼图游戏，我们似乎认为自己创造了很多，其实手上所拥有的只不过是七种不同形状的木块而已。艺术家能做的只是尝试不同的排列组合方式。
似乎并没有那么绝望，比起七巧板的几千中排列组合方式，我们手上可以用做艺术的资源是很多的，而他们的排列组合更是天文数字。
不过我提出一种合理的假设——如果科学足够发达，统计足够细致，可以制造一台计算机，计算出所有可能产生的艺术。
有了这台计算机，任何未知的艺术都能被计算出来，从而在艺术史上画句号。
可惜，我们不能制造这样的机器。
扯远了，我从圆，说到了宏观，微观，秩序，结构，最后来个结束。
我们应该变换不同的姿势来观察艺术，否则会累。
曾扬
Circle
If a circle represents a complete event, or particular time-space, the division of a circle into several sections symbolizes a collection of numerous events, or a special structure of interweaven time-space.
The more sections its time-space is divided into, the more complex the event gets. Then the order and structure of various time-space, just like the chain of DNA, appears clearer and thus presents its spirituality.
This is the microcosmic process of an experiment－ever since a complete image is split into halves. But finally it has to return to a macroscopical dimension. Probably it is an implied significance of a circle－whereever it starts, it returns to the beginning at last.
The above mentioned two words “structure” and “order” appeal to me most, which rule everything ranging from the society we live in to the fibre of a single hair.
Who read this article should be mostly artists or quasi-artists, who have the complex to relate what interests them to art. Therefore, let’s talk about art.
Most of the time, we regard art as dull and boring. We preceive from all artworks we see some information, which is actually some sort of low dimentional reflection of the high dimensional object－the society (if the society can be regarded as an object) in reality through man. Here, the low dimentional reflection refers to artworks and man in it acts as an indefinite variable.
I want to make a metaphor: the art we devote ourselves to can be compared to the jigsaw children play. we seem to create many, but what we possess is no more than seven woodblocks with different shapes. What artists can do is to try various ways of permutation and combination.
Actually, it is not so disappointing. Compared with the limited thousands of ways of combination of jigsaw, we have many resources of art in hand and they have countless ways of combination.
Thus I make a reasonble assumption that if the science is developed and statistics meticulous enough, a computer can be produced to calculate all possible art forms.
With the computer, any unknown art can be worked out, thus putting an end to art history.
Pitifully, it is impossible for us to produce such a machine.
I’ve gotten carried away. I talk from circle to macroscopic, microcosmic, order, structure, and now to an end.
We are suggested to observe art in changing postures, otherwise we get tired.
ZengYang
【编辑：贾娴静】
