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single-channel HD video(3’25”, sound), interactive web-based application, laser-engraved mirror, 3D prints, generative poetry on paper scroll, algorithmic composition (in collaboration with Jason Doell)

ERROAR!#4 contemplates on the phenomenon of “cannibalism” as a metaphor for cultural and technological assimilation, especially in the process of human-artificial-intelligence coupling. Entirely composed of stock videos, the single-channel video essay is derived from an online anecdote about the first case of “virtual cannibalism” conducted by AI agents during DARPA’s early experiments. The piece of generative poetry titled “Past Said Lore” on the paper scroll is co-authored with a recurrent neural network to write in the style of John Milton’s Paradise Lost. Through a webcam and a mirror, the networked software “misrecognizes” human faces as “objects”, due to incorrect and incomplete training and learning. Being objectified by an object in error creates an infinite feedback loop between the mirror and the camera, performing a metaphorical autophagy, just like the closed loop of human skeleton eating tailbone.

The Erroar! Series speaks to the errant and noise that emerge from experiments of intelligence agents for understanding human’s cognitive functions through artificial neural networks, and how these technological errors open up new creative potentials that in return reconfigure our perceptions, affect and imaginations. Most visual-textual-sonic materials involved are generated from the process in which artist use open data in various formats to train prevalent machine learning algorithms.

What Nebula, What Hyperbolic Light, What Flora and Fauna

What Nebula, What Hyperbolic Light, What Flora and Fauna

CG animation (11mins) configured for 18 Christie Digital Microtiles.

Fig.4 installation view at Ellephant, Montreal, Canada, 2019. Video visible from sundown to sunrise in the Charlotte Street window. This project is a co-production with EdVideo realized thanks to the financial support of the Government of Quebec and Ontario.

preview link

What Nebula, What Hyperbolic Light, What Flora and Fauna speculates on the idea of “habitat” in the context of technological acceleration and urban sprawl. It uses “garden” as a metaphor for re-imagining an ideal habitat where human, natural and man-made materials coexist. It incorporates interactive poetry, imagined organisms, with repurposed obsolete technology and e-waste. WNWHLWFF is about dwelling in such an accelerated future of landscapes, where the imposed rhythms of existing are bent for a pause or a reflection.

Breath Fractals

Initially, the music of Chik White (Darcy Spidle of rural Nova Scotia) and Xuan Ye (Toronto) are drastically different. Spidle improvises using the jaw harp, one of the world’s most ancient instruments, on a series of stimulating and freshly invigorating releases, including two recent tapes on Notice. Xuan Ye has developed a dense, fascinating, radically cutting edge synthesis of video and aural performance, somatics, and computer programming, engaging acoustic instruments, voice, field recordings, and strangled frequencies. Spidle has a deep and intense relationship with the ocean; its many guises and characteristics have provided a catalyst for a personal and unique body of work, one that is devoted to his oceanic surroundings and the natural phenomena inherent to its existence. Both artists reference not only outsider folk traditions, but also esoteric strains of the avant-garde, noise, field recordings, and sound collage.

This intimate release reveals their strong musical interplay, evident in the physicality and palpability of the tracks presented. Both are dedicated to the generation of raw sound, while reducing language into its constituent physical parts, as if dramatizing the struggle of human expression. They explore instrument and voice along what feels like very short and concise distances. At times, they branch out into explorations of spaces and objects that feel curious and almost narrative, with the “voice” often present but never remotely understandable. Both artists’ boundary-pushing of physical performance finds a new route in this collaboration.


XY: voice, Toronto ON, 2017


CW: jaw harp and voice, Chezzetcook NS, 2018

as if by a bell

XY: voice and percussion, Long Island NY, 2016

long may I sleep

XY: voice, CW: jarp harp, Toronto ON / Chezzetcook NS, 2017

homing hymn

CW: jaw harp and voice, Cheezetcook NS, 2018

polyphony of breath fractals no.2

XY: voice, CW: jaw harp, Toronto ON / Chezzetcook NS, 2017

polyphony of breath fractals no.1

XY: voice, CW: jaw harp, Toronto ON / Chezzetcook NS, 2017


CW: jaw harp, Chezzetcook NS, 2017

escalate, escalate

XY: field recordings, various, 2017

omnivore machine

XY: field recording, CW: vocal noise, Toronto ON / Chezzetcook NS, 2017


XY: field recordings, various, 2016

Recorded by Xuan Ye and Darcy Spidle
Mastered by Kyle McDonald
Videos & Source artwork by Xuan Ye
Layout by E. Lindorff-Ellery
Letterpress printed by Small Fires Press, New Orleans
Duplicated by Cryptic Carousel

feng shan

feng shan 1.0 2018

For Fans, Microphones, Electronics

Live at Emergents Series (curated by Sara Constant), Music Gallery, 2018. Fig. 1 & 3 Photo by Claire Harvie. Fig. 2 Photo by Kristian Fourier

feng shan 2.0 2019

ZMY031 split tape

Whose wind is that?
Never flow a fan.
It’s not the sound,
All glaciers melt
not the move.
of distant,
confused waves.
The only other sound
Is the break
And birds awake.
The spectrum is
a flocculent spectrum.
Recurring ebbs.
Sister. Snows.
Snare. Sling.
Plethora of
Vibrant matters.
You, and me,
and their clouds
And network,
And networks.
Low voices expand.
The wind is breathing,
Not the fan.
Unformed and deep,
It’s not the wind.




fin 2018

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interactive web installation


commissioned by Bcc:, Decoy Magazine in 2018

fin 2017 – 2018

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real-time image data feed projection, 15 laser-engraved mirrors, mirror film, metal structures

Fin invites scanning eyes and scattered attentions for a grand cruise in the G=A=R=D=E=N teeming with life and stories depicted in the ocean of stock images, where a total textual-visual archive that is also an ideal existence constitutes a simulacrum of the over-simplified world, the textual-visual environment that feeds us and that at the same time we interoperate within. The title Fin refers to the shape of the installation which looks like the flattened appendage commonly seen on aquatic earthlings used to navigate in the water. And in Fin, which also means the end of film or narrative in French, the Fin cuts through the pixel waves from one urban landscape (commercial signages) to another that is constructed by a networked archive of stock photography, deploying vision and hope for the ideal habitat or the end place we call “home”.



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installation view, Soft Refractions, Toronto, Canada 2018. Photo by Polina Teif.

IN BETWEEN () WE OSCILLATE animates pairs of English antonyms as data in the form of a sound wave spectrum. The words are from an antonym database found in an ESL textbook. As the words scroll across the screen, a soundtrack is played back that translates the visualization of all antonym pairs as one spectrogram into audible frequencies. Considering language as materials, and the web as infrastructure and site, IN BETWEEN () WE OSCILLATE sculpts a neon light that is always on the move, and impossible to materialize in the physical realm. The disquieting statement literally conveys the precarity of our time — we exist within the bifurcations, dilemmas, and dichotomies. It echoes the current global socio-political environment, where the proliferation of the digital and non-human, as well as diasporization and migration, point to a reality and subjectivity that are in a constant flux of oscillation.


EveryLetterCyborg V1.3 2018

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interactive web installation, webVR, projection mapping, generative music

installation views, ​digital artist in residency, InterAccess, 2018. Fig. 1 – 6 Photo by Megan Maclaurin

EveryLetterCyborg V1.2 2017 – 2018

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twitterbot @qletrcyborg, raspberry pi, thermal printer module, microphone stand, laser-engraved mirror

EveryLetterCyborg V1.1 2016 – 2017

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interactive web installation, tablet, keyboard, speakers

Fig. 12 installation view, Border Resonance, Goethe Institut, Beijing, China 2018. Photo by Wenxin Zhang

Et Cetera

Et Cetera
Et Cetera
Et Cetera
Et Cetera
Et Cetera

installation views, solo exhibition, Trinity Square Video, Toronto, Canada, 2018

I forget,etc.(after X. Y.) by Fan Wu 2018

black & metalic gold dual-tone risograph accordion fold, limited edition of 200

Reader’s Guide 2018

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metal sculpture, mirror film, giclée print on film, algorithmic composition (2′), animation projection

“… I forget that if what you see is where you go, then all seeing is a censored prophet that fails (because of neurosis or paralysis) to act in accordance with its own oracles.

I forget the efficient linearity of human reading (frustrating; rusty with the will to make sense) and learn the stochastic programmability of the machine (nested recursions: birds in cyborg-synaptic teleport.) I become not apart from the humus of inhuman refuse, the floppy callousness of computer script.

I forget how to chart a course between the gravity of identity (flesh, father, hearth) and the anonymity of the digital.

I forget, rote fig, frig toe. I forget — ego rift — grief to forge it. Heal us, eros of foe grit. O He Fears Soul: I forget sentimentality and open-hearted relatability to forge a new, colder, but no less tender form of subjectivity.

I forget whether Zhuangzi thought voice was the dream of water or water the dream of voice. I barely remember vaporwave — soft subliminality that brought back visions of Sonic the Hedgehog — and the hard limits of nostalgia. I fully remember Freud’s primordial oceanic feeling of being one with the universe; but to feel it here, in the 21st century, means to feel it homelessly: even total unity cannot undo my nomad code.

I forget language like it was the lie of noise…”

— Fan Wu  “I Forget, etc. (after X.Y.)”

Et Cetera is woven together with five works that are essentially five bodies of writings as digital poetry — a poetic practice that is made possible by digital media and technology in which aesthetic possibilities are extended through the semantic impact of alphabets, visuals, data, etc. Interlaced by multimedial meaning-making, Et Cetera re(produces) installations that are engineered with utilizing real-time data feeds, animated letterforms, performative instructions and sensory synthesis.

Exploring different scenarios of human-machine coupling that consequently lead to multifarious illegibility, Et Cetera amplifies the noise of information overflow in the concurrent mediascape with its rhizomatic networks that are largely beyond our conscious apprehension. On the B-side, Et Cetera is also involved with writing about the alphabetic writing apparatus, the role of artist as author as human-machine-centaur and the networked subjectivity.

Related writing: Et Cetera by Xuan Ye


XVK 2017


XVK, aka @XVK_XVK is an asian-girl-band-artist-collective of members Xuan Ye, Véronique Sunatori and Sara Kay Maston. The collective’s body of work combines images, video, performance, and sculptural objects. XVK employs the “Asian-pop-girl-band” trope to deconstruct narratives and myths of “Asian girl” stereotypes, and to critique the capitalist exploitation and fetishism of females in idol industry. Appropriating the persona of the pop star, XVK introduces vulnerability, anger, defiance, humor, boredom, and anxiety that are often neglected in celebrity and idol culture centered around East Asia. In the wake of the concurrent socio-political environment, and around the circulation of disinformation, XVK searches for an alternative history suggesting a praxis of activism that functions beyond the conventional white box context. Eliminating sound as the core of the pop music machine, XVK has released two singles which are performed as silent music videos.



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d a n g e r is one of the flip sides of g a r d e n

Related work: Telematic Allergies, Fin