A call from ancient times —— What would it sound like to hear myself rambling from my own guts —— How the past entangles itself with the present, and inevitably, with the future ——
来自远古的呼唤——从自己的内脏深处的听见“我”的喃喃自语——过去如何与现在交缠，并不可避免地延伸至未来——
Ingestible Alien 可食用异物
2024
(This is a work-in-progress project that includes the fabrication of an ingestible device and performance. The following text is a fragmented record of somnolent murmurs, abandoning logic. 这是一个进行中的项目，包含可吞服装置的制作与表演。以下文字是一些碎片化的梦呓记录，放弃逻辑。)
An alien is an object. To be honest, everything is ingestible.
An ingestible microphone reveals the merging of bodies and objects, the tension between fusion and rejection—an instinctive fear of the foreign. The device embodies a poetic logic of integration, where the body unhinge signals from the inside, and exposes it to the public domain as sampling approach. This device bridges us to the past, evoking a connection to those who came before.
Objects once stored memories; now, signals carry and store fleeting information, existing not in the binary of 0s and 1s, but in the ephemeral space between them—like poetry, where meaning arises from the gaps. What if information could be stored in the instant of transmission? Could this moment create something akin to a spatial sculpture?
When the body’s signals are imbued with meaning and placed in public spaces, they emulate the panoramic exposure of bodily information—a present and future condition where the mystery of selfhood dissolves within the generative flows of data networks. This encoded transmission mirrors the body's unveiling, blurring the boundaries between intimacy and display, presence and absence, continuity and transformation. In this way, the body becomes a site for sculpting signals, embodying the entanglement of the physical and the informational, the personal and the collective.
Contingency, generative, impermanence, immanence
Sound, air, and material vibrations are the most abstract yet fitting expressions of information and material—unseen but omnipresent. With the advancement of biotechnology, the body is no longer merely a "site of production", but also a node of material integration. This integration is a closed internal loop, encapsulated within a space connected to a subject we call "human" or "consciousness." When external entities intrude upon this material space, the subject reacts defensively, akin to the body's immune system misrecognizing threats or political discrimination against outsiders.
Internal organs, though alive, only become visible or audible in public spaces during surgery or near death. The sacredness of death, once revered, has been dissolved, becoming multifaceted and used as a political symbol. Technological extensions of life and bodies and the blurring of boundaries between species shifted all binary oppositions to recurring cycles of differentiation and regeneration.
Death in society is no longer merely a personal event. Epidemics and wars transform global networks, while technology, resources, and policies redefine and manage death. The body anticipates its end, imagining a shared, collective return to a void. Intimacy once comforted this void, but in its absence, we seek fleeting connections, framing them as communal belonging. Yet this is an illusion, rooted in the body’s inherent secrecy and containment.
In the cyborg era, internal organs merge with external machines, extending life while exposing us to unprecedented risks and proximity to death. In public spaces, death is normalized, and in Chinese contexts, it often appears as a vacuum—others’ deaths are perceived as mere elements of the world’s design, evoking no systemic awareness. Government control over information shapes the symbolic perception of death, numbing bodily responses.
Globalized media reinforces this desensitization, training individuals to detach from their bodies as sites of information, symbols, and political narratives. Capturing these spaces' sounds without pain and broadcasting them transforms invasive anxieties into public exposures—a therapeutic confrontation with the unknown.
This project samples history and physical presence, blending them generatively in the sounds of individual organs. It highlights haecceity (Deleuze)—the distinctiveness of moments, experiences, and events, resisting full definition. Through this, it carefully calls for a personal and collective rebirth, symbolized not by sculptures, but by an expansive, healing chamber for the future.
说实话，一切皆可被吃掉。
一个可吞服的麦克风揭示了身体与物体的融合与排斥之间的张力——对异物的本能恐惧。这一装置呈现了一种诗意的整合逻辑，身体从内部释放信号，并将其以采样的形式暴露于公共领域。装置将我们与过去连接，唤起对先人的记忆与关联。
曾经，物体承载记忆；如今，信号传递和存储瞬时信息，存在于0与1的二元之外，位于它们之间的短暂空隙中——如同诗歌，从间隙中诞生意义。信息若能在传递的瞬间被存储，这一瞬间是否可以成为一件空间雕塑？
当身体的信号被赋予意义并置于公共空间时，它们再现了身体信息的全景化揭示——一种当下与未来的状态，在数据网络的生成性流动中，自我神秘感逐渐消解。这种编码化的传递反映了身体的显现，模糊了亲密与展示、存在与缺席、连续性与转化之间的界限。由此，身体成为信号的雕塑场，体现了物质与信息、个人与集体的深度纠缠。
偶然性，生成性，短暂性，内在性
声音、空气和材料的振动是信息与物质最抽象却最契合的表达形式——看不见却无处不在。随着生物技术的发展，身体不再仅仅是一个“生产场所”，而成为一个物质整合的节点。这种整合形成一个闭合的内部循环，包含一个被称为“人”或“意识”的主体。当外部实体侵入这一物质空间时，主体会做出防御反应，类似于免疫系统误判威胁，或对外来者的政治性排斥。
内脏，尽管有生命，只有在手术或临近死亡时才会在公共空间中变得可见或可闻。死亡的神圣感曾经被敬畏，如今却被分解为多面向的政治符号。生命和身体的技术延伸，以及物种界限的模糊，将所有的二元对立转化为持续的差异与再生循环。
在社会中，死亡不再仅是个体事件。瘟疫和战争重塑了全球网络，而技术、资源和政策重新定义并管理死亡。身体预期自身的终结，想象一种共享的、集体回归虚无的方式。亲密曾经安抚这种虚无，但在其缺席中，我们追逐短暂的联系，将其误认为集体归属。然而，这只是幻觉，植根于身体固有的秘密与封闭性。
在赛博格时代，内脏与外部机器融合，延续生命的同时将我们置于前所未有的风险与死亡的临近中。在公共空间中，死亡被常态化；在中国语境下，它常被感知为一种真空——他人的死亡被视为世界设计的一部分，引发不了系统性的觉知。权力和宿命对信息的控制塑造了死亡的象征性认知，麻痹了身体的反应。
全球化媒体进一步强化了这一麻木感，训练个体将身体从信息、符号与政治叙事的载体中剥离。捕捉这些空间的声音，将其无痛地播送，转化了侵扰性的焦虑为公共性的暴露——一种对未知的治疗性对抗。
该项目采样历史与身体存在，通过个体器官的声音生成性地将二者结合。它突出了德勒兹所提的“独此性”（haecceity）——那些独特的时刻、经验与事件，拒绝被完全定义。通过这种方式，项目呼吁个人与集体的重生，不是以雕塑为象征，而是以一种面向未来的广阔治愈空间为标志。
Coming Soon.