In the ‘90s, Kodak's film-era slogan was, "Let the memories begin." When I began my journey into photography in the late '90s, film was the sole medium through which I preserved visual memories. I firmly believed that the most compelling evidence in history had to be visually presented, and those moments captured on films felt sacred and powerful in my heart.

Nearly three decades later, I've become accustomed to using digital cameras and smartphones to capture images, freely editing, adjusting, and even embellishing my photographs. The original promise of photography, the eternal freezing of reality, now seems somewhat elusive. The fidelity of photographic records is no longer taken for granted. As an art form, photography is no longer as pure. However, our motivations and methods of photography remain unchanged. We still transform the multi-narrative world into personal memories through framing. The purpose of photography remains to seek visual resonance between reality and memory, awakening those fading recollections. What has changed is the world we face, as described by Gilles Lipovetsky as the “Global Screen” — a world surrounded by screens, projecting the digitized virtual world onto our retinas.

In 2022, while staying home for an extended period due to the COVID-19 pandemic, a historic event, whether called a war or an invasion, unfolded before my eyes through a plethora of news images. Every image made me involuntarily question its authenticity or fiction, whether it was free dissemination or subjected to media or platform scrutiny. This world presented through two-dimensional screens no longer has geographical boundaries but is divided by timelines. Most importantly, it is no longer trustworthy.

Amidst the dual symptoms of "political malaise" and "information depression," I embarked on an artistic experiment: a form of "photography in the virtual world." However, this time, I chose daily news images as the world I would enter. By framing and magnifying within the (doubt-filled) series of historical event images presented on the screen, I let history, meaning, and perspective disappear, leaving behind fragmented personal memories or merely a sense of emptiness, much like what one might experience in the real world. This artistic experiment aims to predict the future of photography: the fate of photographers (as visual artists) may well become that of double agents in the virtual world.

1990年代柯达胶片的广告语是：“让记忆开始吧。”90年代末我开始学习摄影的时候，胶片成为我保存视觉记忆的唯一媒介。我坚信，历史上最有力的证据一定是视觉呈现的，那些被胶片记录下的片刻在我心中显得神圣而有力量。

近30年以后，我已经习惯了使用数字相机和手机拍照，并且随意编辑、调整、甚至美化我所拍摄的照片。摄影最初的承诺，永恒地定格现实，如今似乎变得遥不可及。摄影记录的忠实度不再是理所当然的。作为一种艺术形式，摄影也不再那么纯洁。然而，我们的摄影动机和方式并没有改变。我们仍然通过取景将多重叙事的世界转化为个人记忆，摄影的目的依然是寻找现实和记忆之间的视觉共振，以唤醒那些渐渐褪色的回忆。发生变化的是我们所面对的世界。这是吉尔·利博维茨所描述的“总体屏幕时代”，一个被显示屏所包围、将数字化虚拟世界投射到我们视网膜上的世界。

2022年，在疫情中居家很久。一场历史性事件，无论是被称为战争还是侵略，通过大量的新闻图片呈现在我的眼前。每一张图片都让我不由自主地怀疑其真实性或虚构性，是自由传播还是经过媒体或平台审查的。这个以二维屏幕为媒介呈现的世界不再以地理位置为界，而是以时间线划分。重要的是，它不再可信。

在患有“政治抑郁”和“信息抑郁”双重症状之中，我展开了一次艺术尝试，一种“虚拟世界中的摄影”。但这次我选取了每日看到的新闻图片作为我到达的世界。在被屏幕呈现的（充满怀疑的）一系列历史事件图片中通过取景和放大让历史，意义，观点全部在图片中消失而仅剩碎片化的个人记忆，或者说仅仅是如在现实世界中一般体会到的虚无。这次艺术尝试是试图预言摄影的将来：摄影师（作为影像艺术家）的命运或许只会成为虚拟世界中的双重代理人。