Future Tao: Inner Scripture 2018 was a website of experimental self-cultivation methods collectively written by 30 creators. The project was exhibited at Bangkok Bienniale the same year.

︎3C Xing Yi Quan 3C形意拳◎Xia Lin
︎Virtual Feng Shui Statues ◎Fong Han-Yu
︎Stream and Download HB/AV Audio Tracks ◎HEAVY BREATHING
︎Sun’s Shadow ◎Son Ni
︎Composing the Ordinary  ◎Petra Johnson
︎Elastic Dialogues ◎Xin Cheng & Heidi Salaverria
︎Upon Unvolutionarily Disappearing
      ◎Grashina Gabelmann
︎#AstralSelfie ◎IDPW
︎Poetic Commentary ◎Zian Chen

👂Inner Ear
︎Cosmopolitics in Sound ◎Sheryl Cheung
︎Internal Motivations ◎A Workshop by Sheryl Cheung, participants Anja Borowicz and Harriet Pittard
︎Electric Phantom ◎Itaru Ouwan
︎Meridian of Fortune ◎TEIHAKU
︎Terms* ◎Chun Yin Rainbow Chan
      & Craig Stubbs-Race
︎Gentle Steps Tainan ◎Nigel Brown
︎Amplified trumpet, Propellers, Metal and Air  ◎Sound of the Mountain
︎Year  ◎Jin Sangtae
︎聲音裡的宇宙政治 ◎張欣
︎內部運動 ◎由張欣帶領的工作坊, 參與者Anja
      Borowicz和Harriet Pittard
︎電魂 ◎追灣及
︎財經二周天 ◎鐵一
︎條款* ◎陳雋然 與 Craig Stubbs-Race
︎躡步台南 ◎Nigel Brown
︎電聲小號、螺旋槳,金屬和空氣 ◎山的聲音
︎年 ◎秦相太

Archive 2018_Dantian Practice

3C Xing Yi Quan



Xia Lin

Xia Lin's art project ’3C Xing Yi Quan' is a new style of martial arts (open source, work in progress) that imitates the body language and characteristics of 3C products.

How has your body changed with long-term use of 3C products?

  1. The neck stretches forward to watch the screen, and a new lump of flesh is developed on the back of neck.
  2. The back of wrist becomes smooth after prolonged time using keyboard and mouse.
  3. The spine is shaped into a humpback, or strained off center by sitting crossed legs or sideways.
  4. The butt is flattened, and a growing belly forms after sitting at a chair for a long time.
  5. Restless legs and habitual shaking movements formed by an agitated body not wanting to stay in same place.
  6. Eyes glued to the screen, trained to browse information very quickly.
  7. Scope of vision becomes narrow and close.
  8. Feeling comfortable with screen light and LED in the dark.
  9. Feeling uncomfortable without WiFi, have to check updates all the time.
  10. The ears can distinguish different cell phone alerts and sound effects. (and etc…)


  1. 容易伸長脖子看螢幕,頸部後面凸起的肉。
  2. 手掌下方因經常使用鍵盤和滑鼠而變光滑的皮膚。
  3. 駝背、翹腳、側坐的脊椎。
  4. 因長時間的坐姿,越來越凸的小腹,越來越扁平的屁股。
  5. 不甘願一直坐在椅子上不停晃動的腿。
  6. 能盯著螢幕看都不眨眼,並快速瀏覽資訊的眼球。
  7. 習慣近距離的視線範圍。
  8. 習慣在黑暗中有螢幕與LED的光線。
  9. 需要時常檢查更新,沒有wifi網路會焦慮不安的內心。
  10. 能分辨出各種不同訊息音效的耳朵(等等很多...)。

Practice 3C Xing Yi Quan
Change our digital lifestyle



Xia Lin
Xia Lin employs multimedia, video, text and performance for an artistic practice that concerns Taichi philosophy, martial arts, and cognitive processes of humans and machines. Xia’s ongoing project 3C Xing Yi Quan is a new form of internal martial arts that seeks to grasp the essence of mobile computer gadgets and accessories. The practice helps mind and body equilibrium in the digital age.

Archive 2018_Dantian Practice

Virtual Feng Shui Statues 

Fong Han-Yu

Fong Han-yu is a Health Aesthetician who has committed himself to the study and methodology of Virtual Health Preservation. Dr. Feng founded this school of thought in 1991, he has published numerous books and has invented a line of health cultivation sculptures beneficial for the mind and body. These sculptures combine traditional chinese theory and human-oriented technological innovations. Engage through the means of look, touch, appreciation and play, and improve the flow of qi through the tendons and muscles. These sculptures, placed in a suitable position at home can guide a prosperous flow of fengshui energy. Health cultivation sculptures are not confined in the virtual or the real; the virtual and the real are mutually generative, they can also be deposited on the internet. The sculptures are a blessing to modern day people who live a busy lifestyle.

*The content in this production are of artistic creation. No identification with actual persons (living or deceased) is intended or should be inferred.

鳳漢玉老先生,養生美學博士,於1991年始,醉心於研究「虛擬養生學」的本體與方法理論,為此學派的開創者與實踐者。鳳博士除著作豐沛,亦專注研發有助於身心靈之「養生雕塑」,積極將傳統理論融合人類高科技產物,強調觀、觸、賞、玩四相共構,觸之引暢筋脈氣血 ; 擺置於適切之處亦可導引吉祥風水之氣。養生雕塑不侷限於虛實,虛實相生相轉,可存於網路,對於忙碌之現代人乃一大福音。


Virtual Feng Shui Statues

Fong Han-yu
Fong Han-yu immerses himself in the flow and clustering of images in mass media culture. Often working within social media platforms such as facebook, instagram, and tumblr, Fong's creative approach is often based on collecting images and creating fictional narratives. Each project is defined by a specific concern and set of rules that guide his process of assemblage. Through virtual projects such as Plantktonics, Happy Virtual Friend, Virtual Check-in, Peace and Happiness, Software 2050, Human observations, Fong attempts to
draw out new ways of seeing.

鳳漢玉關注大眾網路文化中影音的流動與群聚,並親身滲透其中進行探索。常以社群網路平台(facebook, instagram, tumblr...)為媒材進行創作,計畫主題多以「蒐集」與「虛構」為方法,在特定議題與規則下蒐集組合大量圖像,使觀者得以不同角度經驗圖像,作品包含「蜉蝣爛渣」、「快樂虛擬朋友」、「虛擬打卡」、「平安喜樂」、「寂しい software 2050」、「人類察看」...等。

Archive 2018_Dantian Practice

We now have mastered
the ability to throw stones with empty hands

Eteam (Hajoe Moderegger and Franziska Lamprecht)

Who knows the future of predictions? Will they be made by machines, our fortunes told by data? Techne, as it says in the dictionary we use, comes from the Greek: art, skill, cunning of hand. As in deceiving; craftiness; guile. adeptness in performance; dexterity.

Technology today connects Trillions. But what is that number in comparison to the relations the universe maintains? Relays. We meant to say: But what is that number in comparison to the relations the universe relays to those aware of what? Their bodies? Their being part of the isolation of bodies in space? What kind of space? What kind of body? Condensations in the void?

Lao Tzu says it is the empty part of the vessel that is the most useful. Shape hardware into Internet – is it our ability to throw stones with empty hands that is most useful?

We now can script that into forms of empty gestures. The user’s hand lost its cunning. Currently the cosmic dance is a protest, the cosmic apprentices are bearing witness on behalf of the Internet. We, the Internet protest. We, the Internet practice. We, the Internet are aware of being circled and looked upon from outside angles, being rummaged around in our scripts. Sometimes we do it ourselves. “Not knowing that one knows is best,” says Lao Tzu.

Running clock-wise. Back and forth within that rotation. Even empty space is curved and to adapt to that takes an expanded practice with a limited range of applicability. What bends the mind straightens the body. Intrinsic rhythm. Repeatedly, we say, we are standing upright on two feet and gesture outward. Repeatedly, we signal outward to draw attention to an inner state. In a frame of reference we move with respect to the observer. Relatively speaking, we represent.



今天的科技將億萬的人聯繫起來。但這個數字與宇宙的關係相比是什麼呢?轉換迴路(relay)。 我們的意思是:這個數字相比於宇宙迴路中所傳送的關係又是什麼?那些關係的接收者意識到了什麼?關係的體現?隔離身體的空間?什麼樣的空間?什麼樣的身體? 虛空中的凝結?

老子曾說,「埏埴以為器,當其無,有器之用。」[1]  將硬體塑造成網際網路 - 空手扔石頭的能力是否是最有用呢?


順應時鐘上的指針,在旋轉中來回運行,即使是空的空間也是彎曲的。要適應就必須在有限的應用範圍中擴展練習。拗折意識的東西拉直了我們的身軀。內在的節奏,我們反覆地說;雙腳站立,姿態向外,我們反覆地向外發出信號,召喚對內心狀態的注意。 在這框架中,我們相對觀察者的位置正在移動。 相對的說,我們是一種形象。


☯ Eteam
Since 2001 eteam (Franziska Lamprecht and Hajoe Moderegger) traffic in transience. At the intersection of relational aesthetics, the Internet and land art, eteam coordinates collective happenings and conceptual transactions between the earthly plane and the realms of the interweb, often reconstructed in hypnotic video work, radio plays, or more recently novellas and novels. Their projects have been featured at PS1 NY, MUMOK Vienna, Centre Pompidou Paris, Transmediale Berlin, Taiwan International Documentary Festival, New York Video Festival, International Film Festival Rotterdam, the 11th Biennale of Moving Images in Geneva, among others.

eteam 團隊自2001年由Franziska Lamprecht與Hajoe Moderegger 於倏忽之間瓜田李下地達成交易。eteam合作的方向通常在關係美學、網路、與環境藝術的交匯中,以團隊的方式在我們所處的世界或者互聯網域間安排偶發事件,而這些作品通常以帶有催眠風格的錄像作品,廣播秀,還有最新使用的輕小說或是小說文體。他們過去的作品已經在紐約的PS1、維也納的MUMOK、巴黎龐畢度中心、柏林的跨媒體藝術節(Transmediale)、台灣國際紀錄片影展、紐約錄像節、鹿特丹國際電影節、第十一界日內瓦動態影像雙年展等國際作品亮相。

Archive 2018_Dantian Practice



HB/AV is a series of artist-led movement seminars designed for audio/video download. The concept of HB/AV is the same as HB's workshop series: bringing together somatic exercises with critical discourse that might take the form of a lecture, a dialogue, a guided meditation, and/or other modes of experimental and performative texts - basically “Heavy Breathing on the Go”.


Chani Bockwinkel

SAPPHO and SWEAT 薩福與汗水

(2018, 23:06)

A luxurious and sweaty strange dance class to perform alone in your room. A thunderfuck of somatics, athletics and the burning words of Sappho's poetry.

"...that loosener of limbs, bittersweet creature against which nothing can be done.” — Sappho



Anne Carson, If Not Winter, Fragments of Sappho
Tom Meyers, Anatomy Trains
Irene Dowd, Taking Root to Fly
Mary R. Lefkowitz,
Women in Greek Myth

Christina Linden

Monsters Herding Cats, and Ducks In A Row


(2018, 10:00)

Audio guide for a session of stretching, rolling, crawling, and light contact improv for adults and their baby or toddler friends. Readings of selected excerpts from children's books and Moyra Davey's Mother Reader. Bring your own music.

適合成人、嬰兒、和幼兒朋友們的語音導覽,內容包括拉伸、滾動、爬行、輕量的接觸即興活動、以及摘自莫伊拉 · 戴維的母親讀本、兒童書籍的文本閱讀。請配上你自己選擇的音樂。

Claudia La Rocco

If we are to have magical bodies
we must have magical minds 

(2018, 18:40)

This is a somewhat condensed version of my contribution to the Heavy Breathing series, which I performed at the UC Berkeley Art Museum and Pacific Film Archive in 2017. It is a splice of my two practices, shuttling between very different or maybe very similar modes: my writing, and my teacher’s notes.
Some of the writing is new and some of it is previously published; some of the notes are edited, and some are not.


Kate Rhoades + Eli Thorne

Dirty Work 熱活

(2018, 22:11)

We lead couples in a strength training workout based on a chapter from Ann McClintock's book, Imperial Leather which investigates gender, violence, class, and BDSM in Victorian England. Participants will take turns being submissive or dominant and get dirty while building muscle.

Special thanks to Stephanie Ellis.

我們帶領情侶進行體能訓練,內容起源於安 · 麥克克林托克的著作「帝國皮革」裡其中一章,調查維多利亞時代英格蘭有關性別、暴力、階級和BDSM的歷史。 參與者將輪流擔任順從或主導的角色,在熱情的運動中增長肌力。

特別鳴謝  史提芬妮 · 艾利斯。

Tom Comitta

Born to Run 生來就是要奔跑的

(2018, 45:34)

Thank you to Sophia Wang and Lisa Rybovich Crallé for creating a space and context for this piece. For more information on literary supercuts — mine and others — check out this conversation between me and Jez Burrows published by The Believer in May 2018:

Born to Run is an audio chapbook that collages descriptions of running and jogging from over 60 novels. There's everything in here from Stephen King's The Running Man to Cynthia Voigt's The Runner, with a sprinkling of Charles Dickens, Agatha Christie and Samuel R. Delany. To experience this piece, a listener would get on a treadmill, elliptical or any artificial exercise device, put on headphones and press play.

感謝Sophia Wang 和 LisaRybovichCrallé為這件作品創造的場域和語境。
有關此項目的更多文學精選 - 自我和其他作者 - 請查閱2018年5月由The Believer出版訪談:

「生來就是要奔跑的」是一段語音章節,拼貼60多部小說中跑步和慢跑的描述。 涵蓋的著作有斯蒂芬 · 金的過關斬將和辛西亞 · 佛特的跑者,其中包括查爾斯 · 狄更斯、阿加莎 · 克里斯蒂和塞繆爾 R.德拉尼。以體驗這件作品,請站上跑步機,滑步機或任何人工運動裝置,隨著肢體的運動,戴上耳機並按播放。

Christian Nagler



(2018, 22:28)

In this session we will delve deeply into some embodied non-solutions to the problem of global risk management. What are global risk management practices and how do they relate to our nervous systems? Listen, follow along and engage in an athletic and de-armoring session of Reichian somatics, full-corpus spasms, and galactic tingles. Wear comfortable clothes. Prepare to move, breathe intensely, yell, and freak out a little.

Performer Bios
Amelia Charter is an artist, performer and teacher living in Los Angeles.
Kevin Nagler is an artist currently located in Abiquiu, New Mexico
Susannah Schoff is a teacher who lives in Alameda, CA

1. Ulrich Beck, Living in the World Risk Society, 2006
2. Michel Foucault, Security Territory, Population, Lectures at the College de France, 1979 (especially lecture no. 2)
3. Benjamin Lee and Edward Lipuma, Circulatory Risks and the Speculative Habitus
4. Dusan Makavejev, WR: Mysteries of the Organism, 1971
5. Wilhelm Reich, The Mass Psychology of Fascism, 1933 and Character Analysis, 1933
6. Claire Souch, Pushing the Boundaries of Catastrophe Modeling, 2014
7. Peter A. Levine Nature's Lessons in Healing Trauma


克里斯汀 · 納格爾近年來持續對矽谷的表演文化進行人類學研究,創作錄像作品Shoulder Babies,並籌辦一個命名為phoebe的組織。寫作曾發表於 TDR、Performance Research、Art Practical,2016年出版書籍「人力資本:生命」。

☯ Heavy Breathing
Heavy Breathing is a series of experimental movement seminars designed by artists combining physical activity with group discussion on ideas related to their creative practice. Critical thinking often feels heady, abstract, and divorced from the body. How do conversations change when we are moving our bodies and out of breath? What new modes of thinking become possible?
來自美國西岸的重呼吸(Heavy Breathing)是一系列藝術家策劃的實驗性運動研討會,結合肢體活動與話語交流。批判性思維經常讓人感到頭重腳輕、過於抽象、並與身體分離。當身體在移動中,上氣不接下氣地喘息時,對話又如何改變?什麼樣的新思維模式變得可能?

Archive 2018_Dantian Practice

Sun’s Shadow 太陽影子

Son Ni

Click on the picture to enter 

This series of drawings on paper depict clear contoured images that express an intimacy between one and one’s domestic world. Through original perspective and style, the work is a limitless creation made under limited conditions. Drawings is some kind of ritual or habit that begins by defining all the frames; in these spaces, I place bodies, objects and emotionally existing utopias and discover a gap in time-space where the closedness of reality opens into a boundlessness--where I explore the relationship between reality and illusion.

Searching for intangible materials in a fixed, defined world, Sun’s Shadow opens up a wide vision where the self is continually thrown out; viewers are encouraged to free themselves from the usual limitations and explore a greater imagination; to excavate an implied existence beyond the physical.


☯ Son Ni
I can make things disappear and I can make things reappear. By things I mean anything, even people, but I have a soft heart and it makes things difficult. I memorize these things before I vanish them, in case I may regret someday. If I don't remember them, no one else will.

Son Ni, Born 1984 in Taipei, Son Ni is mainly engages in drawing, painting, and art publishing. She founded independent publishing house nos:books in 2008 and mini mobile art space The Calabash Gallery in 2014.


Son Ni,1984年生於台北,主要從事素描繪畫創作、及藝術出版工作。2008年起,成立獨立印刷出版社「nos:books」2014年起,開始「葫蘆藝廊」計畫,葫蘆藝廊是一個行動微型藝廊。

Archive 2018_Inner Ear

Cosmopolitics in Sound

Sheryl Cheung

( / Eng )

Bamboo leaves used for Naxi ritual in Yunnan, China (2018)

Consider harnessing sound as a way of interpreting the universe, relationships, changes, and the here and now; a process wherein an exploration of cosmopolitics is implicit; a sublimation technique to navigate between the form and essence of all things. More specifically, in my practice I work with a kind of inner sound, a sonic feedback of the animated world, as a medium to theorize and practice a subjective view of the cosmos and morality.

Growing up emotionally affiliated with many cultures, locations and communities, active listening became a way to deepen my awareness of the multi-worlds , to negotiate between the noise of nature (death, chaos, destruction) and noise of cultures (dogma, hierarchy and specialization)--not as binaries but as parts of a malleable whole--that which we call the noise of modernity.

Our sense of belonging is becoming increasingly unstable in a rapidly changing world: the earth is in crisis, digital consciousness is coming, and globalization (hegemonic knowledge systems) has lost its benevolent flair. This is a time to extend contemporary narratives beyond the human centric world that endlessly cycles through ideologies, “as if the evolution of ideas about the cosmos [has become] even more important than the truth about it,” writes historian Remi Brague. Relieve the pressures of usefulness and gravitational pull.

In this episode I trespass through transhumanist desires with Taoist (non-humanist) intuition, to delve into the politics of human and non-human forms, to maintain a holistic view that deters one from the enchantment of nature. To harness a way of embodiment that engages with an internal network of life and thereby affectively philosophize; to follow a desire to imagine, to interpret and influence the noise of the future (utility, progress, speed).

"Future Tao," performance at Taipei Fine Art Museum (2017)

Let us begin with a general mythology of sound. Imagine the most elemental technology in the world--the essence of life--the animating power that runs through all living things. This power is an intangible material with universal potential that suggests a shared disposition between all that appears to be separate. Like wind, it flows through different internal and external worlds, making the inner and outer one of the same. The ability for this power to connect different entities, spaces, and time gives it a narrating quality, bringing together different relations, changes and patterns to assemble a perspective of the world that differs from histories based on externality.

17th Century Dutch philosopher Spinoza speaks of the power of life as a musical instrument that produces melodic variations with a vast range of dynamics determined by affects, or passions of the mind. Because affects are not determined by the self alone, but induced by various conditions that influence one’s experiential state, the melody of one’s life force is not an expression of free will, but a series of responses to a greater network of influences. The Taoist sage Lao Tzu shares a similar view of agency by positing that all natural forces, including man, follow the laws of nature (天道). And so, when a strong gust of wind howls like a beast, does its force intend aggression, or an impartial demonstration of a greater cosmic order? Here the concepts of affect, power, and world order seems to lean on interpretations of plasticity.

Communion with the Wind (2017)

One’s power in the cosmic order can be cultivated by mind and body technology. In Taoist practices, the animating power of life, which they call qi, is fostered according to the characteristics of nature: how plants grow, animals move, the order of the seasons. Based on these qualities, practitioners follow certain daily methods to gather, mobilize, replenish energy of a human body and connect with the qi of its surroundings. A visualization of this process can be found in The Inner Scripture, an imaginative Taoist diagram about manipulating energy; the diagram depicts the human interior as a natural landscape of fields and agrarian labor; qi flows with the collective efforts of this complex system. Here the human body is a space for energy cultivation, and the good condition of energy is portrayed through towering mountains and streaming rivers. This inner world suggests a soundscape of collective living, an animated field that mobilizes a polyphonic materiality.

The pursuit of material sound resonates with Pierre Schaeffer’s music concrete proposed in the mid 1900s, which sought to develop a kind of music emancipated from the cultural structures of his time. In search for liberated sound, Schaeffer took on the physical world as a general instrument unbounded by traditional tools and fixed understandings of music theory. Music making involves more than technicalities of craft, or the understanding of science, said Schaeffer, it also requires a critical determination of “the nature of the music which the choice of certain musical objects implies.” He emphasizes on the implicit, a searching of meaning within the entwined.

In my piece “Earth Crust Quake,” I abstracted the form of sound until form is no longer and only matter remains (無), then experimented with matter in a nonlinear process (有). Like qi that runs through the Inner Scripture--music concrete is a sounding of a general substance, a processing of physical representation to excavate the internal rhythms in the essence of sound.

Earth Crust Quake (2018), from my ongoing research project "Anthem Boy" (tentative title, 2013-)

The state of co-habitation as portrayed in the Inner Scripture raises questions about shared embodiment between different life forms. One of the highest achievements of a Taoist practitioner is to, by way of connecting by qi, attain unity between heaven, earth and man (天人合一). With conscious engagement oneself and the world, a transbody becomes possible between different life forms. Spinoza zooms in for a more specific look at this unity by speaking of a mixture of bodies. “Affectio” is a mixture of two bodies, one body which is said to act on another, and the other receives the trace of the first.

The idea of transbody is explored in Moon Tides I, a ritualistic performance in which a plant and a human are united in a shared narrative of vulnerability and weakness. Internal sounds from the human and plant, such as breathing, digestion, breaking bones and branches and electromagnetic bio-feedback are used in a musical experience to create one sonic field of bio-rhythms.

Moon Tides, performance excerpt (2017)

In this performance, the narrative of vulnerability and sadness reflects upon a general correlation between power and emotions. How does the energy of life embody a certain affective politics based on our vision of life affirming goodnesses? According to Spinoza, Joy and sadness are considered two poles of the emotional scale that determine the range of the vital melodic line; joy increases one’s power to act and persist in life; sadness diminishes one’s level of power.

While this power scale can be useful as a general guideline for self-orientation, it is also beneficial to consider the world beyond the positive--as a boundless space that stretches limitlessly towards all directions. Where there is no aesthetic judgment of either direction, but an ability to maneuver with the tides and to cultivate one’s instrument in the ever-changing states. From this perspective, weakness is negatively affirming and thereby empowering: In the research of Indian scientist Jagdish Chandra Bose, the right amount of stimulation (shock) on a plant can increase internal flow of sap and fuel growth in certain developing areas. This enhanced inner mobility suggests a connection between weakness and growth, driven by biological instincts to heal, to bloom and prosper in life. In Bose’s studies, we see a perseverance that goes beyond resilience by responding affirmatively to a call for inner power.

To be able to maneuver in the positive and negative requires a particular state of mind and body that allows one to flexibly respond to changing states of disposition. Despite our limited agency, constrained by social, environmental, emotional and other factors, this project is an attempt to propose an attitude and practice, through the medium of sound, to navigate the constant flux of the universe.

(update: 2018)

☯ Sheryl Cheung
Sheryl Cheung works between experimental sound compositions, abstract scoring and performances to explore a material concept of life. Perceiving life as a force, a mobility that drives our innate persistence to live, she explores how active listening (working with sound) can be a mind and body practice to negotiate different noises of the world.

Archive 2018_Inner Ear

Internal Motivations

A Workshop by Sheryl Cheung

Internal Motivations is a workshop led by artist Sheryl Cheung that explores new imaginations of internal martial arts through the perspective of sound. Through activities such as listening, improvisation, and composing, participants explore different relationships between sound and energy. Internal martial arts is a seemingly passive but internally vigorous form of martial arts that stresses on breathing, energy circulation, external and internal movements, and expanded consciousness. Working with people of diverse cultural backgrounds, the workshop hopes to open Taoist-informed ideas to more universal imaginations and applications.

The first iteration of Internal Motivations was staged at Somerset Studio, London and co-organized by Music Hackspace, Happened and Lacking Sound Festival. In this session, 14 artists, musicians, engineers, and cultural thinkers each brought their own creative directions to the table and interpreted the given resources with a personal focus. Workshop participants Anja Borowicz and Harriet Pittard have contributed their work to the presentation below.

The second iteration of the workshop is scheduled for Sept 23, 2018 at Taipei Contemporary Art Center. This session will focus on collective listening and improvisation and participants will explore sound  between people and domestic electronics and computer accessories. More information will be updated on this page after the event.


2018年7月「內部運動」第一回舉辦於倫敦桑默塞特府工作室,由音樂駭客空間、Happened、失聲祭共同策劃。過程中14位藝術家、音樂家、工程師和文化思想家分享他們各自的創作方向,以個人為觀點瞭解內部運動的價值。參與者Anja Borowicz和Harriet Pittard於「未來道:線上秘笈」呈現他們的工作坊成果。



Anja Borowicz

“The inspiration for this piece stems from my investigations of how our working gestures are performed and can be extended to different situations, actions and meanings.

The source materials have been selected from the BBC Sound Effects and The Internet Archive. The piece combines the sounds of the body massage with the acts of dough kneading and clay throwing. This version was recorded as a live laptop performance using a mixer board in Audacity.

Flowing rhythms interweave with awkward changes when the labouring bodies adjust or pause their recorded action, or when my hand hesitates while searching for controls. Yet tuning my body into the sounds became less self-conscious when working live with the clips. Lighter and more playful.”



當我的手在鍵盤上猶豫不決之時;當錄音中的勞動體進行自我調整,或停頓於一個動作時,流動的節奏中出現交織於其中的尷尬變化。 然而當我調整自身的頻率,與錄音達到一種協調時,這些聲音材料再也不讓我感到太過緊張,整件事變得更輕盈,更有趣。」


Harriet Pittard

Harriet Pittard is a London-based vocalist, musician and sound artist. She has made sound works in collaboration with contemporary artist Beatriz Olabarietta for exhibitions at London’s MOT Gallery, The Serpentine and The Sunday Painter, as well as making sound work to accompany the photography of artist Kadie Salmon.

For her first solo sound project Pittard will use found sound, field recordings and composition to explore endometriosis – a chronic female reproductive condition. Initial inspiration for the project came after attending a workshop at London’s Music Hackspace entitled ‘Internal-Motivations’. Led by sound and performance artist Sheryl Cheung, the workshop explored new imaginations of internal martial arts through the perspective of sound.

Through her long-term project ‘endorchestra’ (inner-orchestra) Pittard aims to explore the various medical stages, emotional experiences and opportunities for healing that living with the condition can present. Women’s symptoms are often ignored or silenced resulting in an average diagnoses time of 7.5 years in the UK. Through this project the artist hopes to amplify hers and other women’s experiences of the disease and create a greater depth of understanding of the condition through sound.

‘endosketch’ is an initial short exploration into sounds associated with the condition. The sketch traverses internal movements, medical noise and womb healing sonics.
Harriet Pittard 是一位倫敦歌手、音樂家和聲音藝術家。她與藝術家Beatriz Olabarietta合作的作品曾展出於倫敦的MOT畫廊、蛇形畫廊 (The Serpentine) 和星期日畫家畫廊(The Sunday Painter),並為藝術家Kadie Salmon的攝影創作聲音。

'endosketch'是Harriet Pittard 第一個獨立作曲嘗試,一個初步、簡短的聲音草圖,過程中採用已有的和自製的錄音材料去探索一種慢性女性生殖病症--子宮內膜異位症 。此作品穿梭於內部運動、醫療噪音、和子宮治療的音頻之間。

endosketch為Harriet Pittard 的長期項目“endorchestra”(內部管弦樂隊)的一部分。此項目旨在探索各種治療階段,情感體驗和康復過程的嘗試。關於女性的病症經常被忽視或消音,導致英國的平均診斷病齡為7-5年。藉由endorchestra藝術家希望為自身和其他女性所面對疾病發聲,並通過聲音的探索更深入了解病情。

該項目靈感來自倫敦音樂黑客空間(Music Hackspace)的Internal Motivations (內部運動)工作坊。在聲音和表演藝術家張欣(Sheryl Cheung)的帶領下,工作坊從聲音的角度重新想像內家武術文化。

Archive 2018_Inner Ear

Electric Phantom 電魂

Itaru Ouwan

“Electric Phantom” is a piece of musique concrète, especially using sounds of discharge of electricity, to produce the condensed form of row material and movements of energy invisible.

In western area, these invisible energy applying to one’s body has been treated in many scientific culture and arts, and mainly focused on as electricity. From ancient sage Pliny to T. A. Edison and N. Tesla in modern era, the works of electricity were studied and discovered as invisible, mystic, but powerful energy in nature. Also in contemporary, with names of H. Cavendish, A. Volta, M. Faraday, J.V. Neumann, R. Caton, H. Berger, W. Einthoven, M. Merleau-Ponty, and study of EEG by S. Bozinovski, M. Sestakov, L. Bozinovska, electricity is known as basic energy to activate our muscles, nerves, brains, and our consciousness itself worked by weak current as electro-physiology shows it.

On the other hand, electricity is familiar to us in tales, as laboratory work by Luigi Galvani was transformed in the story of Frankenstein by M. Shelly, that followed by Jules Gabriel Verne and scientific fictions. We could find the spiritual communication by Edison, Tesla, and even De Sade wrote about these things. Also in music and arts, invisible energy is dealt with in a subject, like Jean-Féry Rebel’s Les Élémens, and in the methods in major contemporary works, as electro-magnetic sensing. For example, John Cage’s Variations V is described as “two systems for the sound to be affected by movement (…) that the dancers triggered sounds as they cut the light beams with their movements. A second system used a series of antennas. When a dancer came within four feet of an antenna a sound would result. Ten photocells were wired to activate tape-recorders and short-wave radios”. In this body-sensing systems improvise the sonic field “as it was created by radio antennas responding to the dancers' movements.” In these works, unseen relationship between body and sensing became as trigger to generate noise – non-visible vibrations of air, by using electro-magnetic technology.

It means, in other words, from science to culture in our contemporary era, it is focused on that the relationships of body and unseen energy, we live in bio-electronic age.

In these reference to the electric-body in culture, the idea of self-cultivation will bring us back to the character and relationship of body and mind. So many questions and hypothesis could be asked, especially on mind and its works. For example, what is relationship between body movements and consciousness? What is resemblance between electro-signal in nerves and words? To sense is remade in the circuit tips? And in this computer and robotics age, we could ask more. So, could computer have their consciousness? Could it be copied from one another? Could they will? Could robots hope? Or, will robots dream of dreams of counting 100,000 sheep?

We couldn’t know the answers now anyway, but someday we could see the robots have their consciousness with the clue of current in their metallic body, and smile. In this moments, sensed-electricity circulated in their body and mind stimulate each other and will work as qui(気), and they will see the pass(道) opened in their circuit of bodies and minds in their way of communication, in internet. And we could dance with them with traditional maneuver.

Maybe that will be named as “future tao”.

The piece which I present here, is representation of that kind of electricity, rather in a row and condensed form. Using 5 discharge of high-voltage currents from 900v to 20,000v recorded in a laboratory as samples, non-effect but amplified only in volumes layered. Electricity with high pressure generated phenomena of arch, which pass between electrode as lights and heat, and sounds with dense vibration with burning air and sparking physically, as you hear.

The process of layering each tracks was really unforgettable, cause tone-cluster-form of electric arch and sparks in sound, generated streams and storms by itself like self-organization, that presented here as time based sculpture. That is, in other words, invisible but could-be-sensed high energetic field, or, which would represent one of the forms that will be appeared in the “future tao”.

「電魂」是一曲具體音樂(musique concrète),利用放電的聲音去製造一種原始物質凝練的狀態和其中隱藏的能量運動。


西方的科學和文藝領域多次提及有關人體的隱形力量,而這些論點主要集中於對電的討論。從古希臘智者蒲林尼(Pliny)到現代科學家湯姆斯・愛迪生(T. A. Edison)、尼古拉・特斯拉(N. Tesla),電被形容為一種自然中的無形、神秘且強大的力量。當代的思想家亨利・卡文迪什(H. Cavendish)、亞歷山德羅・伏打(A. Volta)、邁克爾・法拉第(M. Faraday)、馮・諾伊曼(J.V. Neumann)、理查・凱頓(R. Caton)、漢斯伯格(H. Berger) 、威廉・埃因托芬(W. Einthoven)、莫里斯・梅洛龐蒂(M. Merleau-Ponty)、以及博日诺夫斯基(S. Bozinovski)、謝斯塔科夫(M. Sestakov)、和博日诺夫斯基和(L. Bozinovska)對腦電圖(EEG)的研究中,電被視為一種基礎能量去帶動肌肉、神經和腦的活動。根據電生理學的思想,微弱的電流驅動著人類的意識。

流傳於民間的故事中,電是一個熟悉的素材。科學家路易吉・伽伐尼(Luigi Galvani)的實驗在瑪莉·雪萊(M Shelly) 的「科學怪人」和朱爾・加布里耶・凡爾納(Jules Gabriel Verne)的科幻小說中被重新的闡釋。愛迪生、特斯拉、甚至於薩德侯爵(De Sade)的寫作中也提及有關電的靈性溝通。在音樂和藝術中,無形的能量經常被視為一個具體的主題,呈現於讓.法耶.赫伯(Jean-Féry Rebel)的Les Élémens和其他有關電磁感應的探索性創作。以約翰.凱吉John Cage的 Variations V 為例,作品中兩個聲音系統被周圍的運動所影響;舞者透過動作去干涉現場的光束裝置,距離一組天線4英尺的範圍內引發聲響,而十個光電裝置連接至一組卡帶錄音機和短頻收音機。在凱吉這個身體感應的系統中,天線依照舞者的動作作出反應,形成一個即興的音場。在這件作品中,身體和感應之間的關係,透過電磁技術產生噪音。我們生活於一個生物電子的時代中,科學和文化領域持續關注身體和相關能量的關係。


針對這些問題我們沒有答案,未來的機器人會有自己的意識,他們會在鐵製的身體內感受電流的線索而微笑。在這些時刻,機器人感應身心間循環的電流(氣,他們會順著道的指引去打開網路身心交流,而人們會用傳統的體態和機器人齊舞。也許這會是所謂的 ”FUTURE TAO”。

這次的聲音創作是針對上述的,原始、凝練的電所做的一次描繪。此曲採樣實驗室裡高壓電流在900v ~20,000v間的五次放電錄音。我將採樣的素材做堆疊和音量的調整,並保留原始的素材的性質,沒有做後置效果。高壓電以光和熱的形式在電極間穿梭,所產生的聲音描繪著密集的震動、炎熱的氣體和其產生的火花。

這次堆疊採樣錄音的過程對我來說是難忘的,電路和火花所產生的音調 — 集 — 形,在流動、爆發間形成一個自我組織的、時間性的雕塑。透過這個無形雕塑可以感應到高能量的音場,作為闡釋 ”FUTURE TAO” 的一種形體。

☯ Itaru Ouwan
Itaru Ouwan is an essayist, noise-collage artist from Tokyo, a member of free jazz band Awkward Geisha. His activities began in 2008, writing essays about sound art, improvisation. He has published writings especially about Ensemles 2009, Sapporo International Art Festival 2017 on his blog, and talked in session at Ftarri about sound artists and composers, including Wandelweiser etc. Ouwan makes noise-collage tracks as Gaitoh, Overcoat, and festival_strangelove.
來自東京的作家、噪音拼貼藝術家,自由爵士樂團Awkward Geisha成員。2008他開始撰寫關於聲音藝術和即興創作,特別是Ensemies2009和2017札幌國際藝術節的文章,並於Ftarri上訪談關於Wandelweiser等音樂人,他的噪音拼貼身份分別為Gaitoh、Overcoat和festival_strangelove。

Archive 2018_Inner Ear

Meridian of Fortune 財經二周天


Jing (經), in ancient Chinese, originally means thread, path, and method; and Cai (財) is what is treasured and utilized by people. Therefore, the meaning of so-called “Cai Jing” (財經) is the strategies that seek fortune and the ability to analyze/discern gain and loss.

ASMR is a practice that is able to stimulate the listener’s perception and arouse meridian responses through the sensory system.

Meridian of Fortune blends the tao of finance with ASMR, the process of which helps the body and mind wander while coming to see the ordinary and its variations with more clarity and wisdom. It has been said: those who are not in tune with the circulation of heaven and earth are unable to ease the flow of their meridian channels; those who do not find unity between body and spirit cannot manage their wealth. So position yourself between the illusory and the real, and gather the flow between external and internal--that is the way to Meridian of Fortune.

To survive, one must consider how to live; and to live, one must possess wealth. And so, the tao of finance becomes an important lesson for every living person. In order to better manage your relationship with fortune, one has to study relevant knowledge and maintain a good attitude. Hundreds and Thousands of people seek this path but very few reach a sound level of practice. It is justified to say that the tao of finance is truly a process of self-cultivation.

Self-cultivation is often a journey full of hardship that requires a peaceful mind and clear spirit; but oftentimes, clarity still cannot be achieved despite the long hours of hard thinking and meditation. Meridian of Fortune offers an alternative path that tempers the severity of Cai Jing with the gentleness and relaxing quality of ASMR. In this method, climax eases the pain. Meridian of Fortune seeks to cultivate and enter the listener’s state of half-asleep-and-half-awake, searching for a space where the mind and body become one and the body and nerves are relaxed. In this space of consciousness, let flow the meridians of fortune.

ASMR and Cai Jing-two ideas that do not appear to be related-actually imply underlying connections. The word Jing (經) in Cai Jing (財經), means “method” or “route”, which originally referred to the vertical thread in weaving that serves to connect the fibre together. The gist of Jing is fluidity which also reconciles with the meridian and flow of circulation in a body while the feeling and sensation evoked by the sound of ASMR is also a kind of meridian response. For me, ASMR is like a mystic practice that is not yet fully understood but is full of charisma. ASMR is often used for hypnosis and it is also the key to the aforementioned state between dream and awakeness. Furthermore, Cai (fortune) and sleep are also subtly connected. Most people of the working class earn their wage by working while they are awake; sleep, therefore, becomes a time when the flow of fortune is suspended. The wealth of the rich is, however, continue to accumulate even while they are sleeping. The integration of ASMR and Cai Jing may entice a potentiality that brings the “productive sleep” to every listener.

Instead of thinking it through, you could as well just relax. The fluidity of body might just become a path towards a kind of understanding.


人活着,就得考慮如何生活;而要活下去,就需要財富。理財之道因而也就成了生而爲人的一 門重要的功課。打理好自己與財富之間的關係,既需要學習相關的知識,也需要鍛鍊良好的心 態。對此,雖千萬人俱往,但真正有境界的卻寥寥無幾。將之比作修行,實不爲過。


ASMR與財經,看似風馬牛不相及,實則暗含隱匿的關聯。“財經”一詞中作“方法、道路”之意的“經”,脫胎於紡織的經線,其要在通,也暗合了身體的經絡和循環;而ASMR通過 聲音所刺激的感官感受,也正是一種經絡反應。對我來說,ASMR就像是某種密宗——雖然尚未被充分瞭解,但卻充滿魅力。它常被用來催眠,也是進入半夢半醒空間的關鍵鑰匙。此外,財富與睡眠之間也有着微妙的關係:大多數工薪階層,依靠醒着時的勞作來獲取報酬,那麼睡眠就意味着財富的休止;而另一邊,富裕人士的財富即使是在他們睡覺的時候,仍然可以持續地增加。ASMR與財經的結合也許擁有某種潛能,把“生產性的睡眠”帶給每一個聽衆。


TEIHAKU is an artist and writer. Involved with various artistic and social practices, he often switched among different roles to work in different contexts and territories in order to disrupt unnecessary barriers. From 2018, TEIHAKU started to use sound as a platform to discuss the relation between sense, consciousness and technology.

Archive 2018_Inner Ear

Terms* 條款

Chun Yin Rainbow Chan
& Craig Stubbs-Race

“Terms” comes from the word terminus. Latin for a boundary, a limit, an end.

“Made in China” once signified anxieties about the loss of hegemonic power in the West. Now, with China's slowing economy and rising labour costs, these fears have shifted onto Chinese counterfeiting and piracy which pose key threats to world trade. Indeed, global media seems to be fixated on stories which portray China as dangerous. It is not uncommon to see headlines describing China as “crazy” or to hear about China’s fake foods, bogus drugs, poor production standards and systemic corruption. Such spectacles brand China as a nation in crisis in the public imagination. But the circulation of these horror stories also help to mask the fact that “Made in China” products are pawns in a global economy, the rules of which are governed by powerful Western multinationals.

“Terms” denotes the conditions under which an agreement is made.

China’s counterfeiting industry has often been attributed by scholars to historical precedents which collapse profitability with ancient Chinese philosophy. Some have mapped the ideas of permeability and changeability within Taoist thought onto the prevalence of knock-off goods. Others have imputed copy culture to the arduous repetition of words required for mastering the Chinese language. However, linking acts of imitation to some sort of Chinese “sensibility” not only risks perpetuating Orientalist stereotypes but it fails to see counterfeiting as a transnational issue. Under the hostile standards of the World Trade Organisation which work to benefit the West, it is not surprising to see alternate modes of production spring up in China. Afterall, China is the largest manufacturer in the world and probably made the Nikes on your feet.

“Terms” alludes to a mutual relation but gestures towards stipulations, transactions and power plays rather than unconditional acts of love.

The counterfeit object is an incoherent sign without claims to authorship or integrity. Its meaning and value is hard to stabilise when entered into the public domain. A skilful imitation can emanate a magical aura whilst the more obvious illegitimate offspring likes to give you a knowing wink. The counterfeit is a slippery, porous and multi-dimensional symbol of resistance, a big momentary fuck-you to Terms and Conditions. But in this game of global trade, the counterfeit is too easily co-opted by those in power and subsumed back into the safety of late capitalism.

“Terms” is a throbbing mass of lo-res McDonald’s french fries skittering around Taobao. A lively organism moving in time with the sound of Youtube rips, free drum sample packs and Google-Translated audio. A cluster of false promises on the brink of explosion.

Terms 源於拉丁語的 Terminus,意指邊界、限制、結束。

「中國製造」曾經指向西方喪失霸權而引發的焦慮。 隨著中國的經濟放緩、勞動成本上升,過去對中國的焦慮逐漸轉移焦點,如今該國的仿冒和盜版產業被視為世界貿易的重大威脅。全球媒體似乎迷戀於將中國描寫為危險角色的種種故事。

「瘋狂」的中國頻繁出現於新聞頭條,也時常聽說該國的假冒食品、藥品、不良的生產標準和系統性的腐敗。這些敘事營造出一種景觀,在公眾的想像中,中國是一個處於危機中的國家。 而關於中國的恐怖故事之擴散有助於掩蓋「中國製造」在全球經濟中作為政治籌碼的事實,相關遊戲規則由強大的西方跨國公司所把持。

Terms 表示著達成協議的條件。

許多學者們認為中國的仿冒產業屬於一種在利益和中國古代哲學之間建立連繫的歷史先例。有些人將道家思想中的滲透性和可變性映射於今日仿冒品的盛行。 也有些人將復製文化(copy culture)回溯至漢語教學中重複詞彙的學習方法。 然而,將模仿這個行為與某種中國味道聯繫起來,不僅涉獵強化東方主義之刻板印象,且未能將仿冒現象推向一個跨國議題來談論。在世界貿易組織偏袒西方的標準下,中國出現其他生產方式也不足為奇。畢竟中國是世界上最大的製造商,你腳上穿的Nike或許就是中國製造。

Terms 所暗示的相互關係,並非無條件的愛,而關乎的是規則條例、交易、權力遊戲。

假冒的物品是一個缺乏連貫性的符號,沒有作者聲明,也沒有完整性。介入公共領域時,其含義和價值難以穩定。精巧的仿冒品散發出神奇的光環,而明顯非法的產物更喜歡對你會意地眨眼。 仿冒品是一個光滑、多孔和多維的抵抗象徵;面對著服務條款和條件,它以巨大的、瞬間的「fuckyou」作回應。 在這場全球貿易博弈中,假冒者容易被當權者所吸引,並被納入晚期資本主義的安全懷抱之中。

Terms 是在淘寶上肆虐的一群悸動的低畫素麥當勞薯條。一個生動的有機體,在時間中隨著Youtube上翻錄的聲音、免費的鼓聲取樣組合和谷歌翻譯的音頻移動。一堆虛假的承諾在爆炸的邊緣。

☯ Chun Yin Rainbow Chan & Craig Stubbs-Race
Chun Yin Rainbow Chan works across music, performance and installation. Born in Hong Kong and raised in Sydney, Rainbow is interested in mistranslations, diaspora and the effects of globalisation on modern Chinese society. Her research engages with the authentic and the copy, exploring sites of exchange and desire which complicate Western notions of originality and appropriate consumption. Central to Rainbow's work is the circulation of knock-off objects, sounds and images in global media. Her work positions the fake as a complex sign that shapes new myths, values and contemporary commodity production.

Craig Stubbs-Race makes 3D models, motion graphics, websites, and animations.
☯ 陳雋然 與 Craig Stubbs-Race

Craig Stubbs-Race 製作3D模型、動態圖像、網站及動畫。

Journey on the Surface

Yang Yu Chiao

Level Zero

Sergei Paradjanov, The Legend of Suram Fortress
The scene of the dance “How sweet is the water from the hands of a beloved”
謝爾蓋 · 帕拉傑諾夫,「蘇拉姆城堡的傳說」
跳舞的一幕 「從心愛的人手中得來的水是多麼甜蜜」

Level One

Hans Richter, Dreams that Money can Buy
a Duchamp's fragment with music by John Cage

漢斯 · 李希特,「能用錢買到的夢」
由杜象主導的片段,音樂由約翰 · 凱吉擔綱

Level Two

Alexander Alexeieff, Le Nez (the Nose)
亞歷山大 · 阿雷克塞耶夫,「鼻」

Level Three

Jan Lenica, Labyrinth
尚 · 連尼卡,「迷宮」

Level Four

lam Lam larm
Music by calmwhiner and Folmer Sthurmovik, Video by Tanglokto
樂: calmwhiner、Folmer Sthurmovik,影像:鄧樂滔

Level Five

Daniel Szczechura - Podróż (1970)

Level Six

Chris Marker, Troi Video Haikus

Level Seven

Lotte Reiniger, die Abenteuer des Prinzen Achmed

Level Eight

Yuri Norstein, Tale of tales
尤裏 · 諾爾斯汀,「故事中的故事」

Level Nine

Walerian Borowczyk, Les Jeux des Anges
瓦莱利安 · 博羅夫奇克,「天使的遊戲」

Level Ten

László Moholy-Nagy, Ein Lichtspiel Schwarz Weiss Grau
拉兹洛 · 莫霍利 · 纳吉,「光影遊戲:黑、白、灰」

Wooden Roller

Yamamura Koji, Perspektivenbox

This series of narrative or non-narrative videos represent the surface of the world in slow or instant manner. The WORLD has no interior, inside, or inmost region, but a rolling sheet which content phenomena forms a huge spiral structure. Through these videos, we clearly can see anything -- as the etymology of video is "videō"(I see) -- presented in an apparent way. We see, just like we walk, even into the inferno, Dante still walked "on" the surface. Ignoring the concept of "insight", but observing upon the sheet of the living, the plane of the time.


Yang Yu ChiaoYang Yu Chiao is a folktale narrator who has collected thousands of oral traditional folktales around the world. He studies the poetics and comparative analysis of folktales. As an oral storyteller and researcher of folktales, he holds many traditional narrating events in theaters, book stores and other independent performance spaces. He is also a professional translator of English-Japanese-Chinese and has participated in lots of international conferences or movie projects. He also wrote two books including tales inspired from oracle bone scripts.
☯ 楊雨樵楊雨樵,喜歡散步,喜歡樹的屍骨。現專職為口頭傳統民間譚的言說藝術表演者。致力於彙整各地的古代文字、神話譜系與民間譚,並自2014 年開始於全台各地開設「世界民間譚講座」。曾受聲樂訓練,以獨唱家身份自2007 開始與各大學合唱團及其他專業樂團合作演出,2015年於台中「溪流」空間表演《我好樂—-巴哈、普賽爾歌曲與西歐民間故事》。並與藝綻室內樂團合作,於台灣各地各級學校進行音樂教育的推廣與引薦。2017年以民間譚言說藝術表演者身份,與藝綻室內樂團合作演出《純粹。聽說》。創作部分,著有甲骨文異譚集:《藝》——字中事(2014),《易》——字中事(2016),與畫家陳澈合作出版版畫詩集《Counterpoint Archive》(2017),並創辦表面雜誌《COVER》(2017-)。


Network Neighborhood


Click your mouse to move slowly forward with the smallest possible increments. Pace your walk with sameness and regularity, as you extend the progression of time with every step, try to feel the subtle connection between virtual and real. Begin the journey from East Longitude 121° and N Lattitude 23.5° and browse through 10 sites of perpetual tranquility.

以滑鼠點擊最小單位的每一步緩慢前進, 徒步過程中均質、規律,在行走拉長時間的同時,也試圖感受實虛間的微妙關係。 從東經121°、北緯23.5°出發,瀏覽10處永晝寧靜之所。

☯ Liou
A neighborhood on the Internet that loves walking, surfs the internet during leisure time and fishes in the virtual sea for good and simple images and stories. Liou is also interested in film culture, contemporary photography and ecological video documentation.





24.6168968, -101.4129889

14.1332676, -16.0703134






Daily exercise


Q. How would you describe self-cultivation?

Self-cultivation -- daily reflexive acts
A workout -- actions that are done repeatedly in search of precision

Upon waking up, I sit in front of a water hose with a drowsy mind, intense light shines on my optic nerves and give the eye lens a beating. In this way my visionary muscles get a workout, and my facial nerves are stimulated.

My body is a vessel through which I explore this world; how can i play with it, operate it, there is so much that can be said; let us begin by beating the lens with a water hose.

Q. 形容你是怎麼看待「修行」這件事?

修行 - 每日的自然反射動作
鍛鍊 - 會一再重複進行的動作,以求一個精準。



expertise is in manufacturing things of no market value. Producer of image and devices. Member of experimental band Sexy Little Young Pig.

專長無產值製造業 / 影像與裝置生產者 / 小嫩豬 Little Sexy Young Pig 團員之一。

Flesh under the arrow keys

Geometrical flesh

Transparent flesh

Mythological flesh

Flesh of a puppet

Flesh under my pen

A inching back to reality

Thousand Character Classic


Step 1: Polish and Prepare

The first step of carving is to smooth the stone and its surface.
Use #600 sandpaper to grind up the surface, then move on to #1000, #1500, and #2000 for more detailed work. Add water intermittently during this process to help smooth out the texture. When the stone surface becomes very fine, use #3000 and #5000 sandpaper for final polish.The stone has become a seal. It is ready.

Step 2: Write, words carved in the bones and engraved in the heart

Good words are carved with sincerity to express positivity and to move the soul. Words below such caliber are not worthy to be passed on.

Step 3: Carve, to be bold and conscious

The most important part of carving a seal is knife work. Be bold and stay conscious. There are many methods of carving; listen to your mind and channel your thoughts through the motion of your hands. See the engraving slowly emerge on the 1 inch square seal.  Inhale, exhale. Listen to the collapsing sound of carving.

Step 4: Check every stroke, every detail and make modifications

Be patient, check, examine and process every detail. Sand down the stubbornness, polish your merits, add in some personality, be well-read, be bold, stay patient, and work towards a positive result.

The process of carving is about self-fulfillment--it is mundane and requires self-discipline. Those who learn to inhale and exhale at ease can master the art of the carving.

 果珍李柰,菜重芥薑 (guo zhen li nai, cai zhong jie jiang) is a phrase from the Thousand Character Classic, a Chinese epic poem of exactly 1000 words; each word in the poem only appears once, composed in four line rhyming stanza structure. The classic is based on Confucius thought and narrates a range of topics, including astronomy, geography, social studies, history, ethics and governance of the family.

 The phrase 果珍李柰,菜重芥薑 literally translates as: the crab apple and the plum are the most precious of all fruit; the mustard leaf and ginger are the most important of all vegetables. The phrase points to the health benefits that plants can bring to a person’s life.


步驟二撰寫印稿, 寫下刻骨銘心至誠之言




 果珍李柰,菜重芥薑是《千字文》裡的其中一句短語。《千字文》以儒家思想為主體,兼納天文地理、社會歷史及君子治家處身之道。是一篇由一千個不重複的漢字組成的一首四言長詩。暇瑕設定在今年內完成《千字文》的篆刻計畫。

 果珍李柰,菜重芥薑的白話解釋:在水果裡最珍貴的就是李子和柰子,而蔬菜裡最重要的就是芥菜和薑。兩句話表達了植物對人們生活健康的作用。

☯ Ebix
Ebix (Ebi Tsai)  devotes herself to practicing and promoting Chinese calligraphy and seal carving.

Her Chinese name 暇瑕, pronounced as xiá xiá, means perfect imperfection.

Life is meaningful when you embrace the imperfection of yourself. Beauty is created through experiencing life.
☯ 暇瑕
暇瑕取其perfect imperfection當成工作室的座右銘;

Hyper Dimension of Illusion

Shark Lin

Self-cultivation is a process of exploring dimension of a specific topic. In the process, I accidentally step into a bottomless pit of mathematics, design, art, film, games, music, new media, and all the subversive fun of super-experiencing the world. There are always discoveries to be made every day.


☯ Shark Lin
Lin discovered the delight of mathematics one boring morning in middle school second grade, while attending a self-study class. Lin is currently involved in mathematics research, artistic creation, interviews, popular science writing and exhibition planning. Instead of studying math or learning art, Lin reflects upon various mathematical and artistic gestures from multiple perspectives, in hopes to bring some delight into the world.Lin’s math-art works have been exhibited at Stockholm Bridges (2018), IMAGINARY (2017), Pan Knowledge Festival (2016), On-site, Visual (2015、2016). Lin's curatorial projects include Dimension of Illusion (2018) , The Geometric Artworks of Wu Kyun Ying (2017) , Polyhedron Making (2017).

*Dimension of Illusion, an art exhibition curated by Shark Lin, will run until December 31st at EnterSpace, Taipei.


數學藝術作品曾在斯德哥爾摩Bridges(2018)、IMAGINARY超越無限 ‧ 數學印象特展(2017)、泛知識節(2016)、視覺混種(2015、2016)展出;策展經歷包括《錯視維度》、《轉幾 ‧ 轉積 ‧ 轉機》及《多面自造》。

*Shark Lin策劃的展覽《錯視維度》於台北密室逃脫 / 咖啡實驗室舉行,展至年底12月31日。

Archive 2018_Commentary of “Future Tao: Training Space” 

“How do we know, that we are holding a rock in our hands?”

A perplexing neo/cyber hyper modernist existentialist story with French Fries, a tiny philosopher and the sensation of empty rocks inside the Future of Tao...

Written by Raúl Gasque

“How do we know that we are holding a rock in our hands?” usually we know because a stone is sharp. From the moment we hold it with the intention of throwing it, it hurts us. In a delicate paradox that reminds us the meaning of a natural pact. We want to destroy, hurt or transgress; even a little bit…that same object will scratch ourselves. We know that is weight can mean a lot and at the same time, depending on the strength with which it is thrown, it can break in two a skull like a coconut.... Once the rock hits its target the blood would flow in gushes —“The head bleeds a lot.” Someone whispers—everything will be full of a thick deep blood or tiny pieces of the materials that we just cracked. That skull can be a system. The rocks we hold wants to smash against what keeps us in a contemporary sate of voluntary oppression—A little song with a soft cello gets inside this text like a wild Taiwanese neon snake—Throwing a rock is exactly what makes us human. It is the instrument we used to defend ourselves and hunt, to survive—A little philosopher jumps inside our rare text and starts to dance. He has a beard like the ancient Greeks and sings “Harvest Moon” with the voice of Jane Birkin. Shaking his little hips around the sentences that lays in these lines—Its parallels are only found in sex and painting—Our little dancing philosopher open his hands with the rhythm of a teletubbie—everything is a cavern—“O yes!” our little philosopher says while he shake his head in tiny circles—Memory. What we were, what we are. What we want to destroy. What we need to sustain for our strength to keep us from as human beings... in the fall of 2016 we all felt a compelling need to do that—Thunders in the sky of the text. Everything turns dark and in a schizophrenic purple. Our tiny Philosopher touches his head in a painful way…. His beard becomes sand that falls and flies away in the sky. Then, his legs. Then, his arms. Then, his face. Then. Then….—an open xenophobe arrived to power in the most militarily powerful country in the world. All the humanists grabbed their stones and threw them against his semiotic absurd dystopian filthy image. We were/are so angry. Let the humanists shout. Shoot against the system. After a big rage and charge was released we saw our hands. And they were empty. No dust mixed with blood. No scratches. An endless ocean of emptiness….—Where did our tiny philosopher go? where!”—but we felt that we threw them. Now we realize that we didn’t have rocks ... Hajoe Moderegger and Franziska Lamprecht whisper to us “what we have done is mastered the ability to throw stones with empty hands". They keep asking us in a language of light and pixels “Have we achieved any targets?” “How many transgressions did we achieve?” “Did these stones hit in the center of the system and resound to the point of breaking down?” —No—the sound of the inner earth talked. Perhaps the only thing that happened is that as Moderegger and Lamprecht traced in a flying delicate yet fulminant metaphor…the only thing that has happened is that we have fallen into a trap. Now in “The Future of Tao” we can witness that we are all surrounded by a gray mass, empty ... without content. Without stones. With mirages without a face. Without direction. Annoyed, and prisoners inside a black hole of a pejorative nothingness. And while the system continues to suffocate, more and more the humans keep falling into the faucets of the matrix. So deeply that now they/we live all through a digital system of fictions that stimulate the deepest part of our limbic system.

In this dark circle the annoyance is explicit. But nobody looks at anyone. You do not know who is who. They are all upset. They only babble. Arguing. Moving their hands with endless violence.

Deaf and dumb, the avatars or digital humanoids throw things that are supposed to be stones. This is how they feel. But the reality is that just as the palms of our hands don’t have a scratch, the system has not only remained intact but also strengthened.

And so without realizing it, we are in the depths of a system called The Future of Tao. Here we can see a universe. It is not uniform. A mirage with a green and purple light shines throughout this space. The bizarre mirror rotates with its own light. In which the consequent clues are more venerable and contain other approaches. Because each dystopia has its own utopia.

But this Utopia is not sweet. It smells like if we are inside a MAC computer box when it just got opened. There are multiple vibrations. But the stimulus, the feeling and the emotions are still here, reminding us that the most powerful organ of a human being is inside the brain.

In the green and purple interior we see before the curtain of multifarious light an abstract trace by Sheryl Cheung. It seems to indicate us an opposite way from the angry lost avatars circle that we have just abandoned. Now the interior of a virtual reality looks like a memory: how does a plant feel—An invisible voice whispers—... and we see there distant gestures of reflections of an artist who show us a series of things that we do not see coming after throwing impossible/invisible stones. “What is she trying to convey to us?” “Is it a nod to not die of thirst on the infinite path of a virtual eternal solitude?” Before we finish this thought we are approached by Xia Lin's art project '3C Xing Yi Quan'. We see a white light curtain that is ineligible to the human eye. On screen, two humans begin to challenge the virtual matrix. “You imitate us, we can also imitate you” —Oh yeah! The voice of the tiny philosopher appears in a tiny glimpse of blue light—. “Now we will be one” the two humans say without saying. “We will have the ability to transgress our own organs to move like you”. “Now we will be integrated not only through the retinal but also from our body”. “Before silicon and plastic sprout from our arms and legs, we will become you.” Vibrations start to move like a hard rock volcano in the very center of Down Town Taipei—The MC Donald’s and Seven Elevens get completely smashed and French fries start to fly and arrive into this rare world where the light, now, is softer…

A miraculous helmet comes from the sky. We become a machine. The NAXS corp device covers our sex. Our extremities. Our conscious. Our feelings. We descend slowly into a large cave of immaterial lava—The tiny philosopher grabs our hand, we don’t see him but he is shaking his head and talks in the language of a Vangelis electronic organ—the machine and our universe vibrates again. Water and comfort coldness gets into our inner self. We become one. With the machine. “Where do we go?” “Where are we” “We don’t know”. We are a machine. We are humans. The rocks will be stones again in other materiality. The Future is now. The future of Tao…

Future Tao: Training Space
Oct 15 - Nov 20, 2018 @ Project Seek, Taipei

☯ Raúl Gasque
Raúl Gasque is a Mexican photographer, writer, journalist and artist who works with conceptual ideas. His work is a continuous exploration of issues related to anthropology, history, psychology and other social sciences. His life has been an ongoing exploration in different parts of the world, a situation that has stimulated to try to explore things from unconventional angles. R.Gasque is currently based in Taipei Taiwan, a place where he developed a project of exchange on contemporary photography between Mexico and Taiwan.

Raúl Gasque 是一位墨西哥攝影師、作家、記者和藝術家,擅長概念性創意。他的工作是對人類學、歷史、心理學和其他社會科學相關問題的持續探索。他的一生就是對世界不同地方的不斷探索,這種情況激發了他嘗試從非常規的角度探索事物。 Raúl Gasque 目前居住在台灣台北,在那裡他開展了墨西哥和台灣之間當代攝影交流計畫。