The Oral Logic 口欲逻辑

ERROAR!#4 2019

dimension variable 尺寸可变

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) 单频高清录像(3分24秒),互动在线应用,激光刻印镜面亚克力,3D打印,生成式诗歌卷轴,算法作曲(与杰森道尔合作)

Canadian Art
Peripheral Review

The exhibition is an assemblage of four multimedia installations that expand The Oral Logic thread out of my 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 subject to the cyborgian 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, I blend e-wastes with living organisms and proposes “vomit as a method” to redefine and reclaim human agencies in the hyper-control societies.


将目光投向身体系统,这些装置以 “吃与被吃 “的食人隐喻为概念,思考人与技术的辩证关系。作为生物-文化-技术的结合体,人类从来都是在更广泛的意义上将精神活动与技术的操作融合在一起。例如,写作是我们用来理解自己和世界的一种技术,因为它重构了我们的意识。在进入电子景观后,我们无论是消费者还是喂养者,在各个领域吞噬和咀嚼、消化和吸收电子文化。从“吃”到“说”,从“分子层”到“认识论”,我们的身体和心理受制于赛博格经济。庞然大物般的网络系统显示出情感和认知的能动性,星球计算被政治意识形态、经济失衡和文化差异的纠缠力量所调动。正是在这样的语境下,《口欲逻辑》试图质疑“这种共生关系会发展到什么程度?”

四件装置交织在一起的 “口欲逻辑”,仿佛我们的大脑像硅碳智能混合体一样运作。在空间的中心位置,低频的声响激活墙上的图表雕塑,CGI的人类消化系统被可塑性的文字充满。在“我”与数字身体合作的过程中,机器学习算法被用于生产文字、声音和图像。巴西文学和翻译理论中食人族的隐喻为重新思考殖民和后殖民条件下的文化同化提供了途径。借用同样的理念来思考技术的融入,将电子垃圾与生物体相融合,并提出 “呕吐物作为一种方法”,以重新定义和恢复人类在超控制社会中的能动性。