The Oral Logic
installation view, solo exhibition at Pari Nadimi Gallery, Toronto, Canada, 2019.
Garrulous Guts 2019
two-channel animation, subwoofers, clear gelatin capsules, anti-biotics, anti-estrogen hormone, air ducts, generative algorithmic composition (in collaboration with Jason Doell)
Cmd & Ctrl Chewing Gum 2019
2.5”x 2.5”, limited edition of 30
natural chicle gum base, sugar, dextrose, cane syrup, wafer paper, edible ink
single-channel video(3’25”), interactive web-based application, laser-engraved mirror, 3D prints, generative poetry on paper scroll, algorithmic composition (in collaboration with Jason Doell)
Deep Aware Triads – orishormonaspina 2019
36” diameter each
giclée print (triptych)
The exhibition is an assemblage of four multimedia installations that expand The Oral Logic thread out of Ye’s extensive research on the poetics and politics of human-machine coupling.
Turning the gaze inward on bodily systems, the installations are conceptualized using the cannibalistic metaphor of “eating and being eaten” to contemplate on our dialectic relationships with technology. We as bio-cultural-technological amalgams have always merged our mental activities with the operations of technologies in a broader sense. For example, writing is a technology we use to make sense of ourselves and the world as it reconfigures our consciousness. Having entered the electronic landscape, we, both consumer and feeder devour and chew, digest and absorb electronic culture in all domains. From eating to speaking, from the molecular to the epistemological, our body and psyche are subject to the cybogian economy where massive networks show affective and cognitive agencies and planetary computation is mobilized by the entangled power of political ideologies, economic imbalance, and cultural disparities. It is in such a context where The Oral Logic attempts to question “to what extent would this symbiosis evolve?”
The four installations interweave the The Oral Logic as if our minds already operate as silicon-carbon intelligence hybrids. At the centre of the space located pumping low-frequency sounds, which activate the sculptural diagrams on the wall and animated digestive system mapped with malleable texts. Machine learning algorithms are employed to produce text, sound and image during artist’s process of collaborating with digital bodies.
The metaphor of cannibalism in Brazilian literature and translation theory offers ways to rethink cultural assimilation in colonial and post-colonial conditions. Borrowing the same idea to think about technological incorporation, Ye blends e-wastes with living organisms and proposes “vomit as a method” to redefine and reclaim human agencies in the hyper-control societies.