Human civilization has settled on the very edge of a gigantic vector of time.

人类文明已经落脚在巨大时间向量的边缘。

Hence, there is a temptation to perceive the mechanisms that set existence itself in motion as springs and gears, pretty much eaten away by corrosion. Millions of years have worn out their teeth.

因此，人们很容易将推动存在本身运转的机制视为弹簧和齿轮，它们已经因腐蚀而逐渐磨损。数百万年的时间已经磨平了它们的齿。

But what if the blind Watchmaker who started the course of time initially did not care much about taking ideal parts, sparkling with fresh oil? What if even before the time when substances, extended and thinking, merged into one, these mechanisms were the same.

但是，如果最初开启时间进程的盲人钟表匠并不关心选择理想的零件，用新鲜的油擦亮它，那会怎样呢？如果甚至在物质、延展和思维合并为一体之前，这些机制都是相同的，那会怎样呢？

We are lucky that we have not yet witnessed events of a planetary scale: global overturning of tectonic plates, boiling of seas, collisions of celestial bodies. Therefore, both our minor torments and the vicissitudes of history seem to us evidence of the extreme wear of universal mechanics. Solipsism is such a solipsism...

幸运的是，我们还没有目睹行星规模的事件：全球板块翻转、海洋沸腾、天体碰撞。因此，无论是我们的小痛苦还是历史的变迁，在我们看来都是宇宙力学极度磨损的证据。唯我论就是这样的唯我论……

Olga Drob-Pervushina with her new series "Ex machina" seems to have stepped into the territory of such reflections. Her works are an aestheticization of the perishable, irreversible, and, therefore, natural and inescapable. "Strange" artifacts, devoid of specific functionality.

奥尔加·德罗布-佩尔武希娜 (Olga Drob-Pervushina) 的新系列《Ex machina》似乎已经进入了这种思考的领域。她的作品是对易逝、不可逆转的事物的审美化，因此也是自然而不可避免的。“奇怪”的人工制品，缺乏特定的功能。

Perhaps they arose only to age beautifully. Isn't that the meaning of everything that exists...

也许它们出现只是为了优雅地老去。这不就是一切存在的意义吗……